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Siouxsie Sioux Net Worth
How rich is Siouxsie Sioux? For this question we spent 18 hours on research (Wikipedia, Youtube, we read books in libraries, etc) to review the post.
The main source of income: Musicians
Total Net Worth at the moment 2024 year – is about $157,1 Million.
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Biography
Siouxsie Sioux information Birth date: May 27, 1957 Birth place: Chislehurst, Kent, England, UK Height:5 8 (1.73 m) Profession:Soundtrack, Actress, Composer
Height, Weight:
How tall is Siouxsie Sioux – 1,66m.
How much weight is Siouxsie Sioux – 88kg
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Biography,Early life (1957–76)Siouxsie was born Susan Janet Ballion[12] on 27 May 1957 at Guys Hospital in Southwark, England.[13] She is 10 years younger than her two siblings. Her brother and sister were born while the family was based in the Belgian Congo.[13] Her parents met in that colony and stayed working there for a few years. Her mother, Betty, was half-Scots, half-English and was a bilingual secretary who spoke French,[14] and her father was a bacteriologist who milked venom from snakes. He was a Walloon from the French-speaking part of Belgium. In the late 1950s, before Siouxsies birth, the family moved to England. The Ballions lived in a suburban district in Chislehurst. Siouxsie had an isolated youth. Her comrades invited her home but she couldnt reciprocate as her father drank at home and didnt work.[15] She was aware of her family being different.[16] The Ballions werent part of the community. Their house was different: Elsewhere, life in all its normality was being paraded. She later said: The suburbs inspired intense hatred.[16]At the age of 9, Susan and a friend were seriously sexually assaulted. The most damaging aspect was that the assault was ignored by her parents.[17] The episode became an unspoken item. From that moment, she started to acquire disrespect for adulthood.[18] Years later, she stated: I grew up having no faith in adults as responsible people. And being the youngest in the family I was isolated – I had no-one to confide in. So I invented my own world, my own reality. It was my own way of defending myself – protecting myself from the outside world. The only way I could deal with how to survive was to get some strong armour.[18]Her father died when Siouxsie was 14 years old, resulting in an immediate adverse effect on her health. She lost a lot of weight and missed school. After several misdiagnoses, she was operated on and survived a bout of ulcerative colitis.[19] During the weeks of recovery in summer 1972, she watched television in the hospital and saw David Bowie on Top of the Pops.[18]At 17, she left school. It was during this period that she began frequenting the local gay discos where most of her sisters friends used to go.[20] She introduced her own friends to that scene. In November 1975, a new young group called Sex Pistols performed at the local art college in Chislehurst. Siouxsie did not attend, but one of her friends told her how their singer threatened the string of students present at that gig. He added that they sounded like the Stooges. In February 1976, Siouxsie and her friend Steven Severin (then still called Steven Bailey) went to see Sex Pistols play in the capital. After chatting with members of the band, Siouxsie and Severin decided to follow them regularly.[21] In the following months, journalist Caroline Coon coined the term Bromley Contingent to describe this group of eccentric teenagers devoted to the Sex Pistols.[22]Siouxsie became well known in the London club scene for her glam, fetish and bondage attire, which later became part of punk fashion.[18] She would also later epitomise gothic style with her signature cat-eye makeup, deep red lipstick, spiky dyed-black hair and black clothing.[18]In early September 1976, the Bromley Contingent followed Sex Pistols to France, where Siouxsie was beaten up for wearing a black armband with a swastika on it. She claimed her intent was to shock the bourgeoisie, not to make a political statement.[23] She later wrote the song Metal Postcard (Mittageisen) (in memory of the anti-Nazi artist John Heartfield).[24]Following the adage of DIY and the idea that the people in the audience could be the people on stage, Siouxsie and Severin decided to form a band. When a support slot at the 100 Club Punk Festival (organised by Malcolm McLaren) opened up, they decided to make an attempt at performing, although at that time they did not know how to play any songs. On 20 September 1976, the band improvised music as Siouxsie sang the Lords Prayer. The performance lasted 20 minutes.[25]For critic Jon Savage, Siouxsie was unlike any female singer before or since, commanding yet aloof, entirely modern.[26] She opened a new era for women in music as Viv Albertine from the Slits would later comment:Siouxsie just appeared fully made, fully in control, utterly confident. It totally blew me away. There she was doing something that I dared to dream but she took it and did it and it wiped the rest of the festival for me, that was it. I cant even remember everything else about it except that one performance.[27]One of Siouxsies first public appearances was with the Sex Pistols on Bill Grundys television show, on Thames Television in December 1976. Standing next to the band, Siouxsie made fun of the presenter when he asked her how she was doing. She responded: Ive always wanted to meet you, Bill. Grundy, who was drunk, suggested a meeting after the show. That directly provoked a reaction from guitarist Steve Jones, who responded with a series of expletives never heard before on early-evening television.[28] This episode created a media furor on the front covers of several tabloids, including the Daily Mirror, which published the headline Siouxsies a Punk Shocker. This event had a major impact on the Sex Pistols subsequent career, and overnight, they became a household name.Not liking the cliches put forward by the press, Siouxsie distanced herself from that scene and stopped seeing the Pistols. She decided to focus all her energy on her own band, Siouxsie and the Banshees.[29]Siouxsie and the Banshees, and the Creatures (1977–2003)Main article: Siouxsie and the BansheesIn 1977, Siouxsie began touring in England as Siouxsie and the Banshees. One year later, their first single, Hong Kong Garden, reached number 7 in the UK Singles Chart,[30] it was pop and catchy. With its oriental-inflected xylophone motif, Melody Maker deemed it as a glorious debut […] All the elements come together with remarkable effect. The song is strident and powerful with tantalising oriental guitar riffs plus words and vocals that are the result of anger, disdain and isolation. No-one will be singled out because everyone is part and parcel of the whole. It might even be a hit.[31]Their first album, The Scream, was one of the first post-punk records released. It received 5-star reviews in Sounds[32] and Record Mirror.[33] The latter said that the record points to the future, real music for the new age.[33] The music was different than the single, it was angular, dark and jagged. The Scream was later hailed by NME as one of the best debut albums of all time along with Patti Smiths Horses.[34] Join Hands followed in 1979 with war as the lyrical theme.[35]The 1980 album Kaleidoscope marked a change in musical direction with the arrival of John McGeoch, considered one of the most innovative and influential guitarists of the past 30 years by The Guardian.[36] The hit single Happy House was qualified as great Pop with liquid guitar[37] and other songs like Red Light were layered with electronic sounds. Kaleidoscope widened Siouxsies audience, reaching the top 5 in the UK charts. Juju followed in 1981, reaching number 7, the singles Spellbound and Arabian Knights were described as pop marvels by The Guardian.[38] During recording sessions for Juju, Siouxsie and drummer Budgie formed a percussion-oriented duo called the Creatures, characterized by a stripped-down sound focused on vocals and drums, their first record, the EP Wild Things, was a commercial success.Main article: The CreaturesIn 1982, the Siouxsie and the Banshees album A Kiss in the Dreamhouse was widely acclaimed by critics.[39] Richard Cook of NME depicted it as a feat of imagination scarcely ever recorded.[40] The single Slowdive was a violin-colored dance beat number.[41] They included strings for the first time on several songs. However, the recording sessions took its toll, and McGeoch was forced to quit the band before the tour.In 1983, Siouxsie went to Hawaii to record the Creatures first album, Feast, which included the hit single Miss the Girl. It was her first incursion into exotica, incorporating sounds of waves, local Hawaiian choirs and local percussion. Later that year, Siouxsie and Budgie released Right Now, a song from Mel Tormes repertoire that the Creatures re-orchestrated with brass arrangements,[42] Right Now soon became a top 20 hit single in the UK. Then, with the Banshees (including guitarist Robert Smith of the Cure), she covered the Beatles Dear Prudence, which reached number 3 on the UK Singles Chart.[43] Two albums followed with Smith: Nocturne, recorded live in London in 1983, and 1984s Hy?na. In 1985, the single Cities in Dust was recorded with sequencers, it climbed to number 21 in the UK charts. 1986s Tinderbox and the 1987 covers album Through the Looking Glass both reached the top 15 in the UK.[44]In 1988, the single Peek-a-Boo marked a musical departure from her previous work, anticipating hip hop-inspired rock with the use of samples. The song was praised by NME as oriental marching band hip hop with farting horns and catchy accordion[45] and hailed by Melody Maker as a brightly unexpected mixture of black steel and pop disturbance.[46] The Peepshow album was considered by critics to be the Banshees most successful album in years.[47] The ballad The Last Beat of My Heart issued as a single, saw her exploring new ground with accordion and strings.[48]Siouxsie with the Creatures, Andalusia 1989Siouxsie and Budgie then went to Andalusia in Spain to record the second Creatures album, Boomerang. The songs took a different direction from previous Creatures works, with backing music ranging from flamenco to jazz and blues styles. It featured brass on most of the songs. The first single was Standing There. NME hailed Boomerang as a rich and unsettling landscape of exotica.[49] Anton Corbijn visited the group during the recording near Jerez de la Frontera, and Siouxsie convinced him to take photographs in color, unlike his prior work, which was in black-and-white, and the photos used for the promotion showed Siouxsie and Budgie in fields surrounded with sunflowers.[50] In 1990, she toured for the first time with the Creatures, in Europe and North America.Siouxsie at the first Lollapalooza in Irvine, California, 1991On 1991s dance-oriented Kiss Them for Me single, Siouxsie and the Banshees used South Asian instrumentation, which had become popular in the UK club scene with the growth of bhangra.[51][52] Indian tabla player Talvin Singh (who was later Bjorks percussionist on her 1993 Debut album) took part in the session and provided vocals for the bridge. With Kiss Them for Me, the Banshees scored a hit on the US Billboard Hot 100 peaking at number 23.[53] After the release of Superstition which received enthusiastic reviews,[54] the group co-headlined the first Lollapalooza tour, further increasing their American following.In 1992, film director Tim Burton requested that she write a song for Batman Returns, and the Banshees composed the single Face to Face.In the mid-1990s, Siouxsie started to do one-off collaborations with other artists. Suede invited her to a benefit concert for the Red Hot Organization. With guitarist Bernard Butler, she performed a version of Lou Reeds Caroline Says. Spin reviewed it as haughty and stately.[55] Morrissey, ex-lead singer of the Smiths, recorded a duet with Siouxsie in 1994. They both sang on the single Interlude, a track that was initially performed by Timi Yuro, a female torch singer of the 1960s. Interlude was released under the banner of Morrissey and Siouxsie.[56]The last Banshees studio album, The Rapture, was released in 1995, it was written partly in the Toulouse, France area, where she had recently moved. After the accompanying tour, the Banshees announced their split during a press conference called 20 Minutes into 20 Years. The Creatures de facto became her only band.[57] At the same time, she released the song The Lighthouse on French producer Hector Zazous album Chansons des mers froides (which translates to Songs from the Cold Seas). Siouxsie and Zazou adapted the poem Flannan Isle by English poet Wilfred Wilson Gibson.[58]Her first live performance in three years was in February 1998 when former Velvet Underground member John Cale invited her to a festival called With a Little Help From My Friends at the Paradiso in Amsterdam. The concert was shown on Dutch national television and featured an unreleased Creatures composition, Murdering Mouth, sung as a duet with Cale. The collaboration between the two artists worked so well that they decided to tour the US from July until August, performing Murdering Mouth and Cales Gun together as the encores of a Creatures and Cale double bill.[59]The following year, Siouxsie and Budgie released Anima Animus, the first Creatures album since the split of the Banshees. It included the singles 2nd Floor and Prettiest Thing. The material diverged from their former work, with a more urban sound from art rock to electronica. Anima Animus was described by The Times as hypnotic and inventive.[60] Also in 1999, Siouxsie collaborated with Marc Almond on the track Threat of Love.In 2002, she was rated as one of the 10 best female rock artists by Q.[61] That same year, Universal released The Best of Siouxsie and the Banshees as the first reissue of her back catalogue.In 2003, Siouxsie and Budgie released the last Creatures album, Hai!, which was in part recorded in Japan, collaborating with taiko player Leonard Eto (previously of the Kodo Drummers). Peter Wratts wrote in Time Out: Her voice is the dominant instrument here, snaking and curling around the bouncing drumming backdrop, elegiac and inhuman as she chants, purrs and whispers her way around the album. He termed the record a spine-tingling achievement.[62] Hai! was preceded by the single Godzilla!. That year, Siouxsie was featured on the track Cish Cash by Basement Jaxx, from their album Kish Kash, which later won Best Electronic/Dance Album at the Grammy Awards.[63]Solo career (2004–present)Siouxsie at the Saturday Night Fiber, Madrid 20082004 was a pivotal year for the singer. She toured for the first time as a solo act combining Banshees and Creatures songs. A live DVD called Dreamshow was recorded at the last London concert, in which she and her musicians were accompanied by a 16-piece orchestra, the Millennia Ensemble. Released in August 2005, this DVD reached the number 1 position in the UK music DVD charts.[64]Her first solo album, Mantaray, was released in September 2007. Pitchfork wrote, She really is pop, before finishing the review by declaring, Its a success.[65] Mojo stated: a thirst for sonic adventure radiates from each track.[66] Mantaray included three singles: Into a Swan, Here Comes That Day and About to Happen. In 2008, Siouxsie performed vocals for the track Careless Love on The Edge of Love soundtrack by composer Angelo Badalamenti, a frequent collaborator with director David Lynch. She performed another Badalamenti number, Who Will Take My Dreams Away, at the annual edition of the World Soundtrack Awards.[67] After a year of touring, the singer played the last show of her tour in London in September 2008. A live DVD of this performance, Finale: The Last Mantaray & More Show, was released in 2009.[68]In June 2013, after a hiatus of five years, Siouxsie played two nights at the Royal Festival Hall in London during Yoko Onos Meltdown festival. She performed 1980s Kaleidoscope album live in its entirety, along with other works from her back catalogue, and her performance was hailed by the press.[69] She also appeared at Onos Double Fantasy concert, to sing the final song, Walking on Thin Ice.[70]In October 2014, she and fellow Banshee Steven Severin compiled a CD titled Its a Wonderfull Life for the November 2014 issue of Mojo magazine, in which she appeared on the cover.[71] The disc included 15 tracks that inspired the Banshees.[72]Love Crime, her first song in eight years,[73] was featured in the finale of the TV series Hannibal, broadcast in August 2015. Series creator Bryan Fuller, who had contacted her in November 2014,[74] described the collaboration with Brian Reitzell as epic.[75] In December, Love Crime (Amuse-Bouche Version) was made available as a digital-only single.[76] In 2016, the song (retitled Love Crime from the Wrath of the Lamb) was included on both CD and vinyl editions of Hannibal Season 3 – Vol. 2 (Original Television Soundtrack).
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Wikipedia Source: Siouxsie Sioux