|
gptkbp:instanceOf
|
album
|
|
gptkbp:alumni
|
1990
1999
2015
|
|
gptkbp:artist
|
gptkb:David_Bowie
|
|
gptkbp:associatedAct
|
gptkb:The_Spiders_from_Mars
Tin Machine
Blackstar
The Next Day
|
|
gptkbp:chartPerformance
|
peaked at number 26 on the US Billboard 200
peaked at number 3 on the UK Albums Chart
|
|
gptkbp:covers
|
gptkb:Cover_art_by_Keith_McMillan
|
|
gptkbp:criticalReception
|
generally positive
|
|
gptkbp:culturalImpact
|
influenced many artists
|
|
gptkbp:firstPublished
|
CD
digital
vinyl
|
|
gptkbp:genre
|
rock
|
|
https://www.w3.org/2000/01/rdf-schema#label
|
The Man Who Sold the World
|
|
gptkbp:influenced
|
gptkb:The_Smashing_Pumpkins
gptkb:Nirvana
gptkb:Radiohead
gptkb:My_Chemical_Romance
The Cure
|
|
gptkbp:influences
|
glam rock
proto-punk
|
|
gptkbp:label
|
gptkb:Mercury_Records
|
|
gptkbp:legacy
|
considered a classic
|
|
gptkbp:length
|
38:43
|
|
gptkbp:notableSong
|
David_Bowie's_live_performances
Lulu's_cover_version
Miley_Cyrus's_cover_version
Nirvana's_MTV_Unplugged_performance
|
|
gptkbp:notableTracks
|
gptkb:The_Man_Who_Sold_the_World
All the Madmen
After All
The_Width_of_a_Circle
|
|
gptkbp:produces
|
Tony Visconti
|
|
gptkbp:releaseYear
|
1970
|
|
gptkbp:remake
|
yes
|
|
gptkbp:theme
|
mental health
alienation
existentialism
identity
gender roles
|
|
gptkbp:track
|
9
|