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Population Registration Act, 1950
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Population Registration Act, 1950
Act to make provision for the compilation of a Register of the Population of the Union; for the issue of Identity Cards to persons whose names are included in the Register; and for matters incidental thereto.
Citation
Act No. 30 of 1950
Enacted by
Parliament of South Africa
Date of Royal Assent
22 June 1950
Date commenced
7 July 1950
Date repealed
28 June 1991
Administered by
Minister of the Interior
Repealing legislation
Population Registration Act Repeal Act, 1991
Status: Repealed
The Population Registration Act of 1950 required that each inhabitant of South Africa be classified and registered in accordance with his or her racial characteristics as part of the system of apartheid.[1][2][3]
Race classification certificate issued in terms of the Population Registration Act
Explanation of South African identity numbers in an identity document during apartheid in terms of official White, Coloured and Indian population subgroups
Social rights, political rights, educational opportunities, and economic status were largely determined by the group to which an individual belonged. There were three basic racial classifications under the law: Black, White and Coloured (mixed). Indians (that is, South Asians from the former British India, and their descendants) were later added as a separate classification as they were seen as having "no historical right to the country".
An Office for Race Classification was set up to overview the classification process. Classification into groups was carried out using criteria such as outer appearance, general acceptance and social standing. For example, it defined a "white person" as one who "in appearance is obviously a white person who is generally not accepted as a coloured person; or is generally accepted as a white person and is not in appearance obviously a white person." Because some aspects of the profile were of a social nature,[2] reclassification was not uncommon, and a board was established to conduct that process. For example, the following criteria were used for separating the coloureds from the whites:[2]
Characteristics of the person's head hair
Characteristics of the person's other hair
Skin colour
Facial features
Home language and especially the knowledge of Afrikaans
Area where the person lives, the person's friends and acquaintances
Employment
Socioeconomic status
Eating and drinking habits
This law worked in tandem with other laws passed as part of the apartheid system. Under the Prohibition of Mixed Marriages Act of 1949, it was illegal for a white person to marry a person of another race. With the enactment of the Immorality Amendment Act of 1950, it also became a crime for a white person and a person of another race to have sexual intercourse.
Under the act, as amended, Coloureds and Indians were formally classified into various subgroups, including Cape Coloured, Malay, Griqua, Chinese, Indian, Other Asian and Other Coloured.[4][5]
The South African Parliament repealed the act on June 17, 1991. However, the racial categories defined in the act remain ingrained in South African culture[6][7] and they still form the basis of some official policies and statistics aimed at redressing past economic imbalances (Black Economic Empowerment and Employment Equity).[8][9]
See also[edit]
Demographics of South Africa
Pencil test
Urban apartheid
References[edit]
Jump up ^ "South African Demographic Health Survey" (PDF). Department of Health. 1998. Archived from the original (PDF) on 26 July 2011. Retrieved 9 March 2013.
^ Jump up to: a b c Posel, Deborah (2001). "What's in a name? Racial categorisations under apartheid and their afterlife" (PDF). Michigan State University. Retrieved 4 April 2018.
Jump up ^ "South African activist teacher gets education doctorate". Stanford News Service. 1991. Retrieved 9 March 2013.
Jump up ^ Valentine, Sue. "An appalling 'science'". Sunday Times Heritage Project. The Times. Archived from the original on 23 April 2012. Retrieved 9 March 2013.
Jump up ^ Leach, Graham (1986). South Africa : no easy path to peace (1. publ. ed.). London: Routledge & Kegan Paul. p. 70. ISBN 0710208480.
Jump up ^ Rondganger, Lee (6 June 2006). "Being an African makes me who I am". IOL. Retrieved 9 March 2013.
Jump up ^ du Preez, Max (9 March 2011). "Are we all 'coloured'?". News24. Retrieved 9 March 2013.
Jump up ^ Lehohla, Pali (5 May 2005). "Debate over race and censuses not peculiar to SA". Business Report. Archived from the original on 14 August 2007. Retrieved 25 August 2013. Others pointed out that the repeal of the Population Registration Act in 1991 removed any legal basis for specifying 'race'. The Identification Act of 1997 makes no mention of race. On the other hand, the Employment Equity Act speaks of 'designated groups' being 'black people, women and people with disabilities'. The Act defines 'black' as referring to 'Africans, coloureds and Indians'. Apartheid and the racial identification which underpinned it explicitly linked race with differential access to resources and power. If the post-apartheid order was committed to remedying this, race would have to be included in surveys and censuses, so that progress in eradicating the consequences of apartheid could be measured and monitored. This was the reasoning that led to a 'self-identifying' question about 'race' or 'population group' in both the 1996 and 2001 population censuses, and in Statistics SA's household survey programme.
Jump up ^ Davis, Rebecca (25 November 2013). "DA: We're not over race, but united we stand". Daily Maverick. Retrieved 25 November 2013.
External links[edit]
The full text of Population Registration Act, 1950 at Wikisource
hide
v
t
e
Apartheid legislation in South Africa
Precursors
(before 1948)
Hut tax (1884)
Franchise and Ballot Act (1892)
Glen Grey Act (1894)
Natal Legislative Assembly Bill (1894)
Transvaal Asiatic Registration Act (1906)
South Africa Act (1909)
Mines and Works Act (1911)
Natives Land Act (1913)
Natives (Urban Areas) Act (1923)
Immorality Act (1927)
Native Administration Act (1927)
Representation of Natives Act (1936)
Native Trust and Land Act (1936)
Native (Urban Areas) Consolidation Act (1945)
Asiatic Land Tenure Act (1946)
Malan to
Verwoerd
(1948–1966)
Prohibition of Mixed Marriages Act (1949)
Immorality Amendment Act (1950)
Population Registration Act (1950)
Group Areas Act (1950)
Suppression of Communism Act (1950)
Native Building Workers Act (1951)
Separate Representation of Voters Act (1951)
Prevention of Illegal Squatting Act (1951)
Bantu Authorities Act (1951)
Native Laws Amendment Act (1952)
Pass Laws Act (1952)
Public Safety Act (1953)
Native Labour (Settlement of Disputes) Act (1953)
Bantu Education Act (1953)
Reservation of Separate Amenities Act (1953)
Natives Resettlement Act (1954)
Group Areas Development Act (1955)
Riotous Assemblies Act (1956)
Industrial Conciliation Act (1956)
Natives (Prohibition of Interdicts) Act (1956)
Immorality Act (1957)
Bantu Investment Corporation Act (1959)
Extension of University Education Act (1959)
Promotion of Bantu Self-government Act (1959)
Unlawful Organizations Act (1960)
Indemnity Act (1961)
Coloured Persons Communal Reserves Act (1961)
Republic of South Africa Constitution Act (1961)
Urban Bantu Councils Act (1961)
General Law Amendment Act (1963)
Coloured Persons Representative Council Act (1964)
Post-Verwoerd
(1966–1994)
Terrorism Act (1967)
Separate Representation of Voters Amendment Act (1968)
Prohibition of Political Interference Act (1968)
Bantu Homelands Citizenship Act (1970)
Bantu Homelands Constitution Act (1971)
Aliens Control Act (1973)
Indemnity Act (1977)
National Key Points Act (1980) - List of National Key Points
Internal Security Act (1982)
Black Local Authorities Act (1982)
Republic of South Africa Constitution Act (1983)
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Damon Albarn
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Damon Albarn
OBE
Albarn performing with Gorillaz at the Roskilde Festival in 2010
Background information
Born
(1968-03-23) 23 March 1968 (age 50)
Whitechapel, London, England
Origin
Leytonstone, London, England; Aldham, Essex, England
Genres
Alternative rock
world
electronic
hip hop
Britpop
indie rock
art rock
Occupation(s)
Musician
singer
songwriter
composer
record producer
Instruments
Vocals
piano
keyboards
guitar
bass guitar
synthesizer
melodica
drums
percussion
ukulele
Years active
1988–present
Labels
Food
SBK
Virgin
Parlophone
XL
Honest Jon's
Warner Bros.
Associated acts
Blur
Gorillaz
Monkey: Journey to the West
The Good, the Bad & the Queen
Mali Music
Rocket Juice & the Moon
DRC Music
Massive Attack
Website
damonalbarnmusic.com
Damon Albarn OBE (/ˈdeɪmən ˈælbɑːrn/; born 23 March 1968) is an English musician, best known as the lead singer of the British rock band Blur as well as the co-founder, lead vocalist, instrumentalist, and principal songwriter of the virtual band Gorillaz.
Raised in Leytonstone, East London and around Colchester, Essex, Albarn attended the Stanway School, where he met guitarist Graham Coxon and formed Blur, which released its debut album Leisure in 1991. After spending long periods touring the U.S., Albarn's songwriting became increasingly influenced by British bands from the 1960s. The result was Modern Life Is Rubbish (1993), Parklife (1994) and The Great Escape (1995). All three albums received critical acclaim while Blur gained mass popularity in the UK, aided by a Britpop rivalry with Oasis. Subsequent albums such as Blur (1997), 13 (1999), and Think Tank (2003) incorporated influences from lo-fi, electronic and hip hop music.
Albarn formed the virtual band Gorillaz in 1998 with comic book artist Jamie Hewlett. Drawing influences from alternative rock, trip hop,[1] hip hop, electronica, dub, reggae and pop,[2][3] Gorillaz released their self-titled debut album in 2001 to worldwide success, spawning successful follow-ups Demon Days (2005), Plastic Beach, The Fall (both released in 2010), Humanz (2017), and The Now Now (2018). Although Albarn is the only permanent musical contributor, Gorillaz albums typically feature collaborations from a range of artists. Gorillaz are cited by the Guinness Book of World Records as the "Most Successful Virtual Band".
Albarn's other projects include two supergroups: the Good, the Bad & the Queen and Rocket Juice & the Moon as well as working with African musicians in aid of the charity Oxfam and composing film soundtracks. He has also scored stage productions, namely Monkey: Journey to the West (2008), Dr Dee (2012) and Wonder.land (2016). His debut solo studio album Everyday Robots was released in 2014.
In 2008, The Daily Telegraph ranked Albarn number 18 in their list of the "100 most powerful people in British culture".[4] In 2016, Albarn received the Ivor Novello Award for Lifetime Achievement from the British Academy of Songwriters, Composers and Authors.[5] He was appointed Officer of the Order of the British Empire (OBE) in the 2016 New Year Honours for services to music.[6]
Contents
1 Early life
2 Music career
2.1 Blur
2.1.1 Formation and Leisure
2.1.2 Britpop era
2.1.3 Post-Britpop and hiatus
2.1.4 Reunion
2.2 Gorillaz
2.3 Solo career and side projects
2.3.1 The Good, the Bad and the Queen
2.3.2 Rocket Juice and the Moon
2.3.3 Other projects
2.4 Film, theatre and soundtrack work
2.5 The Heavy Seas
3 Acting career
4 Personal life
4.1 Relationships
4.2 Fatherhood
4.3 Philanthropy
5 Politics
5.1 Anti-war campaigns
6 Discography
7 Awards and nominations
7.1 Mercury Prize
7.2 Brit Awards
8 References
9 External links
Early life[edit]
Albarn was born on 23 March 1968, is the eldest child of artist Keith Albarn and his wife Hazel, née Dring. Their daughter Jessica, born in 1971, also went on to become an artist.[7] Hazel Albarn, originally from Lincolnshire, was a theatrical set designer for Joan Littlewood's theatre company at the Theatre Royal Stratford East in London, and was working on the satirical play Mrs Wilson's Diary just before Damon was born.[7][8] Keith Albarn, originally from Nottinghamshire, was briefly the manager of Soft Machine and once a guest on BBC's Late Night Line-Up.[7][8] He was head of The School of Art and Design at Colchester Institute.[8]
Damon's paternal grandfather Edward, an architect,[9][10] had been a conscientious objector during the Second World War and was involved in a farming community in Lincolnshire, becoming a peace activist. In 2002 Edward Albarn died; Damon stated in an interview that Edward did not want to live any longer and decided to go on a hunger strike.[10][11] In 1968, at the age of 6 months, Albarn was a "testing expert" for designs for educational aids and toys for children including fiberglass furniture and play-structures fancifully called "The Kissmequiosk". "The Apollo Cumfycraft" and "The Tailendcharlie" produced by his father's company "Keith Albarn & Partners Ltd" under the trade-name of "Playlearn, Ltd."[12]
Commemorative plaque at 21 Fillebrook Road Leytonstone, East London where Albarn was brought up
When Damon and Jessica were growing up, their family moved to Leytonstone, East London.[7] The household was described as "bohemian"[13] and their upbringing as "liberal".[8] Damon and Jessica were also raised in the Quaker religion.[14] Albarn agreed with his parents' views, later claiming, "I always thought my parents were absolutely dead right. I went against the grain in a weird way – by continually following them."[8] His parents primarily listened to blues, Indian ragas and African music.[7] When Albarn was nine years old, his family took a holiday trip to Turkey for three months before settling in Aldham, Essex, an area described by Albarn as "one of those burgeoning Thatcher experiments where they were building loads of small estates".[15] The population of the area was predominantly white as opposed to the ethnically mixed part of London which he had become used to. He described himself as "not really fitting in with the politics of the place."[15]
Albarn was interested in music from an early age, attending an Osmonds concert at the age of six.[16] He started playing guitar, piano and violin in his youth and was interested in composing music, one of his compositions winning a heat in the nationwide Young Composer of the Year competition.[7][16] Damon and Jessica both attended a primary school nearby which, according to Damon, was burnt down seven times over a period of 18 months by one of the teachers. After both siblings failed their eleven-plus exams, they started attending Stanway Comprehensive School, where Damon described himself as being "really unpopular" and "[irritating to] a lot of people".[15] However, he developed an interest in drama and started acting in various school productions.[7][15] It was at Stanway where he would meet future Blur guitarist Graham Coxon, who recalls seeing him act and feeling that he was a "confident performer" as well as a "show off".[15] Albarn's first words directed at Coxon were "Your brogues are crap, mate. Look, mine are the proper sort"[7] as he was showing off his leather shoes, fashionable footwear at the time influenced by the Mod Revival.[15] Nevertheless, the pair went on to become good friends, due to their shared passion for music, particularly bands such as The Jam, The Beatles, The Human League, XTC and Madness.[7]
He studied acting at the East 15 Acting School in Debden, but left after the first year. On leaving drama school he entered a production and management contract with Marijke Bergkamp and Graeme Holdaway, owners of the Beat Factory recording studio, where the members of Blur, then known as Seymour, did their first recordings. His first band was the synthpop group, Two's a Crowd.[13] Before Blur, he played with The Aftermath and Real Lives.[8]
Music career[edit]
Blur[edit]
Main article: Blur
Formation and Leisure[edit]
Coxon (left) and Albarn on stage at the Newcastle Academy in June 2009.
Albarn enrolled on a part-time music course at London's Goldsmiths College in 1988, claiming that his sole intention was to gain access to the student union bar.[17] Albarn was in a group named Circus alongside Coxon and drummer Dave Rowntree.[18][19] Alex James, a fellow student at Goldsmiths, eventually joined as the group's bassist. They changed their name to Seymour in December 1988, inspired by J.D. Salinger's Seymour: An Introduction.[19][20] In March 1990, after changing their name to Blur, they signed to Food Records.[21]
In October 1990, Blur released their first single, "She's So High", which reached number 48 in the UK Singles Chart.[22] The band had trouble creating a follow-up single, but made progress when paired with producer Stephen Street. The resulting single, "There's No Other Way", became a hit, peaking at number eight.[23] As a result of the single's success, Blur became pop stars and were accepted into a clique of bands who frequented the Syndrome club in London dubbed the "Scene That Celebrates Itself".[24] The recording of the group's debut album was hindered by Albarn having to write his lyrics in the studio. Although the resulting album Leisure (1991) peaked at number seven on the UK Albums Chart, it received mixed reviews,[22] and according to journalist John Harris, "could not shake off the odour of anti-climax".[25] Albarn has since referred to Leisure as "awful".[26]
Britpop era[edit]
After discovering they were £60,000 in debt, Blur toured the United States in 1992 in an attempt to recoup their losses.[27] During the two-month American tour, Albarn, along with the band, became increasingly unhappy and homesick, and began writing songs which "created an English atmosphere".[28] Blur had underwent an ideological and image shift intended to celebrate their English heritage in contrast to the popularity of American grunge bands like Nirvana.[29] Although skeptical of Albarn's new manifesto, Balfe gave his assent for the band's choice of Andy Partridge of the band XTC to produce their follow-up to Leisure. The sessions with Partridge proved unsatisfactory, but a chance reunion with Stephen Street resulted in him returning to produce the group.[30]
The second Blur album, Modern Life Is Rubbish, was released in May 1993 and peaked at number 15 on the British charts,[31] but failed to break into the US Billboard 200, selling only 19,000 copies.[32][33] Despite the album's poor performance, Albarn was happy with the band's direction and wrote prolifically for Blur's next album. Parklife was released in 1994 and revived Blur's commercial fortunes, with the album's first single, the disco-influenced "Girls & Boys", achieving critical acclaim and chart success. Parklife entered the British charts at number one and stayed in the album charts for 90 weeks.[34] Enthusiastically greeted by the music press, Parklife is regarded as one of Britpop's defining records.[35][36] Blur won four awards at the 1995 Brit Awards, including Best Band and Best Album for Parklife.[37] Coxon later pointed to Parklife as the moment when "[Blur] went from being regarded as an alternative, left field arty band to this amazing new pop sensation".[38] Albarn was uncomfortable with fame, however, and he suffered from panic attacks.[15]
Blur began working on their fourth album The Great Escape at the start of 1995.[39] Building upon the band's previous two albums, Albarn's lyrics for the album consisted of several third-person narratives. James reflected, "It was all more elaborate, more orchestral, more theatrical, and the lyrics were even more twisted ... It was all dysfunctional, misfit characters fucking up."[40] The release of the album's lead single "Country House" played a part in Blur's public rivalry with Manchester band Oasis termed the "Battle of Britpop". Partly due to increasing antagonism between the groups, Blur and Oasis decided to release their new singles on the same day, an event the NME called the "British Heavyweight Championship". The debate over which band would top the British singles chart became a media phenomenon, and Albarn appeared on News at Ten.[41] At the end of the week, "Country House" outsold Oasis' "Roll With It" by 274,000 copies to 216,000, becoming Blur's first number-one single.[42]
The Great Escape was released in September 1995 to positive reviews, and entered the UK charts at number one. However, opinion quickly changed and Blur found themselves largely out of favour with the media. Following the worldwide success of Oasis' (What's the Story) Morning Glory?, the media quipped that Blur "wound up winning the battle but losing the war".[43] Blur became perceived as an "inauthentic middle-class pop band" in comparison to the "working-class heroes" Oasis, which Albarn said made him feel "stupid and confused".[41] Bassist James said: "After being the People's Hero, Damon was the People's Prick for a short period ... basically, he was a loser – very publicly."[44]
Post-Britpop and hiatus[edit]
An early 1996 Q interview reported that relations between Blur members had become strained; journalist Adrian Deevoy wrote that he found them "on the verge of a nervous breakup".[44] Coxon, in particular, began to resent his bandmates[44] and, in a rejection of the group's Britpop aesthetic, made a point of listening to noisy American alternative rock bands such as Pavement.[45] Albarn grew to appreciate Coxon's tastes in lo-fi and underground music, and recognised the need to change Blur's musical direction once again. "I can sit at my piano and write brilliant observational pop songs all day long but you've got to move on," he said,[44] and decided to give Coxon more creative control over their new album. Albarn visited Iceland during this period: "I used to have a recurring dream, as a child, of a black sand beach. And one hazy, lazy day [laughs], I was watching the TV and I saw a programme about Iceland, and they had black beaches. So I got on a plane ... I was on my own: I didn't know anybody. I went into the street, Laugavegur, where the bars are, and that was it."[46]
After initial sessions in London, the band left to record the rest of the album in Iceland, away from the Britpop scene.[44] The result was Blur, the band's fifth studio album, released in February 1997. Although the music press predicted that the lo-fi sonic experimentation would alienate Blur's teenage girl fanbase, they generally applauded the effort. Pointing out lyrics such as "Look inside America / She's alright", and noting Albarn's "obligatory nod to Beck, [and promotion of] the new Pavement album as if paid to do so", reviewers felt the band had come to accept American values during this time—an about-face of their attitude during the Britpop years.[47] Despite cries of "commercial suicide", the album and its first single, "Beetlebum", debuted at number one in the UK.[48] Although the album could not match the sales of their previous albums in the UK, Blur became the band's most successful internationally,[48] particularly in the US, helped by the successful single, "Song 2". After the success of Blur, the band embarked on a nine-month world tour.[44]
Albarn with Blur at the Rock in Roma, 2013
Released in March 1999, Blur's sixth studio album 13 saw them drift further away from Britpop. Albarn's lyrics—more heart-felt, personal and intimate than on previous occasions—were reflective of his break-up with Elastica frontwoman Justine Frischmann, his partner of eight years.[49] Recording for Blur's next album began in London in November 2001. Not long after the sessions began, Coxon left the group.[50] Coxon stated "there were no rows" and "[the band] just recognised the feeling that we needed some time apart".[51] Think Tank, released in May 2003, was filled with atmospheric, brooding electronic sounds, featuring simpler guitar lines played by Albarn, and largely relying on other instruments to replace Coxon. The guitarist's absence also meant that Think Tank was almost entirely written by Albarn. Its sound was seen as a testament to Albarn's increasing interest in African and Middle Eastern music, and to his control over the group's direction.[52] Think Tank was another UK No. 1 and achieved Blur's highest US position of No. 56.[31][33] The album was also nominated for best album at the 2004 Brit Awards.[53]
Reunion[edit]
Blur performing at Hyde Park in July 2009.
In December 2008, Blur announced they would reunite for a concert at London's Hyde Park on 3 July 2009.[54] Days later, the band added a second date, for 2 July.[55] A series of June preview shows were also announced, ending at Manchester Evening News arena on the 26th. All the shows were well received; The Guardian's music critic Alexis Petridis gave their performance at Goldsmiths College a full five stars, and wrote that "Blur's music seems to have potentiated by the passing of years ... they sound both more frenetic and punky and more nuanced and exploratory than they did at the height of their fame".[56] Blur headlined the Glastonbury Festival on 28 June, where they played for the first time since their headline slot in 1998. Reviews of the Glastonbury performance were enthusiastic; The Guardian called them "the best Glastonbury headliners in an age".[57]
The band released their second greatest-hits album Midlife: A Beginner's Guide to Blur in June 2009. After the completion of the reunion dates, Albarn told Q that the band had no intention of recording or touring live again. He said, "I just can't do it anymore", and explained that the main motivation for participating in the reunion was to repair his relationship with Coxon, which succeeded.[58]
In January 2010, No Distance Left to Run, a documentary about the band, was released in cinemas and a month later on DVD and was nominated as Best Long Form Music Video for the 53rd Grammy Awards, Blur's first-ever Grammy nomination.[59][60] In April 2010, Blur released their first new recording since 2003, "Fool's Day" in April 2010 as part of the Record Store Day event as a vinyl record limited to 1000 copies; it was later made available as a free download on their website.[61]
In February 2012, Blur were awarded the Outstanding Contribution to Music award at the 2012 Brit Awards.[62] Later that month, Albarn and Coxon premiered a new track together live, "Under the Westway".[63] Blur entered the studio early that year to record material for a new album, but in May producer William Orbit told the NME that Albarn had halted recording.[64] Blur released two singles "The Puritan" and "Under the Westway" on 2 July.[65] That August, Blur headlined a show at Hyde Park for the 2012 Summer Olympics closing ceremony which was followed by a world tour the very next year.[66] On 19 February 2015, Blur announced on social media that they would be releasing their eighth studio album on 27 April, titled The Magic Whip, Blur's first album in 12 years and first in 16 years in their original lineup.[67][68]
Gorillaz[edit]
Main article: Gorillaz
Albarn and Jamie Hewlett met in 1990 when Coxon, a fan of Hewlett's work, asked him to interview Blur.[69] The interview was published in Deadline magazine, home of Hewlett's comic strip, Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker", and despite becoming one of the band's acquaintances, Hewlett often did not get on with its members, especially after he started going out with Coxon's ex-girlfriend, Jane Olliver.[69] Nonetheless, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997.[70] Hewlett had recently broken up with Olliver and Albarn was also at the end of his highly publicised relationship with Frischmann.[69]
The idea to create Gorillaz came about when the two were watching MTV: "If you watch MTV for too long, it's a bit like hell—there's nothing of substance there. So we got this idea for a cartoon band, something that would be a comment on that," Hewlett said.[71] The band's music is a collaboration between various musicians, Albarn being the only permanent musical contributor, and incorporates influences including alternative rock, Britpop, dub, hip-hop, and pop music.[72][73] In 2001, the band's eponymous debut album sold over seven million copies, and featured hits such as the songs "19-2000" and "Clint Eastwood," earning them an entry in the Guinness Book of World Records as the Most Successful Virtual Band.[74]
Albarn on stage with Gorillaz at the Brixton Academy in London, June 2017
The second Gorillaz studio album, Demon Days, was released in 2005 and included the singles "Feel Good Inc.", "Dare", "Dirty Harry" and "Kids with Guns"/"El Mañana". Demon Days went five times platinum in the UK,[75] double platinum in the United States[76] and earned five Grammy Award nominations for 2006[77] and won one of them in the Best Pop Collaboration with Vocals category.[78] The combined sales of Gorillaz and Demon Days had, by 2007, exceeded 15 million albums.[79] Gorillaz released their third studio album, Plastic Beach, in early 2010, which was received with high praise. In December 2010, the group released The Fall, recorded over 32 days during their North American tour.[citation needed]
In a 2012 interview, Albarn talked about the unlikelihood of any future Gorillaz releases; his relationship with Hewlett had soured when Albarn chose to undercut the role of animation on their Escape to Plastic Beach World Tour.[80] Albarn later rescinded this claim, stating "When Jamie [Hewlett] and I have worked out our differences, I'm sure we'll make another record."[81] On 23 March 2017, the fifth Gorillaz studio album, Humanz, was announced and released worldwide on 28 April 2017.[82] The sixth Gorillaz album, The Now Now, was announced on 31 May 2018 and released on 29 June 2018.[83]
Solo career and side projects[edit]
Albarn released Mali Music in 2002, recorded in Mali, during a trip he made to support Oxfam in 2000. He has visited Nigeria to record music with African drummer Tony Allen.[citation needed]
In 2003, Albarn released an EP, Democrazy, a compilation of demos he recorded in various hotel rooms during the United States portion of Think Tank's tour.[citation needed] In a 2013 interview with Rolling Stone, Albarn announced that the solo record would be produced by Richard Russell of XL Recordings. He also said he would be taking his album on tour, and that he would play songs from all of his other bands, including Blur and Gorillaz.[84]
Albarn collaboated with producers Dan the Automator, XL Recordings, Richard Russell & Rodaidh McDonald, Jneiro Jarel, DJ Darren Cunningham aka Actress, Marc Antoine, Alwest, Remi Kabaka Jr., Totally Enormous Extinct Dinosaurs and Kwes, Albarn went to Kinshasa for one week to record an album, Kinshasa One Two, released in 2011.[85] All proceeds benefit Oxfam's work in the DRC.[86]
Maison Des Jeunes, an album for Albarn's project Africa Express, was released in 2013.[87] In 2014, Albarn appeared in the song "Go Back" in Tony Allen's albums Film of Life and The Source.[citation needed]
Albarn's debut solo album, Everyday Robots, was released on 25 April 2014 to generally positive reviews. The album peaked at No. 2 on the UK charts and[88] produced five singles: "Everyday Robots", "Lonely Press Play", "Hollow Ponds", "Mr Tembo", and "Heavy Seas of Love".[citation needed] It was nominated for the 2014 Mercury Prize for Best Album.[citation needed]
The Good, the Bad and the Queen[edit]
Main article: The Good, the Bad & the Queen
Albarn in 2007
In May 2006, NME reported that Albarn was working with Danger Mouse on his first solo album, tentatively titled The Good, the Bad & the Queen.[89][90][91] It featured Paul Simonon, Simon Tong and Tony Allen. The album was awarded Best Album at the 2007 MOJO Awards on 18 June.[92]
The first single by the line-up, "Herculean", was released in late October 2006, and peaked at No. 22 in the UK Singles Chart. A second single, "Kingdom of Doom", and the band's debut album were then released in January 2007. That single fared slightly better than "Herculean", peaking at No. 20, while the album peaked at No. 2 in the UK Albums Chart and went gold during its first week of release in the UK.[93] "Green Fields" was released as the third single from the album in April 2007, just missing out on the Top 50. On 27 April 2008, The Good, the Bad & the Queen headlined the Love Music Hate Racism Carnival in Victoria Park where they introduced on stage several guests including ex-Specials keyboard player Jerry Dammers.[94][95] He also worked with Syrian rapper and friend Eslam Jawaad on the song "Mr. Whippy", though the song does not appear on the album it is a B-Side on the Herculean single.[96]
Rocket Juice and the Moon[edit]
Main article: Rocket Juice & the Moon
Rocket Juice & the Moon is the title of Albarn's new side-project featuring Red Hot Chili Peppers bassist Flea and afrobeat legend Tony Allen. Albarn has stated that he is not responsible for the name; someone in Lagos did the sleeve design and that's the name it was given. Albarn has claimed that he's content with the outcome, as trying to come up with band names is difficult for him. The band performed together for the first time on 28 October 2011 in Cork, Ireland, as part of the annual Cork Jazz Festival. They performed under the moniker Another Honest Jon's Chop Up!. A full tour is not expected any time soon due to conflicting schedules, with the Red Hot Chili Peppers' tour continuing until 2013. Their debut album was released on 26 March 2012.[97]
Other projects[edit]
In 1998, Albarn and Michael Nyman recorded the song "London Pride" for the tribute album, Twentieth-Century Blues: The Songs of Noël Coward, a patriotic song Noël Coward had written in the spring of 1941 during the Blitz.[98]
In 2003, Albarn worked with the Garage Rock band The Strokes on their album Room on Fire. Producer, Gordon Rapheal claims that Damon was experimenting with backing vocals on the record. In the end Albarn's contributions did not make the record. “Well I guess the songs are just perfect the way they are”. And so no backing vocals were used.” said Damon stated.[99]
Albarn has contributed backing vocals to the songs "FM" on Nathan Haines' Squire for Hire and "Small Time Shot Away" on Massive Attack's 100th Window, which were released in 2003, however, for both tracks, credit was given to Gorillaz frontman 2D instead. More recently, on Massive Attack's 2010 Heligoland album, he sang on the track "Saturday Come Slow" and contributed keyboards to the track "Splitting the Atom".[100]
Albarn also produced soul singer Bobby Womack's twenty-seventh studio album The Bravest Man in the Universe, released in 2012. He recently performed on Jools Holland's Hootenanny on New Year's Eve, performing track "Love is Gonna Lift You Up".[101] Albarn appeared with Womack at the Glastonbury Festival 2013.[102]
In 2016, Albarn appeared on De La Soul's studio album and the Anonymous Nobody on the song "Here in After". Albarn had previously collaborated with the group on Gorillaz' albums Demon Days, Plastic Beach, and Humanz on the songs "Feel Good Inc", "Superfast Jellyfish", and "Momentz" respectively.[103][104][105]
In 2017, Damon Albarn sung with Alex Crossan (Mura Masa) on "Blu", the last track of Alex's debut Mura Masa album.
Film, theatre and soundtrack work[edit]
"Closet Romantic" appeared on the soundtrack for Trainspotting alongside an early Blur recording, "Sing", which is from their debut album. Albarn composed the score with collaboration by Michael Nyman for the 1999 movie Ravenous, and was nominated for a Saturn Award for Best Music for his work.
In their first major work together since Gorillaz, Albarn and Hewlett, along with acclaimed Chinese theatre and opera director Chen Shi-zheng, adapted for stage the Chinese story Journey to the West as Monkey: Journey to the West, which received its world premiere as the opening show of the 2007 Manchester International Festival, on 28 June 2007 at the Palace Theatre, Manchester.[106]
In collaboration with theatre director Rufus Norris, Albarn has created an opera for the 2011 Manchester International Festival based on the life of Elizabethan scientist John Dee and titled Doctor Dee.[107][108]
Albarn recorded the film score for the film version of the book The Boy in the Oak, which was written by his sister, Jessica Albarn. The film was set for a spring 2011 release in select theatres.[109]
Albarn wrote the music for a musical based on Alice in Wonderland called Wonder.land with Rufus Norris and Moira Buffini, which officially premiered in the Manchester International Festival on 29 June 2015.[110][111][112]
Albarn provided a track for the film The White Helmets called "Crashing Down", an abandoned track initially for the Gorillaz album Plastic Beach.
The Heavy Seas[edit]
Albarn's live band is called The Heavy Seas, and features guitarist Seye, drummer Pauli the PSM, guitarist Jeff Wootton and Mike Smith on keyboards.[113] Both Smith and Wootton had previously been a part of Gorillaz' Escape to Plastic Beach World Tour.[114] With the exception of drummer Pauli, all members have played live with Gorillaz.
Acting career[edit]
Albarn starred in Antonia Bird's 1997 film Face alongside Ray Winstone and Robert Carlyle. Albarn was also featured in Gunar Karlsson's 2007 film, Anna and the Moods, along with Terry Jones and Björk. Albarn played "Bull" in Joe Orton's Up Against It, a Radio 4 play about the Beatles broadcast in 1998.
Personal life[edit]
In 2005, Albarn, among others, criticised the London Live 8 concert for not featuring enough black artists; among the few included were Ms. Dynamite, Snoop Dogg, and Youssou N'Dour. Eventually the organisers added a separate concert at the Eden Project in Cornwall to the programme in order to showcase African musicians. Albarn said he did not want to perform at Live 8 because he thought it was too "exclusive" and may have been motivated by self-promotion.[100]
Albarn has been a vocal critic of celebrity culture: "We need to dismantle very significant parts of our culture and really re-examine them. I suppose you start with the celebrity thing... you have to get rid of things like The X Factor immediately."[115]
In 2006, Albarn was awarded an honorary Master of Arts degree from the University of East London, saying it was "great to receive [the] award from an institution where my dad used to work and which I, as a child, used to think of as that big building with lots of interesting people in".[116]
In 2016, Albarn, a long-time advocate of the music of northwestern African country Mali, titling his 2002 album Mali Music, has been given the title “Local King", and has received a school of music and dance named after him.[117]
Relationships[edit]
During the 1990s, Albarn had a long-standing relationship with Elastica frontwoman Justine Frischmann.[22] This relationship profoundly influenced his songwriting, notably on the Blur album (1997) on the track "Beetlebum" – said to be about their experiences with heroin[118] – and a number of tracks on 13 (1999), such as "Tender" and "No Distance Left to Run", said to be about their break-up in 1998.
Fatherhood[edit]
On 2 October 1999, artist Suzi Winstanley gave birth to their daughter,[119] Missy, named after hip hop artist Missy Elliott.[120] Albarn described becoming a father as "witnessing a life force"[120] and saying:
it massively changes you. It slowly sort of shaves off the unpleasant thorny bits and hopefully creates a nicely rounded... I don't know, having a kid, you just become far more, inevitably you look to the future far more and, you know, it's desperate sometimes when you have a particularly bad few weeks of the newspaper just reminding you about this is wrong, this is wrong. We've got ten more years everyone.[121]
Philanthropy[edit]
Albarn has been an active supporter of various charities and philanthropic efforts throughout his career as a musician and has been involved in various charity albums and singles. DRC Music, a collective formed by Albarn, released their debut album Kinshasa One Two as a charity album in which all of the money earned is given to Oxfam.[122] Albarn has also formed a collective with Red Hot Chili Peppers bassist Flea, Yeah Yeah Yeahs guitarist Nick Zinner, and Franz Ferdinand frontman Alex Kapranos to make a charity single with the money earned from that single also donated to Oxfam.[123] In 2013, Albarn alongside fellow Blur bandmate Graham Coxon performed live with former rival Noel Gallagher of Oasis and Paul Weller of The Jam to play Blur's 1999 single "Tender" in support of Teenage Cancer Trust.[124][125][126]
Politics[edit]
Anti-war campaigns[edit]
Albarn is anti-war, holding views shared by others in his family, including his grandfather Edward Albarn, who died on hunger strike in 2002.[11][127]
After the September 11 attacks, a series of controversial military campaigns were launched, known as the War on Terror. In November 2001, shortly after the invasion of Afghanistan, the MTV Europe Music Awards were held in Frankfurt, where Gorillaz won awards for Best Song and Best Dance.[128] As Albarn and Jamie Hewlett walked onto stage to make a speech after receiving the latter award, Albarn wore a T-shirt with the Campaign for Nuclear Disarmament logo on it. In his speech, he said "So, fuck the music. Listen. See this symbol here, [pointing to the t shirt] this the symbol for the Campaign for Nuclear Disarmament. Bombing one of the poorest countries in the world is wrong. You've got a voice and you have got to do what you can about it alright?"[129][130][131][132]
"Each individual has their own opinions about whether war is an answer to any problems. Personally I think it's a waste of time, but I think more importantly, that it's an issue that we haven't had any say in. That's why I feel so strongly about it. I don't feel like we've really been given any choice in this matter. I think if you had a referendum tomorrow, Tony Blair would have no choice but to call off the war."
—Albarn on Britain's involvement with the Iraq invasion[133]
In 2002, Iraq was under threat of invasion from a coalition which included the United States and the United Kingdom. Opposition from the public led to protests being organised by a number of organisations. Albarn spoke out against the invasion.[134][135][136]
Albarn teamed up with Robert "3D" Del Naja of Massive Attack and worked with Stop the War Coalition, CND and the Muslim Association of Britain to organise campaigns to raise awareness of the potential dangers of the UK's involvement in the war.[133] This included spending £15,000 on anti-war adverts which ran in the NME, featuring quotes from Tony Benn and the former US Attorney-General, Ramsey Clark.[130]
Albarn revealed that originally, many people whom he knew were against the war were reluctant to take a stand, stating "to be honest with you when Robert Del Naja and myself started really stepping up prior to the war it was very difficult to find anyone. And I don't want to name any names because they are people who I respect but they were really, for some reason, very reticent to stand with us. A lot of people who you would now associate with being anti-war at that particular point didn't seem to be prepared to do it."[121]
Albarn was due to speak in Hyde Park on the rally in February 2003 when a million people took to the streets of London in protest at the imminent war. In the event, he was too emotional to deliver his speech.[137] Albarn later revealed that he had "this image of my grandad in his slippers reading the paper, knowing that his grandson had been involved in something which he'd put so much of his life into" and "got over-emotional". He also stated that "it obviously wasn't the best moment to get in that state, when you're at the head of the biggest peace march in the history of this country."[11]
Albarn also attended a protest in November where he commented on the diversity of people in attendance, saying that "It represents everybody. It's the voice in our democracy and that's why we should be listened to."[138] Speaking about the experience in 2008, Albarn stated:
I think in this case the only reason we went to war was the result of our individual apathy in the end. You know, our inability to really express what was I think was a consensus that this was a terrifying idea and a very badly thought-out one.[121]
Discography[edit]
Main article: Damon Albarn discography
See also: Blur discography and Gorillaz discography
Solo albums
Everyday Robots (2014)
Collaboration albums
Mali Music (2002) (with Afel Bocoum, Toumani Diabaté & Friends)
The Good, the Bad & the Queen (2007) (with Tony Allen, Paul Simonon and Simon Tong)
Kinshasa One Two (2011) (as part of DRC Music)
Rocket Juice & the Moon (2012) (with Flea and Tony Allen as part of "Rocket Juice and the Moon")
Maison Des Jeunes (2013) (as part of Africa Express)
In C Mali (2014) (as part of Africa Express)
The Orchestra of Syrian Musicians and Guests (2016) (with Africa Express)
Merrie Land (2018) (with Tony Allen, Paul Simonon and Simon Tong)
Awards and nominations[edit]
See also: List of awards and nominations received by Blur and List of awards and nominations received by Gorillaz
Mercury Prize[edit]
The Mercury Prize is a highly prestigious annual music prize awarded for the best album from the United Kingdom and Ireland. Nominations are chosen by a panel of musicians, music executives, journalists and other figures in the music industry in the UK and Ireland.[139]
Year
Nominee/work
Award
Result
2014 Everyday Robots Album of the Year Nominated
Brit Awards[edit]
Year
Nominee/work
Award
Result
2013 Damon Albarn British Producer of the Year Nominated
2015 Damon Albarn British Male Solo Artist[140] Nominated
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Jump up ^ "Damon Albarn previews DRC Music project with "Hallo" " Consequence of Sound". Consequenceofsound.net. 25 July 2011. Retrieved 22 March 2012.
Jump up ^ "Damon Albarn, Brian Eno, Nick Zinner, Holy Other Detail Africa Express Album". Retrieved 14 November 2013.
Jump up ^ "Damon Albarn". officialcharts.com. Retrieved 9 May 2016.
Jump up ^ "It's all a bit of a blur for Damon". 2 February 2007. Retrieved 5 February 2007.
Jump up ^ Carne, Lucy (3 February 2007). "Good, Bad and super". The Sunday Mail (Qld). Retrieved 5 February 2007.
Jump up ^ "The band with no name". 31 January 2007. Archived from the original on 14 November 2007. Retrieved 5 February 2007.
Jump up ^ "Osbourne scoops 'icon' at Mojo Awards". BBC News. 18 June 2007. Retrieved 20 June 2007.
Jump up ^ "The Good, The Bad and the Queen – "Herculean" – Stereogum". Stereogum. Retrieved 22 September 2014.
Jump up ^ "Love Music Hate Racism Carnival, Victoria Park, London". The Independent. Retrieved 22 September 2014.
Jump up ^ "The great Rock Against Racism show plays it again". The Independent. Retrieved 22 September 2014.
Jump up ^ "Eslam Jawaad – Preaching to the unconverted". The Independent. Retrieved 22 September 2014.
Jump up ^ "Damon Albarn, Flea to release album as Rocketjuice and the Moon – Music News". Digital Spy. 27 October 2011. Retrieved 22 March 2012.
Jump up ^ Clerk, Carol (21 March 1998), "Tennant saves Albarn's 'Pride'", Melody Maker, 75 (12), p. 8
Jump up ^ "STROKES AND DAMON RECORD TOGETHER - NME". NME. 16 October 2003. Retrieved 7 January 2018.
^ Jump up to: a b "NME website". NME. UK. 10 June 2005. Archived from the original on 21 October 2012. Retrieved 22 March 2012.
Jump up ^ "BlurBalls – Blur website". BlurBalls. UK. 4 January 2012. Retrieved 15 February 2013.
Jump up ^ "Sunday at Glastonbury news roundup". nme.com. UK. 30 June 2013. Retrieved 1 July 2013.
Jump up ^ Minsker, Evan. "De La Soul Enlist Damon Albarn, David Byrne, 2 Chainz, Little Dragon for Kickstarter-Funded Album". Pitchfork. Pitchfork. Retrieved 1 April 2015.
Jump up ^ Cooper, Leonie. "De La Soul launch Kickstarter for new album set to feature Damon Albarn, David Byrne, 2 Chainz De La Soul Tickets". NME. NME. Retrieved 1 April 2015.
Jump up ^ Weiner, Natalie. "De La Soul Announce Kickstarter-Funded Album ft. Damon Albarn, David Byrne, 2 Chainz & More". Billboard. Billboard. Retrieved 1 April 2015.
Jump up ^ Kitty Empire. "Opera: Monkey: Journey to the West | Music | The Observer". Music.guardian.co.uk. Retrieved 30 April 2014.
Jump up ^ "Doctor Dee". Manchester International Festival website. Archived from the original on 21 March 2011. Retrieved 18 March 2011.
Jump up ^ "Damon Albarn's Dr Dee| Production". Eno.org. Archived from the original on 20 July 2013. Retrieved 7 April 2013.
Jump up ^ "Damon Albarn composes film score for 'The Boy in the Oak'". NME. UK. 6 January 2011. Retrieved 22 March 2012.
Jump up ^ Khomami, Nadia. "Damon Albarn reinvents 'Alice In Wonderland' for Manchester International Festival musical". NME. NME. Retrieved 29 March 2015.
Jump up ^ Barnes, Anthony. "Damon Albarn to bring Alice in Wonderland musical to the National Theatre". The Independent. The Independent. Retrieved 29 March 2015.
Jump up ^ "Damon Albarn Preps Music for 'Alice in Wonderland'-Inspired Musical". Rolling Stone. 21 January 2015. Retrieved 9 May 2016.
Jump up ^ Murray, Robin (27 February 2014). "Damon Albarn – Lonely Press Play". Clash. Retrieved 12 April 2014.
Jump up ^ "gorillaz_news: Video interview with Jeff Wootton, Gorillaz live guitarist". Gorillaz-news.livejournal.com. 20 August 2010. Archived from the original on 6 February 2016. Retrieved 12 April 2014.
Jump up ^ "Albarn condemns celebrity culture". BBC News. 27 December 2007. Retrieved 2 January 2010.
Jump up ^ "Albarn Awarded Honorary MA at UEL". Archived from the original on 16 February 2007. Retrieved 23 August 2014.
Jump up ^ Unterberger, Andrew. "Damon Albarn named Local King of Mali". Spin. Retrieved 21 February 2016.
Jump up ^ Andrew Smith (10 March 2002). "Interview: Justine Frischmann: Elastica limits". The Observer. The Guardian. Then, in early 1997, Blur had a hit with a single called 'Beetlebum', which, after being pressed in these very pages, Albarn reluctantly admitted to be about heroin.
Jump up ^ "Robbie's new minder". The Daily Mail. November 2012. Retrieved 24 November 2012. Blur star Damon Albarn named daughter
^ Jump up to: a b "Damon Albarn". Esquire Magazine. January 2000.
^ Jump up to: a b c Kennard, Matt (24 November 2008). "An interview: Damon Albarn on the Gorillaz, fatherhood, the war in Iraq, and going out". The Comment Factory. Archived from the original on 17 November 2012. Retrieved 24 November 2012.
Jump up ^ Ferguson, Bob. "DRC Music brings the sound of the Congo to benefit Oxfam". Oxfam America. Oxfam America. Retrieved 18 May 2015.
Jump up ^ Coplan, Chris. "Damon Albarn, Flea, Nick Zinner, and more come together for charity single". Consequence of Sound. Consequence of Sound. Retrieved 18 May 2015.
Jump up ^ "Damon Albarn and Noel Gallagher Unite For Charity". Rollingstone. Rolling Stone. Retrieved 18 May 2015.
Jump up ^ "Britpop rivals Noel Gallagher and Damon Albarn perform together for cancer charity". Independent.co.uk. The Independent. Retrieved 18 May 2015.
Jump up ^ Brandle, Lars. "Noel Gallagher, Damon Albarn Bury Hatchet for 'Tender' Performance". Billboard.com. Billboard. Retrieved 18 May 2015.
Jump up ^ "LINCOLNSHIRE PEACE COMMUNITY". BBC Inside Out. 6 September 2004. Retrieved 18 September 2012.
Jump up ^ "Brits take six MTV Europe awards". The Guardian. 9 November 2001. Retrieved 9 October 2012.
Jump up ^ "Gorillaz – EMA's 2001 ("Best Dance" Award)". YouTube. Retrieved 9 October 2012.
^ Jump up to: a b "Damon Albarn and Robert del Naja interview, Rock Crusaders". The Independent on Sunday. 9 February 2003.
Jump up ^ "Stars celebrate MTV success". Daily Mail. 2001. Retrieved 9 October 2012.
Jump up ^ "MTV winners Gorillaz protest U.S. bombing". Jam! Showbiz. Canada: canoe.ca. 9 November 2001. Archived from the original on 1 January 2013. Retrieved 9 October 2012.
^ Jump up to: a b "Damon Albarn's Anti-War Protest". XFM. 2 July 2003. Retrieved 15 September 2012. [permanent dead link]
Jump up ^ Anderson, Errol. "10 Things You Never Knew About Damon Albarn". Retrieved 19 November 2011.
Jump up ^ "WAR ON WAR!". NME. 20 August 2002. Retrieved 15 September 2012.
Jump up ^ Smith, Martin. "Musicians who won't be silenced". Socialist Worker. Retrieved 15 September 2012.
Jump up ^ "Deconstructing Damon". The Scotsman. 16 November 2003.
Jump up ^ TracyJackAlbarn2 (6 October 2012). "Damon Albarn @ Anti Bush Protest (2003)". YouTube. Retrieved 17 November 2012.
Jump up ^ "Mercury Prize 2008". BBC Music. Retrieved 22 June 2009.
Jump up ^ "British Male Solo Artist Nominations Announced".
External links[edit]
Wikimedia Commons has media related to Damon Albarn.
Official website
Damon Albarn on IMDb
Damon Albarn pieces including video interviews on BBC Imagine, bbc.co.uk; accessed 2 March 2014.
Damon Albarn interview at musicOMH
Albarn's Mali mission, BBC News; accessed 2 March 2014.
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Damon Albarn
Discography
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Everyday Robots
Collaborations
Mali Music
The Good, the Bad & the Queen
Kinshasa One Two
Rocket Juice & the Moon
Leave-Taking
Maison Des Jeunes
Merrie Land
Soundtrack albums
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101 Reykjavík
Journey to the West
Dr Dee
EPs
Democrazy
Leave-Taking
Singles
"Herculean"
"Kingdom of Doom"
"Green Fields"
"Everyday Robots"
"Electric Fences"
"Lonely Press Play" / "Hollow Ponds"
"Mr Tembo"
"Heavy Seas of Love"
Other songs
"The Selfish Giant"
"You and Me"
"Photographs (You Are Taking Now)"
Theatre
Monkey: Journey to the West
Dr Dee
Wonder.land
Related articles
Blur
Gorillaz
Honest Jon's
Olly and Suzi
Democrazy
show
v
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Blur
Damon Albarn
Graham Coxon
Alex James
Dave Rowntree
Studio albums
Leisure
Modern Life Is Rubbish
Parklife
The Great Escape
Blur
13
Think Tank
The Magic Whip
Live albums
Live at the Budokan
All the People: Blur Live at Hyde Park
Parklive
Compilations
The Special Collectors Edition
The Brit Pop Blur Box
Bustin' + Dronin'
The 10 Year Limited Edition Anniversary Box Set
Blur: The Best Of
Midlife: A Beginner's Guide to Blur
Blur 21
Video releases
Starshaped
Showtime
No Distance Left to Run
Singles
"She's So High / I Know"
"There's No Other Way"
"Bang"
"Popscene"
"For Tomorrow"
"Chemical World"
"Sunday Sunday"
"Girls & Boys"
"To the End"
"Parklife"
"End of a Century"
"Country House"
"The Universal"
"Stereotypes"
"Charmless Man"
"Beetlebum"
"Song 2"
"On Your Own"
"M.O.R."
"Tender"
"Coffee & TV"
"No Distance Left to Run"
"Music Is My Radar"
"Don't Bomb When You're the Bomb"
"Out of Time"
"Crazy Beat"
"Good Song"
"Fool's Day"
"Under the Westway"/"The Puritan"
"Go Out"
"Lonesome Street"
Other songs
"Caramel"
"This Is a Low"
Related
Discography
Songs
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Rollercoaster Tour
WigWam
Gorillaz
Category:Blur
show
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Gorillaz
Damon Albarn
Jamie Hewlett
2-D
Russel Hobbs
Noodle
Murdoc Niccals
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Gorillaz
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Plastic Beach
The Fall
Humanz
The Now Now
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Tomorrow Comes Today
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Laika Come Home
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Celebrity Take Down
Demon Days Live
Slowboat to Hades
Bananaz
Singles
"Clint Eastwood"
"19-2000"
"Rock the House"
"Tomorrow Comes Today"
"911"
"Lil' Dub Chefin'"
"Feel Good Inc."
"Dare"
"Dirty Harry"
"El Mañana" / "Kids with Guns"
"Stylo"
"Superfast Jellyfish"
"On Melancholy Hill"
"Rhinestone Eyes"
"Doncamatic"
"Revolving Doors" / "Amarillo"
"DoYaThing"
"Saturnz Barz"
"We Got the Power"
"Ascension"
"Andromeda"
"Let Me Out"
"Sleeping Powder"
"Strobelite"
"Humility"
"Hollywood"
"Tranz"
Other songs
"5/4"
"Empire Ants"
"Phoner to Arizona"
"Hallelujah Money"
"Charger"
People
Jeff Wootton
Remi Kabaka Jr.
James Ford
Mike Smith
Former
Cass Browne
Simon Katz
Miho Hatori
Dan the Automator
Paul Simonon
Mick Jones
Simon Jones
Tours
Gorillaz Live
Demon Days Live
Escape to Plastic Beach Tour
Humanz Tour
The Now Now Tour
Related articles
Discography
Awards and nominations
Rise of the Ogre
Monkey: Journey to the West
Blur
The Clash
show
v
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The Good, the Bad & the Queen
Damon Albarn
Tony Allen
Paul Simonon
Simon Tong
Studio albums
The Good, the Bad & the Queen
Merrie Land
Singles
"Herculean"
"Kingdom of Doom"
"Green Fields"
Other songs
"The Good, the Bad & the Queen"
Related articles
Danger Mouse
Authority control
WorldCat Identities
BNE: XX1502205
BNF: cb14025704n (data)
GND: 135275245
ISNI: 0000 0001 0875 4251
LCCN: n97085620
MusicBrainz: 7d7a5fdd-0d04-4c36-8bee-906feeae239c
NKC: xx0042289
SUDOC: 168995603
VIAF: 17421456
Retrieved from "https://en.wikipedia.org/w/index.php?title=Damon_Albarn&oldid=865548430"
Categories:
Damon Albarn
1968 births
Living people
20th-century English singers
21st-century English singers
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Alumni of Goldsmiths, University of London
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British alternative rock musicians
English activists
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values: Деймон Алберн – Ukrainian

values:
interlanguage-link interwiki-uk
display: none;

values:
interlanguage-link interwiki-vi
display: none;

values: All languages (initial selection from common choices by you and others)

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Damon_Albarn rootpage-Damon_Albarn skin-vector action-view