1961 Iggy Pop Tappan Junior High School 8th Grade Yearbook Signed

AN EXCESSIVLEY RARE YEARBOOK FROM TAPPAN JUNIOR HIGH SCHOOL FEATURING JAMES OSTERBERG AKA IGGY POP. JAMES HAS SIGNED IN THE BACK OF THE YEARBOOK AS HAS HAVE MANY OTHER STUDENTS.

IGGY WAS A 8TH GRADER AT TAPPAN. (2) SIGNATURE ON FRONT PAGE SIGNED JAMES OSTERBERG. (3) 8TH GRADE PHOTO OF JAMES OSTERBERG.

(4) FOOTBALL PHOTO UNTOUCHABLES (2ND ROW). (5) CONCERT BAND PHOTO (5TH ROW). (6) A TAPED TEAR ON BOB MEADOWS PHOTO.

N late July, in a brief window between professional appointments, Iggy Pop drove to the mouth of Biscayne Bay, so that he could bob in its tropical waters. In 1995, he had bought what he described as a very seedy condo in Miami, and he has had a home in the city ever since. The extremity of the placeit is both environmentally tenuous and aesthetically vulgarseems to suit Pop, who, in the late nineteen-sixties, as a member of the Stooges, helped invent and refine punk rock, a genre of music so menacing and physically savage that it is sometimes shocking that Pop has made it to the age of seventy-two. After he moved to Miami, he started swimming every day. I didnt know anybody, he said.

Id go to the beach and come home, go to the beach and come home. I tried to build myself back up from twenty years in harnessNew York City, the modern American record industry, gruelling economy touring. From afar, Pop resembles a bronze statuette. He is lithe, sinewy, and deeply tanned, with a torso that, for decades, has appeared so exquisitely and minutely muscled that an onlooker might reasonably assume it was painted on. In recent years, his midsection has relaxed a bit, but he assured me, while patting it, that it remains quite firm.

His hair is blond, shoulder length, pin straight, and parted in the middle, and his eyes are an oceanic blue. Though he has had Lasik surgeryIn Colombia, before it was legal herehis vision is still imperfect, a malady he chalks up to doing too much intravenous cocaine. He has retained a bit of a round, Midwestern accent from his upbringing, outside Detroit. In conversation, he is nearly guileless, and he listens intently and carefully. Periodically, his face will collapse into a benevolent grin.

He kicked a pair of striped Gucci slides onto the sand. One shoe had been customized with a platform sole, to correct for an inch-and-a-half difference in the length of his legs, a condition he attributes to arthritis combined with an old football injury. As he waded in, Pop told me that hed once stayed at a Holiday Inn in Tallahassee, missing a Merle Haggard performance in the hotel bar by a day.

Earlier, he had suggested that he didnt know very much about country music, but then he spoke thoughtfully and at some length about the careers of Doc Watson, Hank Williams, and Waylon Jennings, before putting his head underwater and starting a vigorous swima mixture of freestyle and backstroketo a buoy about fifty yards offshore. Pop is a voracious and enthusiastic student of American music, from the Ronettes and Dave Brubeck to Link Wray and Bob Dylan.

Earlier in the day, at a small studio in Coral Gables, Pop had recorded two episodes of Iggy Confidential, the BBC Radio 6 music program he began hosting in 2015, after finding that he enjoyed the experience of acting, as he put it, as a kind of atmospheric bartender. His broadcasting voice is deep, slow, and pleasantly wobbly. Comparing my patter when I started the thing and my patter now, I sound nearer and nearer to my expiration, Pop said. Pops selections that morning included songs from contemporary acts such as FKA Twigs, Bill Callahan, Cate Le Bon, and Tyler, the Creator, along with Hot Chile, a single that James Brown and his band released in 1960, using the pseudonym Nat Kendrick and the Swans. Pop is good at revealing the connective tissue between seemingly incompatible numbers. After cueing up Dream Baby Dream, by the experimental punk duo Suicide, he sat up in his chair and adjusted his spectacles. Alan Vega, he had rock and R. He reminds me a little of Bruno Mars and Sal Mineo. Between shows, Pop emerged from the cool, dark booth, shirtless and looking for sunshine.

Wanna go outside and warm up? He discovers new music for his show by taking the recommendations of friends and opening acts, by reading the shortest, most obscure reviews published in the Guardian, or by looking through the upcoming concert listings published each Friday in the Times. It has kept him awake to the moment. In early August, the eponymous début album from the Stooges, which Pop helped form, in 1967, celebrated its fiftieth anniversary.

In September, Pop will release Free, his eighteenth solo album. Free is his most surprising record in decades, and one of his most collaborative. I began to recoil from guitar riffs in favor of guitarscapes, from twangs in favor of horns, from back beat in favor of space, and, in large part, from the effluent of my own mind and problems, in favor of trying to interpret the poetry of others, he writes in the liner notes. Two of his writing partners on the album are Leron Thomas, a jazz trumpeter from Houston, and the composer and filmmaker Sarah Lipstate, who records as Noveller. Thomas wrote lyrics for half of the tracks on Free, including Dirty Sanchez, a lewd, tense meditation on contemporary sexuality that includes the lines Just because I like big tits / Doesnt mean I like big dicks.

I was thinking, How do I explain to this guyThomasthat this is career suicide? So I wrote him and said, Look, the best thing you can do is put some horn on it.

Thats my contribution: Put some horn on it! So he horned the shit out of it, you know?

Pop went on, I sang the song once, just for fun, and I thought, you know, Dont turn into a total fart here. Pop sings the lines with a kind of deranged glee, as if he were trying to get the words out while being dragged off to jail. Image may contain David Bowie Sunglasses Accessories Accessory Human Person Clothing and Apparel. David Bowie, Pop, and Lou Reed at the Dorchester Hotel, in London, in 1972. Its surprising that Pop would worry, even for a moment, about the propriety of a lyric. In the early nineteen-seventies, he was notorious for subverting cultural standards; a concert by the Stooges often included bloodshed, along with the triumphant celebration of one or more perversions. Pop was brutal onstagebarfing, taking his clothes off, dragging furniture or bodies around, slicing his chest with shards of broken glass. In San Francisco, in 1974, he was stomping through the crowd when a fan yanked his briefs down and appeared to perform oral sex on him.

Stories about Pops misbehavior are lewd, captivating, and plentiful. But Pops work has grown more interior in recent years. The most personal piece on Free is Loves Missing, a propulsive song about the value of companionship and loyalty. His voice sounds rich and heavy, with a depth and fragility reminiscent of Jacques Brels.

The center wont hold the ends. He doesnt want to re-tread ground that hes covered before, Wayne Kramer, the guitarist and co-founder of the Detroit rock band the MC5, told me. A lifetime of creativity is a hard job, and hes a soldier.

Iggy Pop was born James Osterberg, Jr. In 1947, and brought up in Ypsilanti, about forty miles west of Detroit. For most of Pops childhood, the three of them lived in a three-hundred-and-sixty-square-foot trailer in a mobile-home park, surrounded by a gravel quarry, vegetable fields, and Pats Par Three golf course.

He began playing drums in fifth grade. At night, he banged on a couple of rubber pads glued to a piece of plywood, until his parents bought him a three-piece drum kit and let him set it up in the trailers master bedroom. In Please Kill Me, Legs McNeil and Gillian McCains oral history of punk, his classmate Ron Asheton describes a teen-age Pop as fairly conventional: He hung out with the popular kids that wore chinos, cashmere sweaters, and penny loafers. Iggy didnt smoke cigarettes, didnt get high, didnt drink.

Every few years, Pops high-school-yearbook photograph circulates on the Internet: looking dewy and handsome, wearing a jacket and a tie, he gazes at the camera with a curious mixture of eagerness and apathy. In 1963, Pop started a band called the Iguanas, which played surf rock and covers of the Beatles, the Rolling Stones, and the Kinks. Already, Pop had an instinct for theatrics. He built a rickety seven-foot riser for his drum kit, so that he towered over his bandmates like some sort of magnificent despot.

Eventually, Pop got bored doing British Invasion covers. He enrolled at the University of Michigan, and, soon after, he left the Iguanas for a blues band called the Prime Movers. The group was led by Michael Erlewine, an aspiring intellectual who read the major poets, knew a bit about philosophy, and had experimented with psychedelic drugs. He was the guy around campus who had the best record collection, knew how to wear boots, had reportedly hitchhiked with Dylan, Pop said.

Pops tastes began expanding toward the fringes. Pop had come of age as Elvis Presley was ascending the charts, and was moved by Presleys magnetism. I started listening and watching, especially the stuff he took from minstrel shows, he said. The footwork, the tongue-in-cheek humor. Meanwhile, he told me, Charlotte Moorman did this thing where she was nakedI dont think she was really naked, maybe she was toplessand played the cello.

There are elements of both traditions in Pops music: longing, rage, depravity, dissonance, showmanship, charisma, a little bit of old-fashioned song and dance. Pop had a job at Discount Records, near the central campus. Ron Asheton, his brother, Scott, and their buddy Dave Alexander used to loiter out front, spitting on cars. Jeep Holland, the manager of Discount Records, would holler Iguana alert! Whenever Pop emerged from the stockroom in the basement of the store.

The nickname shrank to Iggy, and stuck. Pop was borrowed from an acquaintance named Jimmy Popp. In 1966, Pop left Ann Arbor for Chicago, and, through Erlewines connections, got a gig playing with Big Walter Horton, a harmonica virtuoso who had moved to Chicago from Memphis in the nineteen-fifties. Chicago blues is rowdy and licentious, but it carries some of the lonesomeness of the genres country forebears: J. Smith singing No More Good Time in the World for Me, Robert Johnson worrying over the hellhound on his trail.

It seemed as if Pop had learned something about how to sublimate despair through song, but, he said, I realized I wasnt going to be Howlin Wolfs drummer. He managed to avoid being inducted by appearing deranged at his draft examination (I did some creative acting, he said), and he sublet a small house on campus with Ron and Scott Asheton and Dave Alexander. They formed a band called the Psychedelic Stooges, and began developing their sound in the basement. You cant believe how dirty and destructive and lazy and just untenable these people were, Pop said. Meanwhile, I was crazy as a loon myself.

Ron Richardson, a friend of Ron Ashetons who later became the Stooges first manager, was involved in psychedelics experiments at the University of Michigan, and the band often partook of his supplies. LSD wasnt criminalized in the United States until the end of 1968, and drugs more generally were not particularly difficult to come by on campus. This guy came over one night and gave us all DMT in a bong, Pop said. The Stooges played their first public show at Detroits Grande Ballroom, in March, 1968. Pop had shaved his eyebrows and slathered his face with white paint.

He wore golf shoes, a rubber swim cap decorated with several dozen strips of aluminum foil, and a frock that Ron Asheton described as an old white nightshirt from the eighteen-hundreds. The Stooges were not yet interested in melody, preferring to generate a caustic, demented drone, using a blender, a vacuum cleaner, several fifty-gallon oil drums, and a hammer. Was cranked to inhumane levels. A bird in its nest complains to itself about all the construction noise a woodpecker is making.

Cartoon by Jason Adam Katzenstein. Wayne Kramer recalled the show as feeling instantaneous and electric. I was expecting a band. It was way more than a band. It was primal, he said. It was the first time I ever saw someone dance and interpret the music to the degree he was able to, live onstage.

He added, The music wasnt pop, it wasnt rock, it was something else. It was dark and foreboding and powerful and hypnotic.

In 1969, the band lost the Psychedelic at the start of its name, and released its début album. Pop and Ron Asheton wrote most of the tracks. I didnt have his riffage, but I could write something simple, Pop said. Those first few years were dangerous. Not in a vague, something-explosive-is-starting-here way but in a spilled-blood way.

Pop once stage-dived into an empty room, cracking his front teeth. In 1970, in Cincinnati, he got his hands on a jar of peanut butter, smeared it all over himself, and began chucking gobs of it at the crowd. There is a famous photograph of Pop taken that night, wearing tight jeans, a studded dog collar, and a silver lamé glove, walking upright on the audiences raised hands, as if the crowd were a floor made of people. He would deliberately provoke the most unsavory character in the club, in search of a reaction. He was often zonked on heroin.

Most of Pops bandmates were as stoned and as disobedient as he was. In 1971, Scott Asheton, who played drums in the group, got blitzed on the sedative secobarbital and drove a tall truck full of rented gear under a low bridge.

The top of the truck peeled off, Scott was tossed fifteen yards, and everything inside was destroyed. The story gets told now as a metaphor: the Stooges simply refused to acknowledge the laws of physics. Iggy and the Stooges were a giant opening to me, the singer and writer Richard Hell told me. In downtown New York, in the mid-seventies, Hell developed a counterpart to the Detroit sound, performing with the punk bands Television and Richard Hell and the Voidoids.

He was talking about things as they are, rather than in pop conventions, Hell said. He took all the monotony and frustration and made it great. In the eighties and nineties, young and discordant indie-rock bands were equally shaped by the Stooges music.

Sonic Youths Kim Gordon described it to me as dark, sexy, dangerous, radical music. Those words hardly describe any music in rock today, but thats what the Stooges gave usperfect, seemingly effortless rock songs. A Photographers Parents Wave Farewell. Satire From The Borowitz Report.

Susan Collins Unable to Decide Whether to Wash Hands. The End of Egyptian Cotton.

Why Alaskans Are Trying to Recall Their Governor. Man Linked to Community Spread of Misinformation. At the time, however, critics and listeners mostly found the band insanefour angry young men brazenly wrecking themselves in service of who knows what. Even Rolling Stone, a bullhorn for the counterculture, didnt entirely dig it: Their music is loud, boring, tasteless, unimaginative and childish. I kind of like it.

The rock critic Lester Bangsa fanwrote, in Creem, in 1970, Antisocial art simply dont fit in, brothers and sisters. Who wants to be depressed, anyway? Yet the bands tumult accurately reflected the tensions of the time, including the escalation of the Vietnam War. The Stooges were neither hippies nor pacifists.

Peace and love wasnt a big part of it, Scott Asheton said, in Please Kill Me. Whatever was happening in Michigan felt markedly distant from scenes elsewhere. What I noticed about the West Coast bands was that they had awful rhythm sections, Kramer told me. The bassist was just the guy who couldnt play guitar as well as the other guy. In Detroit, the bar was very highit was the home of Motown.

He added, We were informed by unionism, and having an organized voice against corporate power. It seemed to me that on the West Coast everything was diluted with a kind of Pollyannaish, utopian vision of the future. In 1967, the year the Stooges formed, Detroit had been flattened by race riots, in which forty-three people were killed, hundreds were injured, and nearly fourteen hundred buildings were burned, mostly in black neighborhoods. Iggy and the Stooges were making a deeper political statement that had to do with disenfranchisement and disconnection from the mainstream, Kramer said. No fun, my babe / No fun, he sang, his voice flat and clipped.

Pop seemed to regard violence as a kind of absolution. He routinely mutilated himself onstage, carving, exposing, and contorting his body, performing a sort of theatrical exorcism for the benefit of whoever might be watching. Though it seems clear that Pop was working, in part, by instinct, he was also being intentional. There wasnt much that happened that wasnt conceived of as a performance, he said. VIDEO FROM THE NEW YORKER.

Janelle Monáe on Growing Up Queer and Black. Its possible to find echoes of the Stooges penchant for physical and spiritual obliteration in contemporary music; I often encounter a similar sort of purposeful dissolution in the songs of emerging rappers on SoundCloud. They tattoo their faces, a gesture that swears off mainstream acceptance. Why worry over a future when there might be no future? Watching someone give in to chaos and panic can be palliative for an audience.

Still, rebellion that vicious will eventually catch up with a person. Now, Pop told me, his skeleton is the weak area. Occasionally, he uses a cane. Shortly after we met, Pop offered to accompany me while I moved my rental car. I was driving a lozenge-shaped gray sedan; he was driving a 2016 Rolls-Royce Phantom Drophead coupe.

Do you want to see mine? Pop asked, gesturing toward the Rolls-Royce. The interior was a creamy-white leather. After I pressed a button marked Door, the door closed. Pop took down the top, and turned the air-conditioning to high.

We spent the next two days cruising around like this. Pop is a courteous chauffeur. When the traffic necessitated quick braking, he shot his arm in front of my chest. He travels with an extra hat for guests, in case the sun or the sea breeze becomes overwhelming. Youve got to fill out this form, and talk about this, and come down, and get manhandled and assaulted, and Whats your job?

When he first moved to Miami, he acquired a cherry-red 1968 Cadillac DeVille, with a white top and brown Naugahyde seats. Then he bought an electric-blue 1984 Ferrari 308 GTS, which he described as a motorcycle with a top on it. That one caught fire every once in a while.

Youd see the paint bubble first, he said. I had a rag that I used to beat it out with. I had a date with a girl who became my wife, and I took her somewhere nice, and on the way home she said, I think the cars on fire! Image may contain Human Person Man and Torso. He was talking about things as they are, rather than in pop conventions, Richard Hell said, of Pop.

Photograph by Peter Hujar / Condé Nast. Returning to the Rolls, he said, What I like about it is, it makes me feel like everythings O.

Though he lives with his wife, Nina Alu, a former flight attendant, in Coconut Grove, an upscale neighborhood opposite Key Biscayne, he spends a few afternoons or evenings a week at a small bungalow that he owns north of Miami, in El Portal. He refers to the property as his spirit house, and he does the bulk of his thinking and writing there. The neighborhood is a mixture of Bahamian, Haitian, Dominican, and Cuban, and is bordered by the Little River, a brackish, semi-polluted canal. One afternoon, Pop gave me a tour of the place. Its crammed with folk art, bits of Stooges memorabilia, stacks of books, plastic skulls, framed photographs, throw pillows, a large painting of Jesus Christ wearing a crown of thorns, a Marlins jersey with Pop and the number sixty-nine on the back, and assorted mementos from his travels.

There are a handful of acrylic paintings that Pop made himself, including a striking portrait of his wife, rendered in shades of blue, gray, and red. In the vestibule there are framed photos of his mother and father, and a handwritten note from Yoko Ono (Ask the clouds to remember). His bedroom contains an enormous straight-backed wooden chair that he bought from Sothebys.

He believes that it is at least four hundred years old. He paused at a black-and-white photograph of himself, wet and smiling on a beach. This is a favorite picture, he said. I was on a tour break at a fairly snobby hotel near Nice. And there was a beach photographer who came every day with her giant camera, and she was photographing peoples kids.

And the kids were jumping and having so much fun. I thought, Thats not like the photo sessions I do! So one morning I was up early and she was thereit was just her and me, and I said, Would you take my picture?

The portrait is strikingPop looks innocent, grateful, and happy. Hes a real Midwestern gentleman, no matter that wildness that he celebrates, the filmmaker Jim Jarmusch told me. He and Pop have been friends since the late nineteen-eighties, and Pop has appeared in several of his films, including Coffee and Cigarettes, Dead Man, The Dead Dont Die, and Gimme Danger, a documentary about the Stooges. People think hes this wild, shirtless, Dionysian man, running around the stage like a pony on amphetamines, and they overlook the incredible depth that he has, and his interest in history and art, Jarmusch said. Pop wakes up early these daysby 6 a.

Or soand his only significant indulgence is a few glasses of wine in the evening, usually with dinner. If he is touring, his preshow ritual takes eight or nine hours. I wake up, cup of coffee, stay in bed, clear my mind, dont think about the show, he said. Im not going to talk to anybody about anything.

Three hours before, I lie down on the floor and do something called wu chi breathing, where I breathe very deep into my gut for almost a half hour. Im a little high, but not dizzy, and my voice has widened.

Then I lightly visualize for about an hour. I hit my cuestheres certain blocking to remember, like in a play. Maybe you find one little thing that you can improve, but youre not desperate about it. Then I do Qigong, which loosens up my bod, he continued. Then I take a hot shower and I turn it all the way cold.

Pop has never imagined a traditional domestic life for himself. In 1969, when Pop was twenty-one and living in Ann Arbor, he had a son, Eric, with Paulette Benson. Eric was brought up by his mother, in California, and lives in Berlin now. In part, this is why it matters so much to him that his work remain vital. Its gotta be fuking good, he said.

This is what youve sacrificed a lot of things for, dude, and this is what you were doing when you werent always there for other people, so itd better be good. He wore dark pants, thick boots, and a leopard-print jacket with no shirt. He charged the edge of the stage, waggled his arms, and galloped in circles. A critic from the Guardian called the performance superhuman.

Late in the day, Pop and I walked down a short stone path and sat in a pair of sea-foam-green Adirondack chairs by the edge of the Little River. He had changed into a pair of Three Stooges-themed pajama pants, a gift from Ron Asheton. He was not wearing a shirt. A large iguana fell from a tree, splashing into the water.

Pop laughed when I yelped. A few minutes later, he spotted a manatee swimming by, and erupted from his chair, pointing excitedly. He and his assistant, Spencer, planted most of the trees on the property: Dade County pines, royal palms, coconut palms.

The Stooges released three studio albums: they followed up The Stooges with Fun House, in 1970, and Raw Power, in 1973. The first two albums are chaotic, desperate, and bold. The Stooges, which was produced by John Cale, of the Velvet Underground, is the band at its most economic. By the time that they made Raw Power, James Williamson was playing lead guitar and Ron Asheton was on bass, and they had rebranded themselves as Iggy and the Stooges. Dave Alexander had been fired in 1970, for showing up too drunk to perform. He died in 1975, at age twenty-seven, from complications from pancreatitis. Raw Power was mixed by David Bowie, and it contains two songs, Gimme Danger and I Need Somebody, that might reasonably be described as ballads. The Stooges fell apart shortly thereafter, for all the usual reasons: drugs, clashing agendas, poor sales. The bands final performance of the nineteen-seventies was at the Michigan Palace, in Detroit, in 1974. Pop was antagonizing the room, and being pelted with beer, whiskey bottles, bras, and shoes. In 1976, a recording of the show was released, titled Metallic K. In 1977, Lester Bangs wrote about the record for the Village Voice: Nobody gets killed, but Metallic K.

Is the only rock album I know where you can actually hear hurled beer bottles breaking against guitar strings. The drugs, he said, make you larger and weaker.

They water down a persons ego. In 1974, he began trying to quit. I didnt really use drugs for the next couple of years, except for the normal amounts of coke that everybody did at that time. But he credits his addictionsheroin, cocaine, pills, psychedelics, boozewith permitting him, for a time, to be stranger and more flamboyant onstage. I allowed the humor to come in where a lot of people wouldnt have, he said.

He was rebelling against a certain type of self-seriousness. You know, Im a blues guitarist, and what I want to get over in this hour is that I can play the blues and youre going to believe it and make me rich. And, by the way, Ive got a fringe jacket that you cant get, Pop said. In early 1976, Pop went to see David Bowie at his hotel in San Diego, where Bowie asked if he might want to record Sister Midnight, a slinking, funky song hed been writing with his guitarist, Carlos Alomar.

A few months later, Pop and Bowie travelled together to the Château dHérouville, an eighteenth-century estate outside of Paris, to make what became The Idiot, Pops solo début. Afterward, they moved into an apartment on a tree-lined street in West Berlin. This was the beginning of a fruitful and largely drug-free period for both artists.

Bowie released Low in January, 1977, the first album in his celebrated Berlin trilogy. Pop released Lust for Life, co-produced by Bowie, in August of that year. I think Bowie saw in Iggy a kind of weird doppelgänger, the writer and guitarist Lenny Kaye told me. The records they made in Berlin pulled them both out of this pit that theyd dug themselves into. While we sat by the canal, I made an offhand comment about how Pop is now the last man standing, which I meant in a general sense.

But he presumed that I was referring to a photograph of him, Bowie, and Lou Reed, taken by Mick Rock at the Dorchester Hotel, in London, in 1972. Reed died in 2013, from liver disease; Bowie died in 2016, from cancer.

Pop is in the middle, wearing a T. Rex shirt and holding a pack of Lucky Strikes between his teeth. I had crashed that party, innocently, and there I was, so uncool that I was grinning, Pop said. You have the two pillars of the new alt industry there, and in the middle you have this sort of shaky proposition. Image may contain Crowd Audience Human Person Concert and Rock Concert. The first few years of the Stooges performances were dangerous, in a spilled-blood way.

Photograph by Tom Copi / Michael Ochs Archive / Getty Images. Some of Pops most interesting and idiosyncratic work has been made in the past decade, including two recordsPréliminaires, from 2009, and Après, from 2012inspired by Dixieland jazz, French chanson, mid-century American standards, and the books of Michel Houellebecq, Pops favorite living novelist. Pop is very nimble with other peoples material, able to land instantly on the emotional center of a lyric or a melody. When Americans bothered to review those two albums, they said hilariously bad crooning, Pop said. I cant sing like Michael BubléI know that!

But Bob Dylan does those standards great, and he cant sing like Michael Bublé, either. In an interview Dylan did for his own Web site, in 2017, he said of Après, Thats a good record. Pop has also collaborated with the composer Jamie Saft, the producer Danger Mouse, and the experimental musician Oneohtrix Point Never, who worked with him on The Pure and the Damned, a song for the 2017 film Good Time, directed by Josh and Benny Safdie. Josh Homme, the front man of Queens of the Stone Age, co-wrote and produced Pops most recent album, Post Pop Depression, from 2016; it was Pops first record ever to chart in the Top Twenty in the United States.

He has been so ahead of his time, for so long, Homme said. Part of the nature of a good idea is that no one around you gets it. He continued, Can you name another band thats taken longer to be understood than the Stooges? When Post Pop Depression got good reviews, across the board, he got emotional, because that had never occurred before, Homme said. He was a pariah at times in his life. The constant doubt of others might have been a springboard for him sometimes being self-destructive. I asked Pop about a collaboration he did with Cat Power, the Miami-based singer and songwriter, in 2012. I read an article that said she tried to get David Bowie and couldnt, he said. Theres always someone they werent able to get. Houellebecq couldnt get Neil Young. Somebody else, you knowWe cant get Tom Waits. The Safdie brothers said, We couldnt get Britney Spears. Its not a personal lack of confidence so much as an imposed one, Pop told me. For a long time, I wasnt doing that well on the industry side of things. There werent that many people coming to showssometimes there were very few people.

Im more cat than dog when it comes to how comfortable I allow myself to get, lets put it that way. And, you know, theres always my Apple stock, he said, and laughed.

I have taken pains to diversify outside of the music industry. In 2003, the Stooges reunited, with Ron Asheton on guitar and Mike Watt, of the Minutemen, on bass.

At the time, this seemed like a dicey ideamost of these guys were in their fifties, and so much of the Stooges power had to do with a kind of lunatic vitalitybut somehow the band sounded as exhilarating as it did in 1969. The reunion magnified the Stooges significance, particularly when they were booked alongside younger rock bands.

In a review in the Times of the bands set at Coachella, in 2003, Neil Strauss wrote, As Mr. Pop yowled through a fierce, rumbling version of TV Eye, it was more than clear that in the 33 years since the song was recorded, the genre has largely been variations on a theme. And the first two Stooges albums are the theme. In 2010, the band was inducted into the Rock & Roll Hall of Fame. Pop opened his acceptance speech by blasting two middle fingers at the crowd, and then reading from a stack of index cards, declaring who and what he believed was cool: his wife, his bandmates. All the poor people who actually started rock-and-roll music are cool, he said. The Stooges played their last show in 2013. Ron Asheton had died in Ann Arbor in 2009, of a suspected heart attack, and was replaced by James Williamson. Scott died the same way, in 2014. The Stooges are now functionally kaputof the original lineup, only Pop is left. Thats a lot of loss, I told him.

It begins to make an impression, he said. So you start to think, Well, O. And how would I feel if I was going to die tomorrow, and I looked at what I was doing with my life today? He added, My only thing is, to spite those who dont like me, I want to make eighty. He is not currently considering retirement: I always wonder, if I stopped doing music, would I really start drinking tea instead of coffee, and, you know, brush my teeth more, and all that?

Or would I become, like, an alcoholic depressive? Though his recent work might suggest that he is entering a more contemplative period, he is confident that whatever wildness exists inside him is intact. Dont tell me that I cant strip off my shirt and go make a big primitive noise, he said. To prepare for the release of Free, Pop agreed to shoot some promotional videos at Sweat Records, an independent record shop in Miamis Little Haiti neighborhood. He was shirtless, and wearing tailored gray pants and a pair of black loafers. A wardrobe rack contained pieces from Gucci, Versace, and Saint Laurent. Pop is energetic and amenable while working, but he is also firm and precise.

When the director asked if he could repeat a gestureshaking his head in such a way that his hair whipped back and forthhe said, Ill do that two more times for forty seconds each. The penultimate track on Free is Pop reading Dylan Thomass poem Do Not Go Gentle Into That Good Night, over moody peals of guitar, synthesizer, and horn. He got the idea to do it after an advertising agency asked him to read the poem for a commercial voice-over. I think theres some sort of betting pool out there on when Im gonna croak, he said.

He agreed to read the poem into an iPhone, and sent it off. At first, I resistedIm not in junior high, he said. But he eventually decided that he liked it, re-recorded the vocal, and asked Leron Thomas and Noveller to improvise around it. Now it was time to shoot a video. Its true that the poem has grown increasingly meaningless over time, having been repeated and adapted to so many inane circumstances. Yet if you can shake off its familiarity the central ideathat a person should live vigorously, unapologeticallyremains germane. Thomas wrote the poem in 1947, when he was thirty-three; he died six years later.

Pop gathered himself in front of the camera. Wild men who caught and sang the sun in flight / And learn too late they grieved it on its way / Do not go gentle into that good night, he said.

The words sounded thick and textured in his mouth. Iggy had gone beyond performanceto the I point where it really was some kind of psychodrama, said John Sinclair. Id just watch him and Id think, Wow, this guy will stop at nothing.

This isnt just a showhes out of his mind. Indeed, thats the exact reaction Iggy Pop hoped to get out of his audiences as they witnessed a show by his band, The Psychedelic Stooges. Resembling the freak show in a circus, Iggy often reverted to tactics such as smearing peanut butter and feces on himself, rolling around on stage in broken glass and even diving head first into the crowd. All of this a good seven years before the punk movement and about 1, 000 light years away from the Pat Boone school of rock and roll. Born James Osterberg in 1947 in Ypsilanti, Michigan, he first became musically involved in high school, playing in a local band, the Iguanas.

He left them for a rival band, the Prime Movers, before he took off to Chicago to play blues drums. Upon moving back to the Ann Arbor area, he switched his name to Iggy Pop and formed The Psychedelic Stooges.

With Dave Alexander on bass and brothers Ron and Scott Ashton on guitar and drums respectively, Iggy held down the vocals and insanity positions. They played their first gig on March 3, 1968, opening for Blood Sweat & Tears at Detroits Grande Ballroom. The music in Michigan at that time was quite different from what was popular on the national scene.

The Motown sound was dying down but bands like the MC5, Frost, and the Amboy Dukes were highpowered and revolutionary. By 1969 Elektra records realized the potential and signed both the Stooges and MC5 to contracts. Former Velvet Underground member John Cale produced their first album, The Stooges. With songs like No Fun and I Wanna Be Your Dog it was obvious the band was about as far from flower-power as one could get. The Stooges continued to play around the Midwest, and in 1970 they entered the studio to record their follow-up LP, Funhouse. Robert Christgaus review in his Record Guide noted: Now I regret all the times Ive used words like power and energy to describe rock and roll, because this is what such rhetoric should have been saved for. Shall I compare it to an atom bomb? Language wasnt designed for the job. The live show was beyond pathetic by now; later, in 1979, Iggy would reflect in Rolling Stone, I hated the audience, at times, for things they made you do. Why did they come see me? A band cannot survive for long playing with such abandon and, sure enough, the Stooges collapsed shortly after. Born James Jewel Osterberg, 1947, in Ypsilanti, Mich. Son of James (a schoolteacher) and Louella (a schoolteacher) Osterberg; married; wifes name, Paulette; children: Eric. Education: Attended University of Michigan. Played in various high school bands in the Ypslanti/Ann Arbor, Mich. Area, including the Iguanas and the Prime Movers, c.

1964-65; played drums in blues bands in Chicago, 111., c. 1966-67; assumed stage name Iggy Pop and formed the Psychedelic Stooges, 1968, lead singer in Psychedelic Stooges, 1968-70, and 1972-76; solo featured artist 1976. Awards: Won Rolling Stone Critics Poll Comeback of the Year Award But Back From Where? #603, New York, NY 10107. Was at the Goose Lake [Michigan] Festival before 100, 000 fans.

Iggy took a year off to kick a heroin habit, enduring three weeks of cold turkey in the process. Iggys power and Iggys curse, wrote Chris Holdenfield in Rolling Stone, is that he has always lived out his show, unlike those who make a production out of the pose, Alice Cooper, Kiss or Bowie. In 1972 British pop star David Bowie regrouped the Stooges, with James Williamson now on guitar and Ron Ashton moving to bass. Bowie took the band to London to produce, or overproduce, their third LP, Raw Power. Even with Bowie mixing the sound as thin as possible, Its a toss-up as to whether this disc or the earlier Funhouse takes the throne as Highest Energy Album Ever Made, wrote the editors of Rock Revolution, but theres absolutely no competition.

All other Heavy Metal was and is farina next to them. Again the band burnt out, this time for good. A posthumously released album (recorded on a cassette), Metallic K. Captured the Stooges last performance ever (at the Michigan Palace).

Its obvious from listening that Iggy was completely losing it by that time. The back of the album jacket blatantly states in hugh quotes OPEN UP AND BLEED. Iggy badgers the audience with the foulest language and songs like Cock in My Pocket. Iggy spent the next two years wandering around the streets of Los Angeles. He was visited by Bowie, the only member of the music community to do so. Bowie made a deal with Iggy to clean up his act so he could join him on his upcoming tour, Station To Station. I saw David entertaining and running his life, Iggy told Charles Young in Rolling Stone. I thought, Now theres a man. I can do it too. He moved to Berlin in the spring of 1976, shortly after Bowie. The two collaborated on Iggys comeback effort, 1977s The Idiot. Bowie co-wrote the songs and played keyboards on the ensuing tour (along with Hunt Sales-drums, Tony Sales-bass and Ricky Gardiner-guitar). The sound was a far cry from the Stooges. It was stripped down and hauntingly different from anything else. The Idiot is the most savage indictment of rock posturing ever recorded, John Swenson wrote, reflecting on Iggy winning the 1977 Rolling Stone Critics Poll Comeback of the Year Award But back from where? With basically the same band (with the addition of Carlos Alomar) Iggy quickly followed up with Lust For Life, again recorded in Berlin and styled after The Idiot. The live performances showed a healthier Iggy, more in control, but like Lou Reed, wrote Billy Altman, Iggy is most likely headed on a course just left of center, bizarre enough to attract those inclined toward something different but safe enough not to scare them away. He continues to provide entertaining concerts and to influence younger musicians, but as Sid Vicious might have testified, the Ig was a hard act to follow. Hes a willful, bratty child, a cruelly shrewd man and a total hamin short, a classic American hero, according to Kristine McKenna in Rolling Stone, right up there with Abraham Lincoin. High praise for a man who used to wear his Skippy. Lust for Life, RCA, 1977. Christgau, Robert, Christgaus Record Guide, Ticknor & Fields, 1981.

Dalton, David, and Lenny Kaye, Rock 100, Grosset & Dunlap, 1977. The Illustrated Encyclopedia of Rock, Harmony, 1977. Nilsen, Per, and Dorothy Sherman, The Wild One: The True Story of Iggy Pop, Omnibus Press, 1988. Rock Revolution, by the editors of Creem magazine, Popular Library, 1976.

The Rolling Stone Record Guide, edited by Dave Marsh and John Swenson, Randon House/Rolling Stone Press, 1979. Rolling Stone, May 5, 1977; May 19, 1977; December 29, 1977; January 12, 1978; October 4, 1979; May 27, 1980.

(born April 21, 1947), better known as Iggy Pop, is an American singer, songwriter, musician, record producer, and actor. Designated the "Godfather of Punk", [1][2] he was the vocalist of influential proto-punk band the Stooges, who were formed in 1967 and have disbanded and reunited multiple times since. [4] He had a long collaborative and personal friendship with David Bowie over the course of his career, beginning with the Stooges' album Raw Power in 1973. With both musicians having relocated to West Berlin to wean themselves off their respective drug addictions, Pop began his solo career by collaborating with Bowie on the 1977 albums The Idiot and Lust for Life. Throughout his career, Pop is well known for his outrageous and unpredictable stage antics and distinctive voice.

[5][6][7] He was one of the first performers to do a stage-dive and popularized the activity. [8][9] Pop, who traditionally (but not exclusively) performs bare-chested, also performed such stage theatrics as rolling around in broken glass and exposing himself to the crowd.

Pop's music has encompassed a number of styles over the course of his career, including garage rock, punk rock, hard rock, heavy metal, art rock, new wave, jazz, blues, and electronic. [10][11] Though his popularity has fluctuated through the years, many of Pop's songs have become well known, including "Search and Destroy" and "I Wanna Be Your Dog" by the Stooges, and his solo hits "Lust for Life", "The Passenger" and "Real Wild Child (Wild One)".

In 1990, he recorded his first and only Top 40 U. Hit, "Candy", a duet with B-52's singer Kate Pierson. Pop's song China Girl became more widely known when it was re-recorded by co-writer Bowie, who released it as the second single from his most commercially successful album, Let's Dance (1983). The UK single release of Bowie's version reached No.

2 for one week on 14 June 1983, while the US release reached No. Bowie re-recorded and performed many of Iggy's songs throughout his career. Although Pop has had limited commercial success, he has remained both a culture icon and a significant influence on a wide range of musicians in numerous genres. The Stooges' album Raw Power has proved an influence on artists such as Sex Pistols, [12] the Smiths, [13] the Sisters of Mercy, [14] Red Hot Chili Peppers, [15] and Nirvana. [16] His solo album The Idiot has been cited as a major influence on a number of post-punk, electronic and industrial artists including Depeche Mode, Nine Inch Nails and Joy Division, [17] and was described by Siouxsie Sioux as a re-affirmation that our suspicions were true: the man is a genius.

[18] He was inducted as part of the Stooges into the Rock and Roll Hall of Fame in 2010. Film, television and radio career. Osterberg as a high school senior, 1965.

Pop was born James Newell Osterberg Jr. In Muskegon, Michigan, on April 21, 1947, the son of Louella (née Christensen; 19171996)[19] and James Newell Osterberg Sr. (19212007), [19] a former high school English teacher and baseball coach at Fordson High School in Dearborn, Michigan. [20] He is of English and Irish descent on his father's side, and Danish and Norwegian ancestry on his mother's side. His father was adopted by a Swedish-American nurse surnamed Osterberg. [21][22][22] Pop was raised in a trailer park in Ypsilanti, Michigan. [9] In a 2007 Rolling Stone interview, Pop explained his relationship with his parents and their contribution to his music. Once I hit junior high in Ann Arbor, I began going to school with the son of the president of Ford Motor Company, with kids of wealth and distinction. But I had a wealth that beat them all. I had the tremendous investment my parents made in me.

I got a lot of care. They helped me explore anything I was interested in. This culminated in their evacuation from the master bedroom in the trailer, because that was the only room big enough for my drum kit.

They gave me their bedroom. The Prime Movers, featuring Pop on drums. Osterberg began his music career as a drummer in various high school bands in Ann Arbor, Michigan, including the Iguanas, who cut several records such as Bo Diddley's "Mona" in 1965. [24] His later stage name, Iggy, is derived from the Iguanas.

After exploring local blues-style bands such as the Prime Movers (with brothers Dan and Michael Erlewine), he eventually dropped out of the University of Michigan[25] and moved to Chicago to learn more about blues. While in Chicago, he played drums in blues clubs, helped by Sam Lay (formerly of the Paul Butterfield Blues Band) who shared his connections with Pop. [26] Inspired by Chicago blues as well as bands like The Sonics, MC5 and The Doors, he formed the Psychedelic Stooges and began calling himself Iggy. The band was composed of Pop on vocals, Ron Asheton on guitar, Asheton's brother Scott on drums, and Dave Alexander on bass. Their first show was played at a Halloween party at a house in Detroit, Michigan.

Members of the MC5 were also in attendance. The seeds of Pop's stage persona were sown when he saw The Doors perform in 1967 at the University of Michigan and was amazed by the stage antics and antagonism displayed by singer Jim Morrison. [9] Morrison's extreme behavior, while performing in a popular band, inspired the young Pop to push the boundaries of stage performance. Other influences on Pop's vocals and persona were Mick Jagger and James Brown. I attended two concerts by the Doors.

The first one I attended was early on and they had not gotten their shit together yet. That show was a big, big, big influence on me. They had just had their big hit, "Light My Fire" and the album had taken off.

So, here's this guy, out of his head on acid, dressed in leather with his hair all oiled and curled. The stage was tiny and it was really low.

I found it really interesting. Part of me was like, Wow, this is great.

He's really pissing people off and he's lurching around making these guys angry. " People were rushing the stage and Morrison's going "Fck you.

You can fill in your sexual comments yourself. The other half of it was that I thought, If they've got a hit record out and they can get away with this, then I have no fuking excuse not to get out on stage with my band. " It was sort of the case of, "Hey, I can do that. There really was some of that in there.

In addition to Jim Morrison and The Doors' influence on the band, Pop also attributes the Stooges getting jump started after seeing an all-girls rock band from Princeton, New Jersey called The Untouchable. In a 1995 interview with Bust, he relates. And the other thing was we went to New York.

We had gone to New York a couple of months before that just to check out the scene, and we had never been to a place like New York... We went down around Eighth Street there where all the young tourists hang out, and we met these girls from New Jersey, from Princeton, they had a band called The Untouchable, and we're like, "Oh, you've got a band, sure, ha ha ha, " and they said Well, come to our house and see us play.

And we didn't have anywhere to crash, and they played for us, and they completely rocked, and we were really ashamed. In 1968, one year after their live debut and now dubbed the Psychedelic Stooges, the band signed with Elektra Records, again following in the footsteps of The Doors, who were Elektra's biggest act at the time according to Pop, guitarist Ron Asheton called Moe Howard to see if it was all right to call the band "The Stooges", to which Howard responded by merely saying I don't care what they call themselves, as long as they're not The Three Stooges! Pop himself told the story in the 2016 Jim Jarmusch documentary film about The Stooges, Gimme Danger. The Stooges' first album The Stooges, (on which Pop was credited as "Iggy Stooge"), was produced by John Cale in New York in 1969. Though the release of Fun House did not receive the recognition it expected, it was later ranked No.

191 in Rolling Stone's'500 Greatest Albums of All Time' in 2003. [28] Shortly after the new members joined, the group disbanded because of Pop's worsening heroin addiction.

In 1971, without a record deal, the Stooges kept performing in small clubs with a 5-piece line-up that included both Ron Asheton and James Williamson on guitars and Jimmy Recca on bass, Pop having fired Dave Alexander the previous year when he turned up for a gig unable to play because of his chronic alcoholism (he died in 1975). That year Pop and David Bowie met at Max's Kansas City, a nightclub and restaurant in New York City. [29] Pop's career received a boost from his relationship with Bowie when Bowie decided in 1972 to produce an album with him in England.

With Williamson signed on as guitarist, the search began for a rhythm section. However, since neither Pop nor Williamson were satisfied with any players in England, they decided to re-unite the Stooges.

Ron Asheton grudgingly moved from guitar to bass. The recording sessions produced the rock landmark Raw Power.

After its release Scott Thurston was added to the band on keyboards/electric piano and Bowie continued his support, but Pop's drug problem persisted. The Stooges' last show in 1974 ended in a fight between the band and a group of bikers, documented on the album Metallic K.

Drug abuse stalled his career again for several years. Iggy Pop, October 25, 1977 at the State Theatre in Minneapolis.

After the Stooges' second breakup, Pop made recordings with James Williamson, but these were not released until 1977 (as Kill City, credited jointly to Pop and Williamson). [13] Pop was unable to control his drug use and checked himself into a mental institution, the UCLA Neuropsychiatric Institute, to try to clean up. Bowie was one of his few visitors there, and he continued to support his friend and collaborator. In 1976, Bowie took him along as his companion on the Station to Station tour.

This was Pop's first exposure to large-scale professional touring and he was impressed, particularly with Bowie's work ethic. Following a March 21, 1976 show, Bowie and Pop were arrested together for marijuana possession in Rochester, New York, although charges were later dropped. Bowie and Pop relocated to West Berlin to wean themselves off their respective drug addictions. "Living in a Berlin apartment with Bowie and his friends was interesting" Pop recalled.

The big event of the week was Thursday night. Anyone who was still alive and able to crawl to the sofa would watch Starsky & Hutch.

In 1977, Pop signed with RCA Records. Bowie helped write and produce The Idiot and Lust for Life, Pop's two most acclaimed albums as a solo artist, the latter featuring one of his best-known songs, "The Passenger". Lust for Life featured another team of brothers, Hunt and Tony Fox Sales, sons of comedian Soupy Sales. Bowie also played keyboards in Pop's live performances, some of which are featured on the album TV Eye Live in 1978. In return, Pop contributed backing vocals on Bowie's Low.

Pop had grown dissatisfied with RCA, later admitting that he had made TV Eye Live as a quick way of fulfilling his three-album RCA contract. He moved to Arista Records, under whose banner he released New Values in 1979.

This album was something of a Stooges reunion, with James Williamson producing and latter-day Stooge Scott Thurston playing guitar and keyboards. Not surprisingly, the album's style harkened back to the guitar sound of the Stooges.

New Values was not a commercial success in the U. But has since been highly regarded by critics. The album was moderately successful in Australia and New Zealand, however, and this led to Pop's first visit there to promote it. While in Melbourne, he made a memorable appearance on the Australian Broadcasting Corporation's nationwide show Countdown. During his anarchic performance of "I'm Bored", Pop made no attempt to conceal the fact that he was lip-synching (shoving the microphone down his pants at one point), and he even tried to grab the teenage girls in the audience. His Countdown appearance is generally considered one of the highlights of the show's history and it cemented his popularity with Australian punk fans; since then he has often toured there. While visiting New Zealand, Pop recorded a music video for "I'm Bored", and attended a record company function where he appeared to slap a woman and throw wine over a photographer. [33] While in Australia, Pop was also the guest on a live late-night commercial TV interview show on the Ten Network. It is not known whether a recording of this interview exists, but the famous Countdown appearance has often been re-screened in Australia.

During the recording of Soldier (1980), Pop and David Bowie argued with Williamson over various aspects of the project. Williamson recalling I was not at all happy with a number of aspects of that record including the band, the material and the recording facilities.

So I was unhappy in general and vice versa. [34] Williamson left the project.

Bowie appeared on the song "Play it Safe", performing backing vocals with the group Simple Minds. The album and its follow-up Party (1981) were both commercial failures, and Pop was dropped from Arista.

His drug habit varied in intensity during this time, but persisted. Iggy Pop at the Pinkpop Festival in 1987.

In 1980, Pop published his autobiography I Need More, co-written with Anne Wehner, an Ann Arbor arts patron. The book, which includes a selection of black and white photographs, featured a foreword by Andy Warhol. Warhol wrote that he met Pop when he was Jim Osterberg, at the Ann Arbor Film Festival in 1966. "I don't know why he hasn't made it really big, " Warhol wrote. The 1982 album Zombie Birdhouse on Chris Stein's Animal label, with Stein himself producing, was no more commercially successful than his Arista works. In 1983, Pop's fortunes changed when David Bowie recorded a cover of the song "China Girl". The song had originally appeared on The Idiot, and was a major hit on Bowie's blockbuster Let's Dance album. As co-writer of the song, Pop received substantial royalties.

On Tonight in 1984, Bowie recorded five more of their co-written songs (2 from Lust for Life, 1 from New Values, and 2 new songs), assuring Pop financial security, at least for the short term. The support from Bowie enabled Pop to take a three-year break, during which he overcame his resurgent heroin addiction and took acting classes. Additionally, Pop contributed the title song to the 1984 film Repo Man (with Steve Jones, previously of the Sex Pistols, on guitar, and Nigel Harrison and Clem Burke, both of Blondie on bass and drums) as well as an instrumental called "Repo Man Theme" that was played during the opening credits. In 1985, Pop recorded some demos with Jones. He played these demos for Bowie, who was sufficiently impressed to offer to produce an album for Pop: 1986's new wave-influenced Blah-Blah-Blah, featuring the single "Real Wild Child", a cover of "The Wild One", originally written and recorded by Australian rock'n' roll musician Johnny O'Keefe in 1958.

The single was a Top 10 hit in the UK and was successful around the world, especially in Australia, where it has been used since 1987 as the theme music for the ABC's late-night music video show Rage. Blah-Blah-Blah was Pop's highest-charting album in the U.

Since The Idiot in 1977, peaking at No. 75 on the Billboard Top 200 albums chart. Also in 1985, Pop and Lou Reed contributed their singing voices to the animated film Rock & Rule.

Pop performed the song "Pain & Suffering" in the final sequence of the film. In 1987, Pop appeared (along with Bootsy Collins) on a mostly instrumental album, Neo Geo, by Japanese composer Ryuichi Sakamoto. The music video for "Risky", written and directed by Meiert Avis, won the first ever MTV Breakthrough Video Award. The groundbreaking video explores transhumanist philosopher FM-2030's ideas of Nostalgia for the Future in the form of an imagined love affair between a robot and one of Man Ray's models in Paris in the late 1930s. Additional inspiration was drawn from Jean Baudrillard, Edvard Munch's 1894 painting Puberty, and Roland Barthes Death of the Author.

The surrealist black-and-white video uses stop motion, light painting, and other retro in-camera effects techniques. Meiert Avis recorded Sakamoto while at work on the score for The Last Emperor in London. Sakamoto also appears in the video painting words and messages to an open shutter camera. Pop, who performs the vocals on "Risky", chose not to appear in the video, allowing his performance space to be occupied by the surrealist era robot. Pop's follow-up to Blah Blah Blah, Instinct (1988), was a turnaround in musical direction.

Its stripped-back, guitar-based sound leaned further towards the sound of the Stooges than any of his solo albums to date. His record label dropped him, but the King Biscuit Flower Hour radio show recorded the Instinct tour (featuring guitarist Andy McCoy and Alvin Gibbs on bass) in Boston on July 19, 1988. Working with rock attorney Stann Findelle, Pop scored more movie soundtrack inclusions in 1989: "Living on the Edge of the Night" in the Ridley Scott thriller Black Rain; and "Love Transfusion", a song originally written by Alice Cooper (who does backing vocals) and Desmond Child, [38] in Wes Craven's Shocker. Also, at the same time, Pop, dissatisfied from RCA's decisions, revoked copyrights of his RCA releases, assigned it to his company Thousand Mile, and signed a contract with Virgin Records, which was a unique hybrid of distribution deal for his RCA releases and a recording contract for new albums.

Virgin first reissued Lust for Life and The Idiot in 1990, then TV Eye Live 1977 in 1994. Virgin continues to distribute these albums to this day. In 1990, Pop recorded Brick by Brick, produced by Don Was, with members of Guns N' Roses and The B-52's as guests, as well as backup vocals by many local Hollywood groups, two of whom (Whitey Kirst and Craig Pike) would create his band to tour and perform on his Kiss My Blood video (1991), directed by Tim Pope and filmed at the Olympia in Paris.

The video attracted much controversy, as it featured much footage of Pop performing with his penis exposed to the audience. The album featured his first Top 40 U. Also in 1990, Pop sang the role of "The Prosecutor" for the POINT Music/Philips Classics recording (released in 1992) of composer John Moran's multimedia opera[39] The Manson Family. [40][41] That year he also contributed to the Red Hot Organization's AIDS benefit album Red Hot + Blue project, singing a version of Well Did You Evah!

In a duet with Deborah Harry. In the early to middle 1990s, Pop would make several guest appearances on the Nickelodeon show The Adventures of Pete and Pete. He played James Mecklenberg, Nona Mecklenberg's father. In 1991, Pop and Kirst contributed the song "Why Was I Born (Freddy's Dead)" to the soundtrack of the film Freddy's Dead: The Final Nightmare.

The song also plays over the end credits of the film, with a compilation of clips from the A Nightmare on Elm Street series running alongside the end credits. In the same year, Pop sang a leading role in the John Moran opera The Manson Family. In 1992, he collaborated with Goran Bregovi on the soundtrack for the movie Arizona Dream by Emir Kusturica. Also in 1992, he collaborated with the New York City band White Zombie. He recorded spoken word vocals on the intro and outro of the song "Black Sunshine" as well as playing the character of a writer in the video shot for the song.

He is singled out for special thanks in the liner notes of the band's album La Sexorcisto: Devil Music Volume One. In 1993, Pop released American Caesar, including two successful singles, "Wild America" and "Beside You". The following year Pop contributed to Buckethead's album Giant Robot, including the songs "Buckethead's Toy Store" and "Post Office Buddy". He appears also on the Les Rita Mitsouko album Système D where he sings the duet "My Love is Bad" with Catherine Ringer. In 1996, Pop again found mainstream fame when his 1977 song "Lust for Life" was featured in the film Trainspotting.

A new video was recorded for the song, with clips from the film and studio footage of Pop dancing with one of the film's stars, Ewen Bremner. A Pop concert also served as a plot point in the film. The song has also been used in TV commercials for Royal Caribbean and as the theme music to The Jim Rome Show, a nationally syndicated American sports talk show.

In 1996, Pop released Naughty Little Doggie, with Whitey Kirst returning on guitar, and the single "I Wanna Live". In 1997, he remixed Raw Power to give it a rougher, more hard-edged sound; fans had complained for years that Bowie's official "rescue effort" mix was muddy and lacking in bass.

Pop testified in the reissue's liner notes that on the new mix, "everything's still in the red". He co-produced his 1999 album Avenue B with Don Was, releasing the single "Corruption". In 1997, Pop was credited with the soundtrack to the film The Brave. On January 1, 1998, Pop made a guest appearance on Paramount Television's science fiction series Star Trek: Deep Space Nine. Pop played a Vorta in an episode based upon the film The Magnificent Seven, titled "The Magnificent Ferengi". Pop also contributed the theme song for "Space Goofs". Pop supplied vocals for the 1999 Death in Vegas UK Top-10 single Aisha. The same year he appeared on Hashisheen, The End of Law, a collaborative effort by Bill Laswell, reading on the tracks The Western Lands and A Quick Trip to Alamut. He also sang on the tracks "Rolodex Propaganda" and "Enfilade" by At the Drive-In in 2000.

For New Year's Eve 1997, Pop was the headliner for the annual Australian three-day concert the Falls Festival. He gave one of the most memorable performances in the history of the festival. Pop produced 2001's Beat'Em Up, which gave birth to The Trolls, releasing the single "Football" featuring Trolls alumni Whitey Kirst and brother Alex. Pop's 2003 album Skull Ring featured collaborators Sum 41, Green Day, Peaches, and The Trolls, as well as Ron and Scott Asheton, reuniting the three surviving founding members of the Stooges for the first time since 1974. Pop made a guest appearance on Peaches's song Kick It as well as the video.

Also in 2003, his first full-length biography was published. Gimme Danger The Story of Iggy Pop was written by Joe Ambrose; Pop did not collaborate on the biography or publicly endorse it. Having enjoyed working with the Ashetons on Skull Ring, Pop reformed the Stooges with bassist Mike Watt (formerly of the Minutemen) filling in for the late Dave Alexander, and Fun House saxophonist Steve Mackay rejoining the lineup.

They have toured regularly since 2004. That year, Pop opened Madonna's Reinvention World Tour in Dublin. Pop and the Stooges played the Glastonbury Festival in June 2007. Their set included material from the 2007 album The Weirdness and classics such as "No Fun and "I Wanna Be Your Dog. Pop also caused controversy in June 2007 when he was interviewed on the BBC's coverage of the Glastonbury Festival.

He used the phrase "paki shop", apparently unaware of its racist connotations, prompting three complaints and an apology from the BBC. On March 10, 2008 Pop appeared at Madonna's induction into the Rock and Roll Hall of Fame at the Waldorf Astoria Hotel in New York.

Together with the Stooges he sang raucous versions of two Madonna hits, "Burning Up" and "Ray of Light". Before leaving the stage he looked directly at Madonna, quoting "You make me feel shiny and new, like a virgin, touched for the very first time", from Madonna's hit song "Like a Virgin". According to guitarist Ron Asheton, Madonna asked the Stooges to perform in her place, as a protest to the Rock and Roll Hall of Fame for not inducting the Stooges despite six appearances on the nomination ballot. [43] Pop also sang on the "No Fun" cover by Asian Dub Foundation on their 2008 album Punkara. On January 6, 2009, original Stooges guitarist and Pop's self-described best friend Ron Asheton was found dead from an apparent heart attack. He was 60 years old. In 2009 James Williamson rejoined the band after 29 years. On December 15, 2009 it was announced that the Stooges would be inducted into The Rock and Roll Hall of Fame on March 15, 2010. Pop had "about two hours of a strong emotional reaction" to the news.

Iggy Pop at Beale Street Music Festival, Memphis in May 2007. In early 2006, Pop and the Stooges played in Australia and New Zealand for the Big Day Out. They also began work on a new album, The Weirdness, which was recorded by Steve Albini and released in March 2007. In August 2006 Pop and the Stooges performed at the Lowlands pop festival in the Netherlands, Hodokvas in Slovakia and in the Sziget Festival in Budapest. Sziget Festival in Budapest 2006.

Author Paul Trynka completed a biography of Pop (with his blessing) called Open Up and Bleed, published in early 2007. Pop and the Stooges played at Bam Margera's wedding and Pop appeared on the single "Punkrocker" with the Teddybears in a Cadillac television commercial. Pop was also the voice of Lil' Rummy on the Comedy Central cartoon Lil' Bush and confirmed that he has done voices for American Dad! And Grand Theft Auto IV, [46] which also included the Stooges song "I Wanna Be Your Dog" (though the game's manual credited Iggy Pop as the artist).

Pop guested on Profanation, the new album by the Bill Laswell-helmed group Praxis, which was released on January 1, 2008. Pop collaborated with Danger Mouse and Sparklehorse on the album Dark Night of the Soul, singing the track "Pain". Pop's fifteenth solo album, Préliminaires, was released on June 2, 2009.

Inspired by a novel by French author Michel Houellebecq called La Possibilité d'une île 2005; Trans. As The Possibility of an Island by Gavin Bowd, 2006, Pop Pop was approached to provide the soundtrack for a documentary film on Houellebcq and his attempts to make a film from his novel. He describes this new release as a "quieter album with some jazz overtones", the first single off the album, "King of the Dogs", bearing a sound strongly influenced by New Orleans jazz musicians such as Louis Armstrong and Jelly Roll Morton. Pop said that the song was his response to being "sick of listening to idiot thugs with guitars banging out crappy music". The album is available on legal download sites, CD, and a Deluxe Boxset is available at only 6000 units worldwide.

This box set contains the Préliminaires album, a collector "Les Feuilles Mortes" b/w "King of the Dogs" 7 inch, the cover of which is Pop's portrait by Marjane Satrapi, and a 38-page booklet of drawings also by Marjane Satrapi. Pop also sings on "We're All Gonna Die" on Slash's first solo album Slash, which was released in April 2010. [50] He appeared as a character in the video game Lego Rock Band to sing his song "The Passenger" and also lent his voice for the in game tutorial. Iggy Pop performing with the Stooges in 2012.

After a March 2010 stage diving accident, Pop claimed he would no longer stage dive. However, he did so on three occasions at a concert in Madrid, Spain on April 30, 2010. [52] And it was much the same in London at the Hammersmith Apollo on May 2, 2010. [53] On July 9, 2010 he again stage dived in Zottegem, Belgium, causing Pop to bleed from the face.

[54] In June 2010, Pop appeared at Yonge and Dundas Square in Toronto with the reformed Stooges on the NXNE main stage. In 2011 he teamed up with The Lilies, a collaboration between Sergio Dias of Os Mutantes and French group Tahiti Boy & The Palmtree Family, to record the single Why?

Iggy Pop at the UK Hop Farm Festival, July 2011. Pop lent his image to PETA's campaign against the annual Canada seal hunt.

On April 7, 2011, at age 63, Pop performed "Real Wild Child" on the tenth season of American Idol; the Los Angeles Times music blog "Iggy Pop & Hiss" described Pop as being "still magnetic, still disturbing". [56] He is also featured on Kesha's song "Dirty Love" on her second album Warrior.

[57] On August 25, 2013, Iggy and the Stooges co-headlined RiotFest 2013's Day 2, performing in Toronto and Denver along with The Replacements. In 2012, Pop was voted into the Michigan Rock and Roll Legends Hall of Fame. Stooges drummer Scott Asheton died of a heart attack in March 2014 at the age of 64. On October 14, 2014, Pop gave the fourth annual BBC Music John Peel Lecture in Salford, on the topic of "Free Music in a Capitalist Society".

[60] He used the lecture to discuss his experiences of the music industry, and his reflections on the effect of the internet on the consumption of music and the broader media. [61] Pop hosts a weekly radio show on BBC Radio 6, where he covers an eclectic range of music from punk to jazz, he also champions and pushes new artists such as Shame, Fat White Family, False Heads and Sleaford Mods.

In January 2015, it was announced that Pop contributed the theme song to Alex Cox's film Bill, the Galactic Hero. [62] He also collaborated with New Order on the song "Stray Dog" of their album Music Complete released in September of that year. Pop also collaborated with Tomoyasu Hotei on the songs "How The Cookie Crumbles" and "Walking Through The Night" from the album Strangers, also released that same year.

On June 22, 2016, Stooges guitarist James Williamson made an official statement saying that the Stooges are no more. Basically, everybody's dead except Iggy and I. So it would be sort-of ludicrous to try and tour as Iggy and the Stooges when there's only one Stooge in the band and then you have side guys.

That doesn't make any sense to me. Williamson also added that touring had become boring, and trying to balance the band's career as well as Pop's was a difficult task.

In 2016, Pop recorded an album with Josh Homme titled Post Pop Depression. The album was released on March 18, with a tour to follow.

[66][67] On both sides of the Atlantic, the album set a new peak chart position for Iggy Pop albums, becoming his first ever US Top 20 album[68] and first ever UK Top 5 album. On October 28, 2016, Pop released the double live album Post Iggy Pop Depression: Live At The Royal Albert Hall on Eagle Rock Entertainment (on DVD+2CD and digital formats). In 2017, Pop composed and performed vocals on the song "The Pure and the Damned" by Oneohtrix Point Never on the soundtrack for the crime film Good Time. On July 27, 2018, Pop released a joint EP with Underworld, titled Teatime Dub Encounters. Pop and Underworld had both contributed tracks to Danny Boyle's 1996 movie Trainspotting.

On June 25, 2019, The New York Times Magazine listed Pop among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire. Pop's eighteenth studio album, Free, was released on September 6, 2019. In January 2020, Pop received a Grammy Lifetime Achievement Award.

He was wanted to play Funboy in the original The Crow movie, but his recording schedule would not permit him. In February 2009, he played the character Victor in the movie Suck. Pop was featured alongside indie starlet Greta Gerwig in the film Art House, which premiered at the Nashville Film Festival in April 2010.

Pop has been featured in multiple television series, including Tales from the Crypt, The Adventures of Pete & Pete, where he played Nona's dad in the second and third season, and Star Trek: Deep Space Nine, in which he played Yelgrun in the episode "The Magnificent Ferengi". With the Stooges, he was featured in an episode of MTV's Bam's Unholy Union as the main band performing at Bam Margera's wedding. Additionally, a portion of the music video for Pop's "Butt Town" was featured on an episode of Beavis and Butthead.

Pop voiced Lil' Rummy on the Comedy Central show Lil' Bush, and also provided the voice for a character in the English-language version of the 2007 animated film Persepolis. Pop has been profiled in several rockumentaries and has had songs on many soundtracks, including Crocodile Dundee II; Trainspotting; Lock, Stock and Two Smoking Barrels; Haggard; Arizona Dream; Repo Man; Black Rain; Freddy's Dead: The Final Nightmare; Shocker; and Kurt Cobain: About a Son.

Pop worked with Johnny Depp on several films: they appeared together in Cry-Baby and Dead Man. Pop provided the soundtrack for The Brave, which was directed by and starred Depp, and music for Depp's 1993 film Arizona Dream. Pop also voiced a cameo in the American Dad! Episode "American Dream Factory" as Jerry, the drummer, in Steve Smith's band. [76] He makes an appearance in FLicKeR, a 2008 feature documentary by Nik Sheehan about Brion Gysin and the Dreamachine. Pop played himself as the DJ of the fictional rock station Liberty Rock Radio 97. 8 in the video game Grand Theft Auto IV. The Stooges song "I Wanna Be Your Dog" was featured on the same station. Pop also featured as a voice talent in the 2004 ATARI video game DRIV3R, which was produced by Reflections Interactive. Pop appears as a character in the Adult Swim animated comedy/adventure series The Venture Bros.. He is one of the bodyguards, along with Klaus Nomi, of David Bowie, who is "The Sovereign" of the Guild of Calamitous Intent.

Pop has some unclear super-powers, which he uses when he and Nomi turn against Bowie. In 2012, Pop played the conscience of a clown named Elliot (Denis Lavant) in the French film L'Étoile du jour (Morning Star) directed by Sophie Blondy.

In 2013, Pop appeared briefly in the French film Les gamins then he voiced The Caterpillar in the television series Once Upon a Time in Wonderland. In 2014, Pop presented (narrated) the BBC documentary "Burroughs at 100". [78] William Burroughs profoundly affected Pop's writing, inspiring lyrics in the famous "Lust for Life". It was aired in the US on This American Life on January 30, 2015 in the episode "Burroughs 101", commemorating his 101st birthday.

Pop hosts a weekly radio show and podcast titled "Iggy Confidential" on BBC 6 Music every Friday at 19.00 UK time. Based on Kai Grehn [de]'s German translation of Walt Whitman's poetry cycle in 2005, a radio drama and bilingual double-CD audio book "Kinder Adams/Children of Adam" was released by Hörbuch Hamburg in 2014, including a complete reading by Pop.

In 2015, Pop had a starring role as Vicious in the Björn Tagemose-directed silent film Gutterdämmerung opposite Grace Jones, Henry Rollins and Lemmy. [80] Pop was featured in the Rammstein DVD Rammstein in Amerika. In 2016, Pop was featured as a main subject in the documentary Danny Says starring alongside Danny Fields, Alice Cooper, Judy Collins, Wayne Kramer, Jac Holzman and more. [81] In the same year, Pop starred in Toby Tobias' thriller Blood Orange in which he plays an ageing rock star. [82] Also during 2016, Jim Jarmusch directed Gimme Danger, a documentary movie about the band. Also in 2016, he participated, with Michel Houellebecq and others, in Erik Lieshout's documentary To Stay Alive: A Method. In 2017, Pop appeared in Song to Song directed by Terrence Malick, opposite Michael Fassbender. In early 2019, Pop executive produced a four part documentary series entitled PUNK for Epix. Pop also appears as a zombie in the 2019 Jim Jarmusch film The Dead Don't Die. The Passenger was the putative name for a biographical film about Pop's early career with the Stooges. The film was to be directed by Nick Gomez and Elijah Wood was to play Pop. Pop liked the script but refused to take part in the film. The script ain't chopped liver... It was a work of art.

But subjectively, I don't want to be involved in any way. A producer and the writer sent me a very decent letter and asked me to write back if I didn't want them to do it...

I don't feel negative about it at all. He also called Wood "a very poised and talented actor". The project appears to have been shelved. In 1995, an established journal of classical scholarship, Classics Ireland, published Pop's reflections on the applicability of Edward Gibbon's Decline and Fall of the Roman Empire to the modern world in a short article, Caesar Lives, Vol. [95][96] Pop also relates how reading Gibbon while on tour in the Southern United States inspired him to a spontaneous soliloquy he called "Caesar".

Pop lives near Miami, Florida. [97] He has been married three times: to Wendy Weissberg (for several weeks in 1968 before the marriage was annulled shortly thereafter), [98] to Suchi Asano (from 1984 until their divorce in 1999), [99] and to his longtime partner Nina Alu, whom he married in 2008.

He has a son, Eric Benson, born in 1970 from a relationship with Paulette Benson. In the 1990s, Pop developed a friendship with Johnny Depp, Jim Jarmusch, and tattoo artist Jonathan Shaw. According to Shaw, the four wore matching rings depicting a skull, and all but Pop received a similar skull-and-crossbones tattoo. This section is too long to read comfortably, and needs subsections.

Please format the article according to the guidelines laid out in the Manual of Style. Music journalist Lester Bangs was one of the first writers to champion the Stooges in a national publication.

His piece "Of Pop and Pies and Fun" for Creem Magazine was published about the time of the Stooges' second album Fun House. Another music journalist, Legs McNeil, was especially fond of Iggy and the Stooges and championed them in many of his writings. The Sex Pistols recorded the first high-profile Stooges cover, "No Fun", in 1976. This introduced the Stooges to a new generation of audiences, particularly in the United Kingdom, where Pop was then based.

Sid Vicious also regularly performed "I Wanna Be Your Dog", "Search and Destroy" and "Shake Appeal (Tight Pants)" in his post-Pistols solo shows. The first two of these songs also feature on his Sid Sings album. Iggy Pop paid tribute to his former Stooges bandmates in his song "Dum Dum Boys" on his first solo album The Idiot; his spoken intro mentions Zeke Zettner, Dave Alexander, Scott Asheton, and James Williamson one by one in a series of questions and answers about their individual fates. The first album by British punk band the Damned, Damned Damned Damned, concluded with "I Feel Alright", a cover of the Stooges' "1970" under its accepted alternate title. Australian band Radio Birdman, which included fellow Ann Arbor native Deniz Tek, named an early venue "The Oxford Funhouse", while on their 1977 album Radios Appear they covered the Stooges song "TV Eye" and name checked the Stooges in the Deniz Tek song "Do the Pop" The band's name was itself taken, although incorrectly, from the lyrics of the Stooges song "1970". In 1982, the Birthday Party released Drunk on the Pope's Blood, a live EP with a version of "Loose". On multiple occasions, the Birthday Party performed entire sets of Stooges covers. Their live version of "Fun House" can be found on their live album, Live 198182. Sonic Youth covered "I Wanna Be Your Dog" on 1983's Confusion Is Sex. English space rock group Spacemen 3 covered "Little Doll" on their 1986's album Sound of Confusion.

Uncle Tupelo covered "I Wanna Be Your Dog", although they did not release it while they were active. Kurt Cobain consistently listed Raw Power as his no.

1 favorite album of all time in the "Favorite Albums" lists that featured in his Journals. The Red Hot Chili Peppers recorded a cover of "Search and Destroy" during the sessions for Blood Sugar Sex Magik; the song appeared on the B-side of the "Give It Away" single, and later on the Iggy Pop tribute CD We Will Fall, the compilation CD Under the Covers, and the compilation CD The Beavis and Butt-Head Experience. They also played "I Wanna Be Your Dog" live. In August 1995, all three Stooges albums were included in British music magazine Mojo's influential "100 Greatest Albums of All Time" feature. Fun House was placed the highest, at 16.

Thrash Metal band Slayer cover I Wanna Be Your Dog on their 1996 cover album Undisputed Attitude (naming it "I'm Gonna Be Your God"). The Stooges' "Search and Destroy" was featured in Harmonix's Guitar Hero II for the PlayStation 2. Rage Against the Machine covered the song "Down on the Street" on their 2000 album, Renegades.

In 2004, Rolling Stone ranked the Stooges No. 78 on their list of 100 of the most influential artists of the past 50 years. Horror punk band Frankenstein Drag Queens from Planet 13 Covered "I Wanna Be Your Dog" in their Boxset Little Box of Horrors in 2006. Performed "I Wanna Be Your Dog" with Patti Smith in their induction to the Rock and Roll Hall of Fame. Emanuel covered "Search and Destroy" on the Tony Hawk's American Wasteland soundtrack. In 2009, Cage the Elephant gave away a free cover version of "I Wanna Be Your Dog" on their website if users registered with their mailing list service. Slash included their self-titled debut amongst his favourite studio albums.

Peter Hook included their live album Metallic K. Seattle Band Willard recorded "I Got A Right" in 1993 and released it in 2018 on their Underground record. In the movie Velvet Goldmine, Ewan McGregor portrays Curt Wilde, a character loosely based on Pop.

[110] McGregor performs the Stooges songs "TV Eye" and "Gimme Danger" in the film. In the 2013 film CBGB, Foo Fighters drummer Taylor Hawkins portrays Pop in the late 1970s. In the Super Mario Bros. Video game series, the character Iggy Koopa was named after him.

[111] In the game Yoshi's New Island, for the Nintendo 3DS, the minigame "Eggy Iggy Pop" is also named after him. The late 1970s punk and Pop influenced Dunedin band The Enemy recorded Iggy Told Me.

The character Iggy from the Japanese manga and anime series JoJo's Bizarre Adventure is named after him. James O'Barr fashioned the character Funboy in The Crow after Pop. Main articles: Iggy Pop discography and The Stooges discography. Best New Wave Group/Performer No. Punk of the Year No.

Comeback of the Year No. "Why Was I Born (Freddy's Dead)". Best Video from a Film. Classic Rock Roll of Honour Awards. GQ Men of the Year Awards.

Most Compelling Living Subject of a Documentary. College Artist of the Year[115]. "American Valhalla" (with Josh Homme). "Bells & Circles" (with Underworld). Teatime Dub Encounters (with Underworld). The item "1961 IGGY POP TAPPAN JUNIOR HIGH SCHOOL 8TH GRADE YEARBOOK SIGNED" is in sale since Monday, March 23, 2020.

This item is in the category "Entertainment Memorabilia\Music Memorabilia\Rock & Pop\Artists P\Pop, Iggy". The seller is "collectiblecollectiblecollectible" and is located in Ann Arbor, Michigan.

This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, China, Sweden, South Korea, Indonesia, Taiwan, South africa, Thailand, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Bahamas, Israel, Mexico, New Zealand, Singapore, Switzerland, Norway, Saudi arabia, Ukraine, United arab emirates, Qatar, Kuwait, Bahrain, Croatia, Malaysia, Brazil, Chile, Colombia, Panama, Jamaica, Barbados, Bangladesh, Bermuda, Brunei darussalam, Bolivia, Ecuador, Egypt, French guiana, Guernsey, Gibraltar, Guadeloupe, Iceland, Jersey, Jordan, Cambodia, Cayman islands, Liechtenstein, Sri lanka, Luxembourg, Monaco, Macao, Martinique, Maldives, Nicaragua, Oman, Peru, Pakistan, Paraguay, Reunion, Viet nam, Uruguay.

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