Bowie Quotes
Most Famous Bowie Quotes of All Time!
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From a musical standpoint, I was inspired by '90s hip hop, with a lot of drums and the tempos. I'm always inspired by David Bowie and Prince.
I was looking at people like Jim Morrison and David Bowie and Mick Jagger and I thought, Ah! I want to look like them.
I didn't love David Bowie. Sure, I loved a lot of his songs, like everybody else, and, like everybody else, I had an incarnation of Bowie that I loved best - in my case, the solemn 'art-rock' Bowie of the late Seventies.
As suburbs go, Bromley's not bad. But as David Bowie and Hanif Kureishi have observed, you do want to get out of there quickly.
I grew up as a kid looking at artists like David Bowie and Prince; I really admired them.
I went through a pretty big David Bowie period when I was younger, and that has affected me profoundly in my life and my work.
Berlin inspired Bowie and stirred him to write about real, important matters.
Eight months after graduating from Ryerson, there I was in West Berlin working with Marlene Dietrich and David Bowie and Kim Novak.
I've had a nice career. I'm no David Bowie or Bruce Springsteen out there. I'm not an icon. I'm just a working artist.
I seriously feel like Bowie was an astronaut who went into space and experienced things and brought back these... treasures.
In the role of Ziggy Stardust, Bowie seemed in 1972 like a strange alien creature, not so much coming from another planet as from a future age. His purpose: to warn us about a dangerous society where values were to be turned inside out.
Elvis Presley, The Rolling Stones, David Bowie and The Sex Pistols may come and go, but rebellion remains a key part of the rock n' roll experience. However, that rebellion - the outgrowth of a youthful search for independence and identity - doesn't always take the same form.
Just as Bowie, Zeppelin, etc., became rock stars by remaking themselves in the image of the California girls, the Go-Gos became rock stars by pretending to be the Buzzcocks and the Sex Pistols. Jane Wiedlin always said her biggest influence was growing up in L.A. as a Bowie girl.
As a songwriter, I was influenced by David Bowie - a great writer. A class above everybody in so many ways. Lennon and McCartney, of course. Class stuff. David Cousins was my favorite lyricist.
I've been a big believer in musicians turned actor, going back to Sinatra winning the Oscar for 'From Here To Eternity.' David Bowie in 'Man Who Fell to Earth,' Kris Kristofferson's been great in a bunch of films. Liza Minnelli, Barbra Streisand, Mariah Carey, I thought was great in 'Precious.'
I never had posters on my walls, and I didn't have any icons, either. I come from a small village in Wirral, and my family didn't watch TV. I wasn't exposed to people with icon status. David Bowie popped up, but I had already shaved my eyebrows off by the time I saw his.
Everyone wants to pretend like they sprang out of the ground with an Animal Collective record in their hands and a David Bowie haircut, and that's just not the case. You discover these things gradually.
I do not use the word 'genius' lightly, but if David Bowie is not a genius, then there is no such thing.
Working with David Bowie was very interesting, but I couldn't surrender to it. I should have let him produce a record for me, but I'm very perverse in some ways. He's brilliant, but the entourage were rather daunting.
My aunt made stuff; my mom was creative, so I was surrounded by that. When I moved to England, it was '75, and everything was happening. My whole teenage life is England, glam rock and David Bowie and Sex Pistols and Iggy Pop, all that stuff.
Be strong and follow your own convictions. You can't assume there is a lot of time to do what you like. This is what David Bowie is afraid of: that he will die before he gets a chance to make a real strong contribution.
I actually had the pleasure of meeting David Bowie at his 50th birthday party in New York City. I handed him the cassette of 'Eight Arms to Hold You,' which I had just got an advance of that day. He very graciously thanked me and tucked it into his jacket pocket.
David Bowie and Boy George created a safely contained theatrical expression of gay style.
The press will naturally come and go as it has done with all artists, from David Bowie to Neil Young to U2.
I didn't even know about guys wearing makeup, like David Bowie and Boy George. When I was really young, I wasn't into that - I was into Britney Spears.
I was always just blown away by David Bowie and how mannered the guy was willing to be. It was so far from what I imagined someone with my confidence to be capable of.
I saw David Bowie in 'Labyrinth' when I was seven or eight. I told my mom I wanted a Bowie record, so we traveled to the mainland, which was, like, a three-hour trip, and I bought 'Let's Dance' and 'Tonight.' 'Let's Dance' blew my little mind. I became obsessed with it.
I was brought up with beautiful music - Nat King Cole and Glen Miller from my dad, and my mum loved Judy Garland and Doris Day - brilliant stuff. Through my brothers and sisters I heard David Bowie and The Specials, The Carpenters, Meatloaf and The Rolling Stones.
Once I was finally liberated from my Kansas background, the first thing I did was get a sewing machine, because it's 1972, and I have to look like Mick Jagger and David Bowie every single second. Taffeta jumpsuits.
I'd been a Bowie fan before punk and used to get no end of trouble. I was always getting knocked about and having to run up the street, getting chased by people. It was horrible.
I loved the idea of Bowie as an artist, with his Burroughsian cut-up technique, creating these undecipherable, abstract songs, where we all projected our own meanings onto his jarring word choices and unexpected chord changes.
I met Bowie when I was 15 backstage at his 'Reality' tour and blacked out completely. I have no memory of the encounter except just looking into his different-colored eyes.
After touring with David Bowie last year, I was inspired to look at what I wanted to do as an artist, and I realized I wanted to go back to the music I fell in love with when I was eight years old.
When I was growing up, David Bowie was my idol. I grew up in inner-city London, and he was from Brixton, which is even more urban.
Somebody like Bowie was so interesting because when you got him off stage, he was like a businessman. But on stage, he was just dazzling. It was like watching butterflies grow.
I will never forget the day David Bowie passed away. I will actually never forget that day because I woke up in the middle of the night and it was the first thing on my phone. I had to lay there. It was almost like everything stopped.
I was obsessed with David Bowie - still am. He's a babe, a total babe. His music is killer; his visuals are beautiful.
Every musician that dies is the greatest ever when they die. I never heard a David Bowie record in my life. But for whatever reason, he's one of the greatest of all time now. You know why? 'Cause he's dead.
I was a huge Bowie fan since I was 12 years old. That was the first 'punk' rock I got into in the Seventies. I didn't find out about a lot of the other stuff that was going on, like New York Dolls and Roxy Music, until a lot later.
David Bowie worked with Brian Eno and dressed up in extraordinary clothes, but he was also a brilliant songwriter who captured the thoughts of a generation. He was hugely successful, without compromise.
In 1979, I moved to England and photographed Joy Division and Bowie and Beefheart. At that time I got images that I felt had that special, well - power is a big word to say - more like intimacy and ambition that outlasted the photo shoot. I felt that they would have a longer life.
I was always interested in acting and writing, and I honestly thought I'd make my name as a scriptwriter one day. But somehow, I ended up in London in the early '70s, and that's where I had my David Bowie adventure.
'Teenage Wildlife' is just epic. It's, like, five or six minutes long, and it kind of crescendos and builds into this insane vocal of Bowie wailing. I think I would pay $5,000 dollars to see footage of that recording session.
How could 30 years be the blink-of-the-eye it felt? It was the difference between black-and-white footage of the Second World War and David Bowie on 'Top of the Pops' singing 'Life on Mars.'
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