Editing Iggy Pop (section)

===1980s===
[[File:Iggy Pop - pinkpop87.jpg|thumb|upright|Iggy Pop at the [[Pinkpop Festival]] in 1987]]

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."<ref>{{cite book |title=I Need More: The Stooges and Other Stories |last1=Pop |first1=Iggy |last2=Wehner |first2=Anne |chapter=Foreword by Andy Warhol |year=1982 |page=7 |publisher=Karz-Cohl Publishing |isbn=978-0-943828-50-3}}</ref>

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 (David Bowie album)|Let's Dance]]'' album. As co-writer of the song, Pop received substantial [[royalties]]. On ''[[Tonight (David Bowie album)|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. The support from Bowie enabled Pop to take a three-year break, during which he overcame his resurgent heroin addiction and took acting classes.<ref>{{cite web |last1=Hilburn |first1=Robert |title=IGGY POP'S BACK WITH A NEW IMAGE AND 'BLAHS' |url=https://www.latimes.com/archives/la-xpm-1986-10-30-ca-8466-story.html |website=Los Angeles Times |date=October 30, 1986 |access-date=October 15, 2020}}</ref>

Additionally, Pop contributed the title song to the 1984 film ''[[Repo Man (film)|Repo Man]]'' (with [[Steve Jones (musician)|Steve Jones]], previously of the [[Sex Pistols]], on guitar, and [[Nigel Harrison]] and [[Clem Burke]], both of [[Blondie (band)|Blondie]] on bass and drums) as well as an instrumental called "Repo Man Theme" that was played during the opening credits.<ref>{{cite web |title=Iggy Pop Talks Repo Man |url=https://www.criterion.com/current/posts/2744-iggy-pop-talks-repo-man |website=Criterion |access-date=January 9, 2020}}</ref>

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 music|new wave]]-influenced ''[[Blah-Blah-Blah (Iggy Pop album)|Blah-Blah-Blah]]'', featuring the single
"[[Wild One (Johnny O'Keefe song)|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 [[Australian Broadcasting Corporation|ABC]]'s late-night music video show ''[[Rage (TV program)|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 200|''Billboard'' 200]] 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.<ref>{{cite web |last=Scott |first=Casey |title=Rock & Rule |url=http://www.dvddrive-in.com/reviews/n-s/rockandrule83.htm |website=Dvddrive-in.com|access-date=July 1, 2007}}</ref>

In 1987, Pop appeared (along with [[Bootsy Collins]]) on a mostly instrumental album, ''[[Neo Geo (album)|Neo Geo]]'', by Japanese composer [[Ryuichi Sakamoto]]. The music video for "Risky", written and directed by Meiert Avis, won the first MTV Breakthrough Video Award. {{Citation needed|date=March 2021|reason=No evidence provided on this page or Sakamoto's page}} The groundbreaking video explores [[wikt:transhumanism|transhumanist]] philosopher [[FM-2030]]'s ideas of ''Nostalgia for the Future'' in the form of an imagined love affair between a robot and one of [[Man Ray]]'s models in Paris in the late 1930s. Additional inspiration was drawn from [[Jean Baudrillard]], [[Edvard Munch]]'s 1894 painting ''Puberty'', and [[Roland Barthes]] ''[[Death of the Author]]''. The surrealist black-and-white video uses stop motion, light painting, and other retro in-camera effects techniques. Meiert Avis recorded Sakamoto while at work on the score for ''The Last Emperor'' in London. Sakamoto also appears in the video painting words and messages to an open shutter camera. Pop, who performs the vocals on "Risky", chose not to appear in the video, allowing his performance space to be occupied by the surrealist era robot.

Pop's follow-up to ''Blah Blah Blah'', ''[[Instinct (Iggy Pop album)|Instinct]]'' (1988), was a turnaround in musical direction. Its stripped-back, guitar-based sound leaned further towards the sound of the Stooges than any of his solo albums to date. His record label dropped him, but the ''[[King Biscuit Flower Hour]]'' radio show recorded the ''Instinct'' tour (featuring guitarist [[Andy McCoy]] and [[Alvin Gibbs]] on bass) in Boston on July 19, 1988. Working with rock attorney Stann Findelle, Pop scored more movie soundtrack inclusions in 1989: "Living on the Edge of the Night" in the [[Ridley Scott]] thriller ''[[Black Rain (American film)|Black Rain]]''; and "Love Transfusion", a song originally written by [[Alice Cooper]] (who does backing vocals) and [[Desmond Child]],<ref>{{cite web |url=http://evenspot.com/html.folder/CDreview/AC_Soundtrack/Shocker.html |title=Alice Cooper Soundtracks |publisher=Evenspot.com |access-date=May 4, 2013 |archive-date=March 31, 2012 |archive-url=https://web.archive.org/web/20120331225050/http://evenspot.com/html.folder/CDreview/AC_Soundtrack/Shocker.html |url-status=dead }}</ref> in ''[[Wes Craven's Shocker]]''. Also, at the same time, Pop, dissatisfied from RCA's decisions, revoked copyrights of his RCA releases, assigned it to his company ''Thousand Mile'', and signed a contract with [[Virgin Records]], which was a unique hybrid of distribution deal for his RCA releases and a recording contract for new albums. Virgin first reissued ''Lust for Life'' and ''The Idiot'' in 1990, then ''TV Eye Live 1977'' in 1994.