David Bowie Quotes
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It's not the side-effects of the cocaine - I'm thinking that it must be love. It's too late to be grateful, It's too late to be hateful, It's too late to be late again, The European cannon is here.
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Music itself is going to become like running water or electricity. So it's like, just take advantage of these last few years because none of this is ever going to happen again. You'd better be prepared for doing a lot of touring because that's really the only unique situation that's going to be left.
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It would be my guess that Madonna is not a very happy woman. From my own experience, having gone through persona changes like that, that kind of clawing need to be the center of attention is not a pleasant place to be.
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Some people are marching together and some on their own. Others are running, the smaller ones crawl. But some sit in silence.
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I think much has been made of this alter ego business. I mean, I actually stopped creating characters in 1975 - for albums, anyway.
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I don't have stylistic loyalty. That's why people perceive me changing all the time. But there is a real continuity in my subject matter. As an artist of artifice, I do believe I have more integrity than any one of my contemporaries.
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[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.
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To not be modest about it, you'll find that with only a couple of exceptions, most of the musicians that I've worked with have done their best work by far with me.
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I want people to hear musicians like Joe Cuba. He has done things to whole masses of Puerto Rican people. The music is fantastic and important.
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I have found myself deeply, deeply intrigued by the ska-punk scene. It's such an expressive form of popular music, it's so real, it's got so much life: it's the most vital music in the world.
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I think everything that I learned about stagecraft and carrying through - creating a through point for a theatrical device.
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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!"
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Things have to hit for the moment. That's one of the reasons I'm into video; the image has to hit immediately. I adore video and the whole cutting up of it.
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Since early middle ages when people generally taking away the barbarity of their like, were pretty content. Although it was all an illicit contentment, what with the slave systems all over the world, in England especially, the peasants and the master, etc. People were incredibly content.
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I guess a certain contingent of the musicians in London at the beginning of the '70s were fed up with denim and the hippies. And I think we kind of wanted to go somewhere else.
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I had to resign myself, many years ago, that I'm not too articulate when it comes to explaining how I feel about things. But my music does it for me, it really does.
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I'm drawn between the light and dark.
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I went mainstream in a major way with the song "Let's Dance." And what I found I had done was put a box around myself. It was very hard for people to see me as anything other than the person in the suit who did "Let's Dance," and it was driving me mad - because it took all my passion for experimenting away.
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It's almost a social grace to get into the art world, and I'm very wary of it. Art was good in Berlin in the late '70s - there was a lot more guts to art when the Neo-Expressionists were starting up; it was real slapdash; it has real heart to it - but it seems so cold and heartless in America. It's a buyer's market.
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I went to a middle-class school, but my background is working class. I got the best of both worlds, I saw both classes, so I have a pretty fair idea of how people live and why they do it.
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Trying to tart the rock business up a bit is getting nearer to what the kids themselves are like, because what I find, if you want to talk in the terms of rock, a lot depends on sensationalism and the kids are a lot more sensational than the stars themselves.
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My particular thing is discovering what can be done with media and how it can be used. You can't draw people together like one big huge family, people don't want that. They want isolation or a tribal thing.
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The truest form of any form of revolutionary left, whatever you want to call it, was Jack Kerouac, E.E. Cummings, and Allan Ginsberg's period. Excuse me but that was where it was at. The hippies, I'm afraid, don't know what's happening.
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When you think about it, Adolf Hitler was the first pop star.