David Bowie quotes and sayings [Page 3]
January 8, 1947
January 10, 2016
I've always regretted that I never was able to talk openly with my parents, especially with my father. I've heard and read so many things about my family that I can no longer believe anything; every relative I question has a completely different story from the last.
From my standpoint, being an artist, I want to see what the new construction is between artist and audience.
People who had been treated inhumanly, not given a chance to secure any foot on any ladder - and all the social mores were suddenly abandoned.
It's amazing: I am a New Yorker. It's strange; I never thought I would be.
Actually, my ambition at eight or nine years old was to be one of Little Richard's sax players, and that's when I got my first saxophone, a Selmer. It was a strange Bakelite material - that creamy plastic with all the gold keys on it. I had to get a job as a butcher's delivery boy to start paying for it.
I was told that it was cool to fall in love, and that period was nothing like that to me. I gave too much of my time and energy to another person and they did the same to me and we started burning out against each other. And that is what is termed love.
Money goes to money heaven, body goes to body hell.
I made a more mature approach to industrial music.
I think everything that I learned about stagecraft and carrying through - creating a through point for a theatrical device.
I was born in London 1947, after the war. A real wartime baby. I went to school in Brixton, and then I moved up to Yorkshire, which is in the north of England. I lived on the farms up there.
I think it all comes back to being very selfish as an artist. I mean, I really do just write and record what interests me and I do approach the stage shows in much the same way.
David Bowie's music is a moving target. Just when you think you got the bullseye, it shifts. And to his credit, on to death, it's still shifting. David Bowie is a moving target, even after he's gone.
I'm always amazed that people take what I say seriously. I don't even take what I am seriously.
What I like doing is writing and recording and much more on the, I guess, the - on that creative level. It's fun interpreting songs and all that, but I wouldn't like it as a living.
I do some kind of work, whether writing or painting or recording, on a daily basis. And it's so essential that when I'm involved in the actual process, my so-called 'real life' becomes almost incidental, which becomes worrying.
I'm a born librarian with a sex drive.
Why bother choosing a certain chair? Because that chair says something about you.
Turn and face the strange.
Don't you love the Oxford Dictionary? When I first read it, I thought it was a really really long poem about everything.
There were lots of nightly relationships. But the reason you don't want to make a commitment is not that you're such a freewheeling, adventurous person, it's because you're scared shitless that it will turn out like your mother and father.
Oooh, fashion, we are the goon squad and were coming to town, beep beep.
I can't keep my fingers out of any pies.
If you want it, boys, get it here, thing.
I believe that I often bring out the best in somebody's talents.
Now I realize that from '72 through to about '76, I was the ultimate rock star. I couldn't have been more rock star.
Mine is really - Ziggy Stardust, characters, "Let's Dance." That's me in the American.
The absolute transformation of everything that we ever thought about music will take place within 10 years, and nothing is going to be able to stop it. I see absolutely no point in pretending that it's not going to happen. I'm fully confident that copyright, for instance, will no longer exist in 10 years.
I've always tended to write songs prolifically.
All art is unstable. Its meaning is not necessarily that implied by the author. There is no authoritative voice. There are only multiple readings.
The Americans at heart are a pure and noble people; things to them are in black and white. It's either 'rawk' or it's not. We Brits putter around in the grey area.
I kind of miss that "becoming" stage, as most times you really don't know what's around the corner. Now, of course, I've kind of knocked on the door and heard a muffled answer. Nevertheless, I still don't know what the voice is saying, or even what language it's in.
It took me a long time to reach the bottom and it went through various stages. I went from drugs into an alcohol stage. For a while, one feels, "Ah, I've kicked drugs," but what I discovered was I had another addiction instead.
The best DJs in the world know how to pull in music from all over the place and make it work as a cohesive whole.
Everything I read about hitting a midlife crisis was true. I had such a struggle letting go of youthful things and learning how to exist and have enthusiasm while settling into the comfort of an older age.
Funk, I don't think I have anything to do with funk. I've never considered myself funky.
When the musical keyboard was created in the 1970's, you had electronic geeks that had no background in music created these devises and gave them to musicians that had no background in electronics. The result was some of the wierd sounds that came out in the '70s.
On "Tonight" I think I was torn dreadfully between writing what I wanted to write, but keeping it in a style that would follow up what I had just done. That's where I feel I was untrue to myself as an artist . . . that album and, to a lesser extent, "Never Let Me Down.".
If I put faith in medication, if I can smile a crooked smile, if I can talk on television, if I can walk an empty mile.
What about David Bowie? He's a sexy creature.
I was studying Tibetan Buddhism when I was quite young, again influenced by Kerouac.
I ask for so little.Just fear me, love me, do as I say and I will be your slave.
Some of us, I think, us small, pompous arty ones probably read too much George Steiner and kind of got the idea that we were entering to this kind of post-culture age and that we'd better do something postmodernist - quickly, before somebody else did.
I probably also wanted to be black at that particular time 9 years old as well.
I think fame itself is not a rewarding thing. The most you can say is that it gets you a seat in restaurants.
Every time I've made a radical change it's helped me feel buoyant as an artist.
I am a moderately good singer. I am not a great singer but I can interpret a song, which I don't think is quite the same as singing it.
I have absolutely no interest in rock and roll. I'm just being David Bowie. Mick Jagger is rock and roll. I mean, I go out and my music is roughly the format of rock and roll, I use the chord changes of rock and roll, but I don't feel I'm a rock and roll artist. I'd be a terrible rock artist, absolutely ghastly.
I'll paint you moments of gold, I'll spin you Valentine evenings.
I saw Stephen Sondheim's Sweeney Todd, which I thought was a masterpiece. Not that long ago, I listened to Blackstar by David Bowie and thought that was a masterpiece. Those are two incredibly talented people who've left their mark with us.
Cause I'd rather stay here With all the madmen Than perish with the sadmen roaming free And I'd rather play here With all the madmen For I'm quite content they're all as sane As me.
Frankly, if I could get away with not having to perform, I'd be very happy. It's not my favorite thing to do.
If you feel safe in the area you're working in, you're not working in the right area. Always go a little further into the water than you feel you're capable of being in. Go a little bit out of your depth. And when you don't feel that your feet are quite touching the bottom, you're just about in the right place to do something exciting.
I wanted to be Gerry Mulligan, only, see, I didn't have any kind of technique. So I thought, well, baritone sax is kind of easier; I can manage that - except I couldn't afford a baritone, so I bought an alto, which was the same fingering.
Sweet head, give you sweet head.
I don't believe in proper cinema; it doesn't have the strength of television. People having to go out to the cinema is really archaic. I'd much rather sit at home.
I still derive immense pleasure from remembering how many hod-carrying brickies were encouraged to put on lurex tights and mince up and down the high street, having been assured by know-it-alls like me that a smidgen of blusher really attracted the birds.
Since the departure of good old-fashioned entertainers the re-emergence of somebody who wants to be an entertainer has unfortunately become a synonym for camp. I don't think I'm camper than any other person who felt at home on stage, and felt more at home on stage than he did offstage.
There are times when I prefer a cerebral moment with an artist, and I'll just enjoy the wit of a Picabia or a Duchamp. It amuses me that they thought that what they did would be a good way of making art.
One of my biggest heroes and people I was fortunate enough to be around is David Bowie. I look at his career, and he always had the balls to break things that weren't broken, to step away from something and try something new, at risk of failing.
All the great mystical religions put a strong emphasis on the redeeming qualities of sex.
David Bowie had a genius for continual change himself, reinventing his sound and his image throughout the decades. Each album seemed to find Bowie in a different persona, with a new sound to match his new look.
I just put drugs down to luck. I persevere quite honestly, and I've got a fair amount of discipline that keeps me out of deep water.
Rock's always been the devil's music.
Time takes a cigarette, puts it in your mouth.
My mother was a housewife. Both from - well, my father was from a farming family, agricultural family in the north of England. And my mother came from a very working class.
You can begin really looking for a relationship . . . when you can the whole concept of giving to someone, not just taking.
While my life started taking on all the problems of addiction. So that took me off into an area where relationships were absolutely impossible to handle on any real level. . . . Even communicating with other people was impossible.
And it's always the same kind of artist, I think, who has more enjoyment being slightly on the outside of things, who doesn't want to be sucked into the tyranny of the mainstream. Because once you get sucked into that, you're dead as an artist.
All Montreal bands have around nine members, I believe.
Illusion I will be, for I've never been a sinner.
What I like to do is try to make a difference with the work I do.
Questioning my spiritual life has always been germane to what I was writing. Always. It's because I'm not quite an atheist and it worries me. There's that little bit that holds on: 'Well, I'm almost an atheist. Give me a couple of months.'.
It's odd but even when I was a kid, I would write about 'old and other times' as though I had a lot of years behind me. Now I do, so there is a difference in the weight of memory.
I'm a phallus in pigtails, and there's blood on my nose, and my tissue is rotting where the rats chew my bones. And my eye sockets empty, see nothing but pain, I keep having this brainstorm about twelve times a day.
I really floated around in the '60s, because I felt comfortable with nothing.
The only time that I've adopted characterization again since that point, for my own albums, has been an album called "Outside" that I did with Brian Eno.
The media is either our salvation or our death.
I do value the respect I get from my contemporaries, but to have Oasis cover my song, to have Puff Daddy cover a song, to have Goldie come along to my gigs - that's where my ego is at. To have my fellow musicians like what I do, that's very cool.
Once I've written something it does tend to run away from me. I don't seem to have any part of it - it's no longer my piece of writing.
I would like to believe that people knew what they were fighting for and why they wanted a revolution, and exactly what it was within that they didn't like.
I think a lot of that album "Tonight" is still very good . . . the songs, but I think I was indifferent to the arrangements.
I have a very strong paternal streak. I'm a born father...I get such enjoyment out of being with children. Now they are enjoyable little things. They really are. I like their kind of humor. You can stuff all your punk bands, give me three children instead.
Everywhere I looked, demons of the future were on the battlegrounds of one's emotional plane.
If I hadn't had my children, I would have been discouraged a lot quicker. It would have been much more easy for me to say, "You know what, let the whole thing go. Have a good time, because these people, this place - it's just not worth it." You know? I can't do that anymore. I look into those eyes and they look at me so trustingly that I'm gonna make sure that they're thinking, "Hey, you did a good thing bringing me into the world, daddy. I'm going to have a great life!".
There's just some dysfunctionalism with artists. There are good things and bad things about being an artist, and the good thing is, sometimes you get an inside line on what's really happening. You develop these strange antennae that clue you in to what's really going on.
I should live my life on bended knee if I can't control my destiny you've gotta have a scheme you've gotta have a plan in the world of today, for tomorrow's man no control.
But I'm pretty good with collaborative thinking. I work well with other people.
Rita Mae Brown
Mary Elizabeth Winstead
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