Contrary to popular belief, chameleons do not change colour to match their surroundings; they change colour to reflect their mood and their relationships with others. From the moment that David Robert Jones changed his name to David Bowie, he proved himself chameleonic in the true sense. His career was a kaleidoscope of reinventions; not just of music and appearance but of persona, profession and gender identity, each time anticipating the reactions of his audience, and usually forcing them to catch up with him. Fiercely intelligent and unafraid to show it, he also anticipated the effects of technological change, releasing Space Oddity five days before the launch of Apollo 11, and using the Internet to interact with fans years before the age of social media. His work as an actor also frequently ran leaps ahead of audiences, whether as an alien in Nicolas Roeg's initially ill-regarded but now lauded The Man Who Fell To Earth, or as Jareth the Goblin King in Jim Henson's Labyrinth, a critical bomb that would go on to become a fixture of children's video libraries, and earn him an entire new generation of fans. But his death this week at the age of 69 may prove his greatest leap ahead yet; while ill with cancer for the preceding 18 months, he refused to publicise his condition and instead used his last time on Earth to compose Blackstar, one of his best reviewed albums in decades. Just as Bowie lived as art, he died as art, and the video for Lazarus, the second single from Blackstar, which featured a suddenly aged Bowie blindfolded on a hospital bed, would become an epitaph to the world. Once again, we had to catch up with him, and the shock of his unexpected death shivered across his pan-generational fanbase, pushing Blackstar to #1 in the US album chart, astoundingly for the first time, and giving him not only the highest single-day tally of YoutubeVEVO views ever recorded, but also, incidentally, the first ever eight-figure weekly Wikipedia viewcount.
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