Lady Gaga paid tribute to David Bowie with a transformative performance at the 2016 Grammy Awards ceremony. Bowie died last month from a long battle with cancer, with his death coming days after his 69th birthday and release of his final album Blackstar. 
 
 Related Grammys 2016: The Complete Winners List The full rundown of who won what on Music's Biggest Night 
 
 Filled with special effects, costume changes and an appearance from Let's Dance and Black Tie White Noise producer Nile Rodgers, Gaga gave a tribute to Bowie as eclectic as his career. Beginning with "Space Oddity," Gaga first appeared on-screen with just her head mutating with space-y colors. From there, she moved to a piano featuring hydraulics before performing full choreography to songs like "Fashion," "Let's Dance" and "Rebel Rebel." Rodgers, who also directed the performance, joined in on guitar for the second half of the tribute, which ended with "Heroes." 
 
 Watch the full performance below: 
 
 In 2008, Gaga thanked Bowie "for inspiration" in the liner notes of her debut The Fame. The following year, she listed his single "Rebel Rebel" as one of her favorite pop songs of all time in her first Rolling Stone cover story. 
 
 "All of the things I went through were on my own quest for an artistic journey to fuck myself up like Warhol and Bowie and Mick, and just go for it," she explained to RS in 2010 when discussing her approach to mixing trauma with art. "I like to, within moderation, respect that I'm not Mick Jagger or David Bowie, and I don't just have fans that are a certain age. There are nine-year-olds listening to my music, so I guess I try to be respectful of them if at all possible." 
 
 Last week, Gaga sang the National Anthem at Super Bowl 50. She recently won a Golden Globe for her role on American Horror Story: Hotel and is nominated alongside Diane Warren for Best Original Song at the Oscars. 
 
 Lady Gaga David Bowie Tribute 
 
 "Space Oddity" 
 
 "Changes" 
 
 "Ziggy Stardust" 
 
 "Suffragette City" 
 
 "Rebel Rebel" 
 
 "Fashion" 
 
 "Fame" 
 
 "Under Pressure" 
 
 "Let's Dance" 
 
 "Heroes" 
 
 The Grammys also posted a behind-the-scenes video on Lady Gaga and Rodgers' performance. ||||| Lady Gaga's tribute to David Bowie started on the 2016 Grammys red carpet. 
 
 The 29-year-old pop star channeled the late singer by wearing an orange wig, a leotard, a bedazzled Marc Jacobs blazer and platform heels, a nod to Bowie's Ziggy Stardust era. Prior to her arrival at L.A.'s Staples Center, Gaga shared two Snapchat videos of herself crying in the makeup chair while listening to Bowie's "Backstar" and "Church." On Saturday, Gaga commissioned celebrity tattoo artist Mark Mahoney to ink Bowie's likeness (from his Aladdin Sane album cover) on the left side of her torso. She Snapchatted the inking, captioning one shot, "This was the image that changed my life," and in another, "Hail Mary full of grace Saint Bowie." 
 
 Gaga will sing some of Bowie's biggest hits later tonight. 
 
 At the Recording Academy and Clive Davis' Pre-Grammy Gala Sunday night, E! News' Marc Malkin got intel on Gaga's performance from Neil Portnoy, president of the National Academy of Recording Arts and Sciences. "She will take us through quite a bit of history of David Bowie's repertoire. It's one of the longest, larger segments of the night," Portnoy said. "There's some very exciting brand new technology that's never been seen on television that will be a part of the segment." 
 
 As if Gaga would settle for anything less. ||||| Lady Gaga's tribute to the late David Bowie during the Grammy Awards on Monday night received mixed reviews from his fans, and someone who is much more than a fan seemed to be largely disappointed. 
 
 Lady Gaga, clad in Bowie-reminiscent garb, belted out a medley of 10 of the icon's hits during the awards show, including "Space Oddity," "Changes," "Ziggy Stardust," "Suffragette City" and "Under Pressure." 
 
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 Shortly after the performance, David Bowie's son, Duncan Jones, fired off a somewhat cryptic tweet: "Overexcited or irrational, typically as a result of infatuation or excessive enthusiasm; mentally confused." Damn it! What IS that word!?" 
 
 "overexcited or irrational, typically as a result of infatuation or excessive enthusiasm; mentally confused." Damn it! What IS that word!? — Duncan Jones (@ManMadeMoon) February 16, 2016 
 
 Those who turned to Google to answer Jones' pressing question found out that the answer was "Gaga," and interpreted Jones' choice to tweet the Oxford English dictionary definition of the word as an expression of distaste for the tribute. 
 
 Related: 2016 Grammys: The Winners Are... 
 
 Jones, a movie director, has not expanded past the tweet. Many who commented on the not-so-subtle dig chastised Jones for being cruel and unappreciative. 
 
 Lady Gaga performs a medley of David Bowie songs as a tribute to the late singer during the 58th Grammy Awards in Los Angeles, California, on Feb. 15, 2016. MARIO ANZUONI / Reuters 
 
 If Lady Gaga has seen the tweet, she hasn't responded on Twitter. The 29-year-old, six-time Grammy winner didn't only pay tribute to Bowie in song, but also with a tattoo of the legend on her rib cage that she had inked Sunday. 
 
 Bowie, who died of cancer on Jan. 10, was awarded a posthumous Grammy on Monday for a new version of his composition "Sue." He had previously won a best music video Grammy for "Jazzin, For Blue Jean" in 1998 and a lifetime achievement award Grammy in 2006. ||||| CLOSE David Bowie, the innovative and iconic singer whose illustrious career lasted five decades with hits like "Fame," ''Heroes" and "Let's Dance," died Sunday after a battle with cancer. He was 69. (Jan. 11) AP 
 
 David Bowie (Photo: Brian Duffy, The David Bowie Archive/AP) 
 
 David Bowie, who died at age 69 after a cancer battle, was known for a musical catalog so rich with essential material, that no two top 20 lists would be the same. That may be true of any artist but it’s probably truer of Bowie than most. 
 
 His songs invite that sort of personal relationship that makes the thought of critical consensus seem unlikely if not altogether pointless. 
 
 Some are chart-topping singles, from Space Oddity and Fame to Ashes to Ashes, a sequel of sorts to Space Oddity. Others are essential album tracks that may have played as big a role as any hit in defining Bowie's singular niche in our cultural history. 
 
 There are dozens of songs that could have made the list but didn’t, from the psychedelic garage-rock of 1966’s Can’t Help Thinking About Me to any song from Hunky Dory not included to Where Are We Now? from 2013’s The Next Day. 
 
 Here's one critic's take on Bowie's finest hours. 
 
 20. Diamond Dogs (1974) 
 
 “This ain’t rock and roll! This is genocide!” Or so Bowie shouts to what sounds like a stadium crowd to introduce the cowbell-rocking title track to Diamond Dogs, a post-apocalyptic concept album based in part on Nineteen Eighty-Four, George Orwell’s dystopian masterpiece. 
 
 That album was also the last gasp of Bowie-gone-glam, and this heavy-riffing, Stones-indebted rocker definitely has the swagger of that era going on as Bowie memorably sets the scene with “As they pulled you out of the oxygen tent, you asked for the latest party" while giving a shout-out to Tod Browning’s cult classic Freaks. And one could definitely read the final verse as Ziggy Stardust growing weary of the glam scene: "In the year of the scavenger, the season of the bitch / Sashay on the boardwalk, scurry to the Ditch / Just another future song, lonely little kitsch / There's gonna be sorrow / Try and wake up tomorrow." This one peaked at No. 21. 
 
 19. The Man Who Sold the World (1970) 
 
 A lot of people’s first exposure to this early Bowie classic was hearing Nirvana’s surprisingly faithful rendition on MTV Unplugged. The sound is haunting psychedelic rock with a droning Mick Ronson guitar riff, a creaky percussion effect and a raspy lead vocal from Bowie, who appears to be addressing a split personality or possibly an evil twin. 
 
 “We passed upon the stair,” he sings. “We spoke of was and when / Although I wasn't there, he said I was his friend / Which came as some surprise / I spoke into his eyes / ‘I thought you died alone, a long long time ago.’” Speaking to Radio 1 in 1997, Bowie said, "That song for me always exemplified kind of how you feel when you're young, when you know that there's a piece of yourself that you haven't really put together yet. You have this great searching, this great need to find out who you really are." Bowie's version never charted but it did hit No. 3 for Lulu on the U.K. pop charts. 
 
 18.Fashion (1980) 
 
 A timeless shot of futuristic funk with Robert Fripp bringing the art of noise on lead guitar, this “Scary Monsters (and Super Creeps)” highlight was a Top 5 U.K. pop hit that stalled in the States at No. 70. There are obvious echoes of Golden Years informing both the groove and Bowie’s vocal. But Fripp’s adventurous if jarring lead guitar work takes it somewhere edgier than Golden Years as Bowie satirizes fashion trends and the need to fit in with the in crowd using military overtones. 
 
 “There's a brand new dance but I don't know its name,” he sings. “That people from bad homes do again and again / It's big and it's bland, full of tension and fear / They do it over there but we don't do it here.” The most memorable moment arrives at the end of the chorus, where Bowie sings, “We are the goon squad and we’re coming to town,” a proclamation punctuated with a rousing “Beep beep.” 
 
 17. Oh! You Pretty Things (1971) 
 
 This McCartneyesque piano ballad proved a worthy successor to Changes as the second track on Hunky Dory. It offsets wistful, understated verses featuring Bowie alone on piano with Ronson's full-blown chamber-pop arrangement on the chorus hook. 
 
 Lyrically, Bowie envisions a future ruled by a new coalition of visiting aliens and the pretty things currently driving their mamas and papas insane now that homos sapiens, as he sees it, have outgrown their usefulness. “Let me make it plain,” Bowie sings at the end of the chorus. “You gotta make way for the Homo Superior.” And there's no way the fact that the squares of the day would be put off by any word staring with "homo" was lost on a provocateur as sly as Bowie. 
 
 16. Station to Station (1976) 
 
 The shape-shifting epic that ushered in not only Station to Station but also a daring new chapter in Bowie’s career, it begins with just over a minute of heavily flanged guitar made to sound like a train gaining speed, a hail of feedback transitioning into the ominous droning that follows like Sabbath gone Krautrock. You’re more than three minutes into the 10-minute track before the singing starts, announcing “the return of the Thin White Duke,” a new Bowie persona. 
 
 After three heavy verses, a delicate bridge gives way to yet another mood change, settling into a funkier art-rock groove on its way to a triumphant chorus hook delivered with a shoulder-shaking glam-rock swagger for the last four minutes of the song. Along the way, Bowie references Eastern philosophy, the Kabbalah, Gnosticism and Alistair Crowley, weighing in on his own drug use with “It’s not the side-effects of the cocaine / I’m thinking that it must be love.” 
 
 15. Drive-In Saturday (1973) 
 
 Released a week before Aladdin Sane as the second single taken from that album, it peaked at No. 3 on the U.K. pop charts, as did the album’s first single, The Jean Genie. The sound is heavily indebted to the classic R&B and doo-wop of the 1950s, a perfect fit for Bowie’s sax and the nostalgic lyrics. 
 
 The story is set in the future, which as often happens in the case of science fiction plots, is post-apocalyptic. “It's hard enough to keep formation,” Bowie sings, “amid this fallout saturation.” Why a drive-in? People go there to study old movies for inspiration, having forgotten how to “get it on like once before / When people stared in Jagger's eyes and scored / Like the video films we saw.” 
 
 14. Rock ‘n’ Roll Suicide (1972) 
 
 The final track on The Rise and Fall of Ziggy Stardust and the Spiders from Mars brings the album to a tortured climax, Bowie shouting “You’re not alone” and “Gimme your hands ‘cause you’re wonderful” at a rock-and-roll suicide, presumably the title character. 
 
 It’s something of a sock-hop ballad but it features Bowie at his most dramatic, setting the scene with an opening verse that finds him accompanied only by an acoustic guitar and then building the track over subsequent verses, adding sax and eventually strings on that majestic coda. The album ends with no real indication as to how that conversation goes. Of course, that's how most classic movies of that era ended, too. Released as a single two years after the album’s release, it peaked at U.K. No. 22. 
 
 13.Rebel Rebel (1974) 
 
 To say it kicks off with one of the greatest rock guitar riffs of the decade may be something of an understatement, and what’s weird is that Bowie himself is the man responsible for playing that guitar riff, clearly channeling Keith Richards. 
 
 Photos: David Bowie through the years 
 
 He's quoted in Nicholas Pegg's The Complete David Bowie, in fact, as having said "It's a fabulous riff! Just fabulous! When I stumbled onto it, it was 'Oh, thank you!'" Lyrically it finds him flirting with androgyny again. “You’ve got your mother in a whirl,” he sings in the opening verse. “She’s not sure if you’re a boy or a girl.” And despite the line, “You’ve torn your dress,” it’s never really clear if the rebel in question is a boy or a girl, which only makes it that much more intriguing. The lead single from Diamond Dogs, it peaked at No. 5. 
 
 12.Fame (1975) 
 
 Bowie’s first chart-topping U.S. single is a hip-shaking triumph of ’70s funk, from its slinky guitar lick to that thumping bass groove. The riff was written guitarist by Carlos Alomar, inspiring John Lennon, who happened to be in the studio, to come up with the vocal hook. 
 
 Bowie took it from there, taking aim at celebrity culture with what he himself would later tell Q magazine was “a degree of malice.” As he sizes up fame in the opening verse, it “puts you there where things are hollow.” It’s a brilliant production all around, but that pitch-shifting vocal hook that goes from unnatural highs to unnatural lows as the song is about to fade is the part that still sounds oddly futuristic, an effect achieved by manipulating the speed of the tape. 
 
 11. Moonage Daydream (1972) 
 
 Recently borrowed to brilliant effect for the soundtrack to Guardians of the Galaxy, this richly orchestrated glam-rock classic is from the first half of The Rise and Fall of Ziggy Stardust and the Spiders from Mars. It’s a stunning arrangement, the opening lines accompanied by slashing power chords before pulling it back for a mellow acoustic-guitar-driven verse and adding textures as the song progresses. 
 
 The power chords return but the overall vibe of the record is far more symphonic than that, combining sax and piccolo on its distinctive instrumental interlude. And it ends in an epic guitar jam from Ronson, his soaring guitar lines underscored by a majestic string arrangement. Meanwhile, the lyrics continue Bowie's love affair with science fiction: “Keep your 'lectric eye on me, babe / Put your ray gun to my head / Press your space face close to mine, love / Freak out in a moonage daydream, oh yeah!” This song was originally recorded and released a year earlier by Arnold Corns, a Bowie side project. 
 
 10. Ashes to Ashes (1980) 
 
 Speaking of his love affair with science fiction, “Ashes to Ashes” finds Bowie reviving the Major Tom character from Space Oddity, setting the scene with “Do you remember a guy that's been in such an early song / I've heard a rumor from Ground Control / Oh no, don't say it's true.” That rumor, as it turns out, is that “We know Major Tom's a junkie / Strung out in heaven's high / Hitting an all-time low.” It’s a suitably haunted recording, putting a space-rock spin on Bowie’s brand of futuristic funk. 
 
 And there’s real pathos in his vocal when he kicks off the bridge with “I never done good things / I never done bad things / I never did anything out of the blue.” In an interview at the time, Bowie said, “It's very much a 1980s nursery rhyme. I think 1980s nursery rhymes will have a lot to do with the 1880s/1890s nursery rhymes which are all rather horrid and had little boys with their ears being cut off and stuff like that.” The first single released from Scary Monsters (And Super Creeps), it topped the U.K. pop charts. 
 
 9. John I’m Only Dancing (1972) 
 
 A hit in England, where it peaked at No. 12, this non-LP track was, in many ways, his first successful foray into more of a dance vibe, although to be fair, the acoustic guitar riff that opens the song could just as easily be heard as rockabilly. And truthfully, most people seemed more caught up in the narrative, which many have interpreted as Bowie following through on having come out in an interview just eight months earlier when he told a reporter "I'm gay and always have been.” “John, I'm only dancing,” he sings. “She turns me on, but I'm only dancing / She turns me on, don't get me wrong / I'm only dancing.” But as Bowie biographer Nicholas Pegg points out, it “could just as easily be a straight man reassuring the girl's lover." Either way, it’s one of Bowie’s most infectious chorus hooks. 
 
 8. Golden Years (1975) 
 
 A finger-popping slice of futuristic soul with a jaw-dropping vocal performance, it followed Fame and Young Americans in tapping into Bowie’s love of classic funk and R&B. It also echoes the lyrical themes of Fame. “Last night, they loved you,” Bowie sings, later telling the same woman, “Some of these days, and it won't be long / Gonna drive back down where you once belonged / In the back of a dream car 20 foot long / Don't cry my sweet, don't break my heart / Doing all right, but you gotta get smart.” It’s one of Bowie’s best vocal performances, from his dramatic phrasing of the line “Don’t let me hear you say life’s taking you nowhere” to the way he follows through with that falsetto “Angel.” And it ends with a whistling solo. A highlight of Station to Station, this was Bowie’s first release to crack the Top 10 on the U.K. pop charts and the Hot 100 (No. 10 here, No. 8 there). 
 
 7. Starman (1972) 
 
 This Ziggy Stardust highlight sounds a bit like Bowie’s version of one those starry-eyed tributes to rock-and-roll radio. But that’s before the alien invasion, as told by Ziggy Stardust. “Then the loud sound did seem to fade,” he sings, “Came back like a slow voice on a wave of phase / That weren't no D.J. that was hazy cosmic jive.” That’s when he tells us there’s a Starman waiting in the sky who'd “like to come and meet us but he thinks he’d blow our minds.” 
 
 The music is a blend of T. Rex-flavored boogie rock and a majestic string arrangement by Ronson. There’s also a tip of the hat to the Supremes’ You Keep Me Hangin’ On that once you’ve heard it cannot be unheard. And it ends with rousing singalong of “la la-la-la la.” 
 
 6. Ziggy Stardust (1972) 
 
 Well, it is the title track to a concept album that, for many fans, remains the masterpiece most likely to convert the Bowie neophyte on impact. So there’s that. It’s also blessed with one of Bowie’s greatest riffs, as played on distorted electric guitar by Ronson. Meanwhile, Bowie spins the story of the self-destructive rock guitarist with the snow white tan, Ziggy Stardust, who “played it left hand but made it too far.” 
 
 There’s a hard-rock urgency to the attack of those guitars as the narrative builds to an ominous climax with “Making love with his ego / Ziggy sucked up into his mind / Like a leper messiah / When the kids had killed the man / I had to break up the band.” No lesser an authority on all things Ziggy Stardust than Bowie himself has said the song is “about the ultimate rock superstar destroyed by the fanaticism he creates." 
 
 5. Young Americans (1975) 
 
 Drummer Andy Newmark sets the tone for this sax-driven smash, the most danceable single to spring from the singer’s post-Ziggy obsession with all things soul and R&B. It’s a joyous sound, topping that danceable R&B groove with a wall of gospel-flavored backing vocalists and a suitably soulful performance from Bowie himself. And it’s all in service of some of the singer's bleakest lyrics. In the opening verse, for example, a couple has passionless sex in the backseat, setting up “She took his ring, took his babies / It took him minutes, took her nowhere.” 
 
 There are references to pimps and Richard Nixon, Bowie sounding like he’s breaking down and crying as he wonders “Ain’t there one damn song that can make me break down and cry?” But Bowie's breakdown may just be a late reaction to the song’s most devastating line: "We live for just these 20 years / Do we have to die for the 50 more?" It peaked at No. 28 on Billboard’s Hot 100, No. 18 on the U.K. pop charts. 
 
 4. Life on Mars? (1971) 
 
 This bittersweet chamber-pop ballad begins with the singer accompanied only by Rick Wakeman on piano, setting the stage with an aching delivery of “It's a God-awful small affair / to the girl with the mousy hair.” Her friend doesn’t show, so she walks “through her sunken dream” to the seat with the clearest view of the silver screen. That’s when the strings come in to underscore her mood as she finds that “the film is a saddening bore / For she’s lived it 10 times or more.” 
 
 The orchestration really kicks in on the chorus as Bowie describes the action on the silver screen, with cavemen sailors fighting in the dance hall and lawmen beating up the wrong guy, on his way to wondering “Is there life on Mars?” The lyrics on the second verse, which follows a brilliant melodic guitar lead from Ronson, are increasingly surreal, with Mickey Mouse “grown up a cow.” 
 
 But Bowie invests every line of the song with conviction and unmistakable emotion. Among the many highlights of the Hunky Dory album, it peaked at U.K. No. 3 when released as a single two years later. 
 
 3. Heroes (1977) 
 
 The title track to “Heroes,” it holds the distinction of being the most accessible moment of the Berlin trilogy, a song whose charms were obvious enough that it’s inspired countless truly inessentials covers, from Janelle Monae to Peter Gabriel and Jakob Dylan, whose version with the Wallflowers was featured on the soundtrack to Godzilla. The sound is epic and hypnotic, led by Brian Eno’s haunting synthesizer work, George Murray's ghostly Motown bass and Bowie’s lead vocal, which shifts dramatically from understated crooning to impassioned wailing as the song builds to a tortured, emotional climax. 
 
 A love song whose bittersweet lyrics were inspired by two lovers he saw meeting in the shadow of the Berlin Wall, it begins with the narrator fantasizing that he and his lover can be heroes if “just for one day” while allowing that she can be mean and he drinks all the time and nothing will keep them together. Although it’s gone on to become one of the legend's best-loved songs, it peaked at U.K. No. 24 and never charted here. 
 
 2. Changes (1971) 
 
 Bowie chronicles the awkward years with soul and understanding, connecting the dots with a stutter to My Generation on a song that’s part teen anthem, part piano ballad. After rallying behind "these children that you spit on as they try to change their worlds" and scolding grown-ups not to "tell them to grow up and out of it," he signs off with a note of caution to all the young dudes ("Look out you rock 'n' rollers / Pretty soon now you're gonna get older"). It’s the best of his chamber-pop ballads, with Wakeman on piano, Bowie supplying a melancholy sax break and Ronson fleshing out the mix on Mellotron and string arrangements. Changes marked the singer’s first appearance on the Billboard Hot 100, where it peaked at No. 66 when first released and No. 41 when re-released in 1975. 
 
 1. Space Oddity (1969) 
 
 Drawing inspiration from a photo taken by Apollo 8, this song was written as a dialogue between the men at ground control and Major Tom, an astronaut who memorably finds himself "floating in a most, uh, pecu-li-ar way." The single fades in on the strumming of a melancholy acoustic guitar progression, a second guitar adding eerie harmonics before the vocals kick in, Bowie singing “Ground control to Major Tom.” After telling him to take his protein pills and put his helmet on, a second voice commences countdown, at the end of the which the string arrangement does a brilliant job of capturing the “liftoff” portion of the story, a bit like A Day in the Life. 
 
 There’s a dreamy instrumental interlude after which the astronaut asks ground control to tell his wife he loves her very much, to which their response is "She knows." But then something goes horribly wrong. They lose contact and we’re left with the image of Major Tom floating round his tin can far above the Earth as the song begins its fadeout on an interstellar instrumental interlude. 
 
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– Lady Gaga showed up on the Grammys red carpet all Ziggy Stardusted-up in her Marc Jacobs getup and platform heels, ostensibly to get her pumped for her much-talked-about tribute to David Bowie (she even got a giant tattoo of Bowie on her torso over the weekend, per the New York Daily News). And like all things Bowie, her set was replete with costume changes and vibrantly colorful lights in an Intel-sponsored performance that was described by PSFK.com before the show as being "experimental" with a "wizard behind the curtain" feel." Gaga ran through some of Bowie's best-loved hits, including "Space Oddity," "Changes," "Ziggy Stardust" (which she accompanied on the keyboard), "Suffragette City," "Rebel Rebel," "Fashion," "Fame," "Let's Dance," and "Heroes." The performance was called a "burst of rock 'n' roll energy on a sleepy night" by the Verge, while Rolling Stone deemed it an "astonishing" and "transformative performance."