David Bowie Net Worth 2018: How Much Is David Bowie Worth Now?

David Bowie at a live concert at the FilaForum of Assago.


David Bowie was an English singer, songwriter, and actor. He was a leading figure in popular music for over five decades, acclaimed by critics and other musicians for his innovative work. His career was marked by reinvention and visual presentation, his music and stagecraft significantly influencing popular music.  Although he passed away on January 10, 2016, at 69 years old, he impacted several people around the world with his love for music.

David Bowie’s Net Worth 2018: $230 Million

David Bowie, over the course of his career, released 26 studio albums and 120 singles. In fact, 61 made the Top 40 charts while five of which went to No.1. Bowie would make more than he had back in 2016 if he were alive today; however, since his death, his net worth has been a whopping $230 million.


View this post on Instagram

THE LONG WAY HOME: BOWIE AND MacCORMACK “I'm stuck with a valuable friend…” A signed collection of Geoff MacCormack’s David Bowie photographs are to be offered as part of Bonhams Entertainment Memorabilia sale on June 28th, the month which marks the 50th anniversary of the release of Bowie’s debut album, David Bowie. The prints are thought to be among the last items Bowie signed. Geoff (David’s close friend and travelling companion), shot the images whilst on a worldwide tour with the star in 1973 and while on set for the shooting of The Man Who Fell To Earth. MacCormack was a singer, percussionist, dancer and mime on the Bowie tours of 1973/74. The journey took in New York, LA, San Francisco, Hawaii, Canada, Japan and a voyage on the Trans-Siberian express, which provides the backdrop to several of the photographs. The images show Bowie at his most relaxed and informal. Speaking of his friend, Geoff said: ‘For me, these images, which David loved, almost feel as if they belong in a family album. They capture the sense of two mates – one of whom just happened to have become a rock star – having the time of their lives.’ The images will be on view at Bonhams Knightsbridge saleroom from June 25th till the sale on the 28th, accompanied by a never–before–seen film of the journey from Japan to Moscow, for the ‘May Day Parade’, shot by Bowie himself and seen through his eyes, interspersed with MacCormack’s photographs. Called: ‘The Long Way Home, a film by David Bowie’, the short will be screened exclusively at the sale preview in Knightsbridge. For more examples of Geoff MacCormack’s work, visit his website: http://smarturl.it/GMDB Also, check out this piece by Holly Bruce posted today over on GQ: http://smarturl.it/GQGMDB @geoffmaccormackcollection #TheLongWayHome #GeoffMacBowie

A post shared by David Bowie (@davidbowie) on

In 1962 Bowie formed his first band at the age of 15. Dissatisfied with his stage name as Davy (and Davie) Jones, which in the mid-1960s invited confusion with Davy Jones of the Monkees, Bowie renamed himself after the 19th-century American pioneer James Bowie and the knife he had popularised. His April 1967 solo single, “The Laughing Gnome”, using speeded-up thus high-pitched vocals, failed to chart. Released six weeks later, his album debut, David Bowie, an amalgam of pop, psychedelia, and music hall, met the same fate. It was his last release for two years.


Dressed in a striking costume, his hair dyed reddish-brown, Bowie launched his Ziggy Stardust stage show with the Spiders from Mars—Ronson, Bolder and Woodmansey—at the Toby Jug pub in Tolworth on 10 February 1972. The show was hugely popular, catapulting him to stardom as he toured the UK over the next six months and creating, as described by Buckley, a “cult of Bowie” that was “unique—its influence lasted longer and has been more creative than perhaps almost any other force within pop fandom.” The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972), combining the hard rock elements of The Man Who Sold the World with the lighter experimental rock and pop of Hunky Dory, was released in June. “Starman”, issued as an April single ahead of the album, was to cement Bowie’s UK breakthrough: both single and album charted rapidly following his July Top of the Pops performance of the song. The album, which remained in the chart for two years, was soon joined there by the 6-month-old Hunky Dory. At the same time the non-album single “John, I’m Only Dancing”, and “All the Young Dudes”, a song he wrote and produced for Mott the Hoople, were successful in the UK. The Ziggy Stardust Tour continued to the United States.

Station to Station (1976), produced by Bowie and Harry Maslin, introduced a new Bowie persona, “The Thin White Duke” of its title-track. Visually, the character was an extension of Thomas Jerome Newton, the extraterrestrial being he portrayed in the film The Man Who Fell to Earth the same year. Developing the funk and soul of Young AmericansStation to Station’s synthesizer-heavy arrangements prefigured the krautrock-influenced music of his next releases.

Scary Monsters and Super Creeps (1980) produced the number-one hit “Ashes to Ashes”, featuring the textural work of guitar-synthesist Chuck Hammer and revisiting the character of Major Tom from “Space Oddity”. The song gave international exposure to the underground New Romantic movement when Bowie visited the London club “Blitz”—the main New Romantic hangout—to recruit several of the regulars (including Steve Strange of the band Visage) to act in the accompanying video, renowned as one of the most innovative of all time. While Scary Monsters used principles established by the Berlin albums, it was considered by critics to be far more direct musically and lyrically. The album’s hard rock edge included conspicuous guitar contributions from Robert Fripp, Chuck Hammer and Pete Townshend. As “Ashes to Ashes” hit number one on the UK charts, Bowie opened a three-month run on Broadway on 24 September, starring in The Elephant Man.


View this post on Instagram

MICK ROCK’S FIRST BOWIE PHOTO IS 45 TONIGHT “Because you're young – you'll meet a stranger some night…” Right about now (forty five years ago to the hour), the audience at Birmingham Town Hall were among the first people in the UK to experience the life-changing delights of the Ziggy Stardust stage show. Before our man took to the stage with his merry band of space invaders, @therealmickrock had his first meeting with the 25-year-old Bowie. Here’s what the Man Who Shot The 70s had to say about that moment. + – + – + – + – + – + – + – + – + – + – + – + – + – + That was the first time I met him. In fact, I think this was the very first frame I shot of him. I shot about four frames backstage. In those early days, because of their modest income, magazines would get you to do the words and the pictures. I do remember a kind of obvious exchange, of David saying “Oh I like your name, mate, is it real?” Because it sounded a bit like a parody. I mean, a photographer called Mick Rock… You couldn’t have a performer called that, it would be too much. Besides Mick Jagger had already taken up any space that was allocated to the Micks of this world. We swapped anecdotes; he wanted to hear about Syd and I wanted to know about Lou Reed and Iggy Pop. We talked about how Syd had had it all. Syd and David were similar in the way that neither of them sang like an American. At that time there was a big American influence on music, but Syd and David went against that and sang in a British way. David was very aware of Syd; very interested in him. Of course, in 1973 David did a cover version of 'See Emily Play' for his Pin Ups album. There were many parallels between Syd and David early on; although clearly David had a much tougher psyche. David's 'The Man Who Sold The World' always makes me think of Syd. It's a perfect description of him." + – + – + – + – + – + – + – + – + – + – + – + – + – + Meanwhile there are just three weeks to go (April 7) till you can see Mick’s rockumentary, SHOT!, in cinemas, on demand and via iTunes and Amazon. Watch the superb trailer for SHOT! Over on Apple now: http://smarturl.it/AppleShotTrailer #BowieMickRock #MickRockFilm

A post shared by David Bowie (@davidbowie) on

Bowie shelved his solo career in 1989, retreating to the relative anonymity of band membership for the first time since the early 1970s. A hard-rocking quartet, Tin Machine came into being after Bowie began to work experimentally with guitarist Reeves Gabrels. The line-up was completed by Tony and Hunt Sales, whom Bowie had known since the late 1970s for their contribution, on bass and drums respectively, to Iggy Pop’s 1977 album Lust For Life.

In 1993, Bowie released his first solo offering since his Tin Machine departure, the soul, jazz and hip-hop influenced Black Tie White Noise. Making prominent use of electronic instruments, the album, which reunited Bowie with Let’s Dance producer Nile Rodgers, confirmed Bowie’s return to popularity, hitting the number-one spot on the UK charts and spawning three Top 40 hits, including the Top 10 single “Jump They Say”.


View this post on Instagram

★ WINS ALL FIVE NOMINATED GRAMMYS “Ladies and gentlemen…and others” @recordingacademy Congratulations are due to all involved with the creation of David Bowie’s ★ album, after the news that the release enjoyed a clean sweep at the Grammy Awards tonight, with all five nominations winning the gongs in the following categories… + – + – + – + – + – + – + – + – + – + – + – + – + – + – + 12. Best Rock Performance = ★ (Accepted by Donny McCaslin) 14. Best Rock Song = ★ (Accepted by the presenters) 16. Best Alternative Music Album = ★ (Accepted by Donny McCaslin) 65. Best Recording Package = ★ (Accepted by Jonathan Barnbrook) 69. Best Engineered Album, Non-Classical = ★ (Accepted by Kevin Killen and Joe LaPorta) + – + – + – + – + – + – + – + – + – + – + – + – + – + – + Today’s 'lyric' quotation was taken from Bowie’s introduction to Aretha Franklin when he presented her with the Grammy for Best R & B Female Vocalist in 1975. (See picture) In a nod to that moment, the same words were used by Jonathan Barnbrook in his introduction when he accepted the Grammy for Best Recording Package this evening. Barnbrook also had this to say of Bowie: “He had this very rare quality of getting people to produce their best work, but doing it in a way that was wonderful, charming, a great, great enjoyable ride, and I want to thank him for that.” Speaking about the power and importance of music, Barnbrook offered the following observation: “I've seen how important what musicians do for people is. It's there when you're born, it's there when you get married, it's there when you die at your funeral. So we should celebrate that, absolutely.” You can watch Donny McCaslin’s touching speech, when (along with the ★ band), he accepted the Best Rock Performance gong on behalf of David Bowie, here: http://smarturl.it/BestRockPerGrammys17 In a backstage interview later, Donny spoke of the sheer joy expressed by Bowie during the creation of ★ – That is a joy that will live forever in the grooves of ★ #59thGrammyAwards #Grammys2017 #BowieGrammyAwards #BowieBlackstar #Blackstar

A post shared by David Bowie (@davidbowie) on

On 25 June 2000, Bowie made his second appearance at the Glastonbury Festival in England, playing 30 years after his first. On 27 June, Bowie performed a concert at BBC Radio Theatre in London, which was released in the compilation album Bowie at the Beeb, which also featured BBC recording sessions from 1968 to 1972. Bowie and Iman’s daughter was born on 15 August.

Bowie was awarded the Grammy Lifetime Achievement Award on 8 February 2006. In April, he announced, “I’m taking a year off—no touring, no albums.” He made a surprise guest appearance at David Gilmour’s 29 May concert at the Royal Albert Hall in London. The event was recorded, and a selection of songs on which he had contributed joint vocals were subsequently released. He performed again in November, alongside Alicia Keys, at the Black Ball, a benefit event for Keep a Child Alive at the Hammerstein Ballroom in New York. The performance marked the last time Bowie performed his music on stage.


View this post on Instagram

MOBY ON THE IMPORTANCE OF LOW “There’ll be others on the line filing past, who’ll whisper Low…” Among the various celebrations of Low’s 40th birthday was a sweet piece by @Moby on @billboard, well worth a look for those that missed it. Here’s a bit from the intro… + – + – + – + – + – + – + – + – + – + – + – + – + – + – + Forty years ago today, Jan. 14, 1977, David Bowie released Low, one of his several masterpieces and the first album of his "Berlin trilogy." The heavily electronic, Krautrock-indebted art rock album signaled a new creative period for Bowie. It peaked at No. 11 on the Billboard 200 (a bit of a miracle given how experimental it is), but its impact on the next wave of synth-based and electronic musicians far outstretches its commercial performance. To help contextualize and honor the album's massive impact, techno legend Moby shared with Billboard his memories of discovering Low, the lesson it taught him, and a few stories about his friendship with the late icon. As told to Joe Lynch. + – + – + – + – + – + – + – + – + – + – + – + – + – + – + And here’s Moby’s conlusion… + – + – + – + – + – + – + – + – + – + – + – + – + – + – + Bowie was the patron saint of every new wave artist. Every person who bought a synthesizer was obsessed with David Bowie — Depeche Mode, New Order. The bands who helped birth electronic music, deep down, wanted to be David Bowie. + – + – + – + – + – + – + – + – + – + – + – + – + – + – + Read the full thing over on billboard: http://smarturl.it/BillboardMobyLow #BowieLow #BowieMoby #Bowiebillboard

A post shared by David Bowie (@davidbowie) on

On 8 January 2013 (his 66th birthday), his website announced a new album, to be titled The Next Day and scheduled for release 8 March for Australia, 12 March for the United States and 11 March for the rest of the world. Bowie’s first studio album in a decade, The Next Day contains 14 songs plus 3 bonus tracks. His website acknowledged the length of his hiatus. Record producer Tony Visconti said 29 tracks were recorded for the album, some of which could appear on Bowie’s next record, which he might start work on later in 2013. The announcement was accompanied by the immediate release of a single, “Where Are We Now?”

In August 2015, it was announced that Bowie was writing songs for a Broadway musical based on the SpongeBob SquarePants cartoon series. Bowie wrote and recorded the opening title song to the television series The Last Panthers, which aired in November 2015. The theme that was used for The Last Panthers was also the title track for his January 2016 release Blackstar which is said to take cues from his earlier krautrock influenced work. According to The Times: “Blackstar may be the oddest work yet from Bowie”. On 7 December 2015, Bowie’s musical Lazarus debuted in New York. His last public appearance was at opening night of the production.

Blackstar was released on 8 January 2016, Bowie’s 69th birthday, and was met with critical acclaim. Following his death on 10 January, producer Tony Visconti revealed that Bowie had planned the album to be his swan song, and a “parting gift” for his fans before his death. Several reporters and critics subsequently noted that most of the lyrics on the album seem to revolve around his impending death. The day following his death, online viewing of Bowie’s music skyrocketed, breaking the record for Vevo’s most viewed artist in a single day. On 15 January, Blackstar debuted at number one on the UK Albums Chart; nineteen of his albums were in the UK Top 100 Albums Chart, and thirteen singles were in the UK Top 100 Singles Chart. Blackstar also debuted at number one on album charts around the world, including Australia, France, Germany, Italy, New Zealand and the US Billboard 200.

  • 10678531520930918