The Elephant Man between late July 1980 and early January 1981. During this time, he also filmed an appearance in the Uli Edel film Christiane F. (1981). The murder of John Lennon in December 1980 affected Bowie deeply; he cancelled an upcoming Scary Monsters tour and withdrew to his home in Switzerland, becoming a recluse but continuing to work. In July 1981, he collaborated with Giorgio Moroder for "Cat People (Putting Out Fire)", the title song of the Paul Schrader film Cat People (1982), and in the same session, recorded "Under Pressure" with the rock band Queen. Shortly after, he played the title role in a BBC adaptation of Bertolt Brecht's play Baal, directed by Alan Clarke. Recorded in August 1981 and transmitted in March 1982, Bowie also recorded an accompanying soundtrack EP, released through RCA in February to coincide with the transmission. During the year, Bowie filmed appearances in The Hunger and Merry Christmas, Mr. Lawrence, both released in 1983. During filming for the latter, he grew fond of artists from the 1950s and 1960s, including James Brown, Buddy Guy, Elmore James and Albert King. The musical ideals from these artists would greatly influence the new album. Scary Monsters was Bowie's final studio album for RCA Records, his label since Hunky Dory (1971). Having grown increasingly dissatisfied with the label, who he felt was "milking" his back catalogue, he was also eager for the September 1982 expiration of his 1975 severance settlement with his old manager Tony Defries. Although RCA was willing to re-sign, alongside Columbia and Geffen Records, Bowie signed a new contract with EMI America Records for an estimated $17 million. Development With a new label and an idea for a commercial sound, Bowie wanted to begin fresh with a new producer. He chose Nile Rodgers of the R&B band Chic, one of the most commercially successful bands of the late 1970s, with hits such as "Le Freak" (1978) and "Good Times" (1979). According to biographer Nicholas Pegg, contemporary listeners considered Rodgers' writing and production work, including Sister Sledge's "We Are Family" (1979) and Diana Ross's "Upside Down" (1980), to be "dance classics". Bowie and Rodgers met each other at the Continental in New York City in autumn 1982, where they found they had similar influences in old blues and R&B music. Speaking to Musician in 1983, Rodgers said: "David could have had any producer – white