James Newell Osterberg Jr. (born April 21, 1947), known professionally by his stage name Iggy Pop and designated the "Godfather of Punk",is an American singer, songwriter, musician, producer and actor. Designated the "Godfather of Punk", he was the vocalist of influential proto-punk band the Stooges, who were formed in 1967 and have disbanded and reunited multiple times since. 　　Initially playing a raw, primitive style of rock and roll (that progressed stylistically with each album), the band sold few records in their original incarnation and gained a reputation for their confrontational performances, which often involved acts of self-mutilation by Pop. He famously had a colourful and often influential friendship and collaboration with David Bowie over the course of his career, beginning with the Stooges' album Raw Power in 1973. Throughout his career, Pop is well known for his outrageous and unpredictable stage antics and distinctive voice. He was one of the first performers to do a stage-dive and popularized the activity. 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, art rock, new wave, jazz, blues, and electronic. 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.S. hit, "Candy", a duet with B-52's singer Kate Pierson. 　　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, the Smiths, the Sisters of Mercy, Red Hot Chili Peppers, and Nirvana. 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, and was described by Siouxsie Sioux as a "re-affirmation that our suspicions were true: the man is a genius." He was inducted as part of the Stooges into the Rock and Roll Hall of Fame in 2010. 　　Music career 　　Early days: 1960–1967 　　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. 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 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. 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 Stooges era: 1968–1974 　　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. 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. Pop was one of the first performers to do a stage-dive and popularized the activity. 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. 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 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!" and hung up the phone). 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. Both it and the follow-up, Fun House produced by Don Gallucci in Los Angeles in 1970, sold poorly. 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. 　　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. 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. 　　Bowie and Berlin: 1976–1978 　　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). 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. 　　 "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. Among the songs Bowie and Pop wrote together were "China Girl", "Tonight", and "Sister Midnight", all of which Bowie performed on his own albums later (the last being recorded with different lyrics as "Red Money" on Lodger). 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. 　　Arista albums: 1979–1981 　　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.S., 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. He was also interviewed by host Molly Meldrum, an exchange which was frequently punctuated by the singer jumping up and down on his chair and making loud exclamations of "G'day mate" in a mock Australian accent. 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. 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". 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. 　　1980s 　　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. "He is so good." 　　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. 　　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.S. 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.