Inspirational Bowie Quotes

Tomorrow belongs to those who can hear it coming

Sometimes I don't feel as if I'm a person at all. I'm just a collection of other people's ideas.

And the stars look very different today.

She will be your living end. - Lady Grinning Soul

I am only the person the greatest number of people think I am. (1999)

An dem Tag, an dem du denkst, du kannst nicht mehr besser werden, fängst du an, immer den gleichen Song zu spielen.

Self-destructing – in rock, in public, in fact anywhere – is not good for the human spirit, not to mention the lungs, liver and kidneys. Artistically, it’s best approached the way David Bowie did it in the mid-1970s. His cocaine addiction turned him into a withered stick-insect figure of a man but also inspired the best music of his entire career. Then he sorted himself out and became the golden-haired survivor we know and love today.

The supposedly eyewitness authority of the Pseudo-Turpin finds a parallel in another genre in which vernacular prose was pioneered: that of the historical memoir. There were twelfth-century verse histories narrated by authors who had personally participated in the events they describe, such as the Third Crusade. But the Fourth Crusade of 1202-4 saw a switch to prose. This shameful fiasco, in which the crusaders were induced to turn aside from the Holy Land and attack instead the Christian city of Constantinople, inspired two contrasting accounts. Robert de Clari--ignorant of higher-level strategy, but all agog at the splendours of Constantinople--gives a worm's eye view. Geoffroi de Villehardouin, by contrast, has a top diplomat's suave authority and a leader's eye for the aesthetics of war--the splendid sight of a fleet, or the noble heroism of a ruler. For both authors the medium of prose seems to convey the purported authenticity and transparency of lived experience.

Ziggy was David’s homage to the outsider; the main inspiration was undoubtedly Iggy, the singer with whom David was obsessed and whose doomed, Dionysian career path had already built its own mythology. David was well aware that Iggy, too, was a mere creation—for in their first meeting, David had learned the scary, gold-and-glitter-spattered facade hid another persona—the urbane Jim Osterberg, who was disconcertingly reminiscent of Jimmy Stewart.

One humid summer night in Austin, Texas, Mamrie Hart and I spent an hour drunkenly arguing and openly crying on the street while wearing David Bowie– and Tina Turner–inspired wigs, butterfly eyelashes, and KEEP AUSTIN WEIRD tie-dyed T-shirts.

Aging changes your relationship with history.

The nice thing about having a lover is that it makes you think about everything anew; the rest of your life becomes a kind of movie, flat and rather funny. “Inspirations have I none / Just a touch of flaming love…” sings Bowie.

My favored stick of rock was glam, where Bowie, T. Rex, Roxy Music, Sparks, and Cockney Rebel provided the soundtrack to my youth. Each had an individually captivating sound, and together they told the story I wanted to hear through those times in Britain. Other kids at school were lost in a haze of Pink Floyd and Genesis, or were queuing endlessly to secure Led Zeppelin tickets. We were all members of different factions, but wherever you belonged, the music was inspirational. It was an important voice in our culture, a way for our generation to express its singularity.

When Television were first playing at CBGB in the early 1970s, he gave them a blurb to use on gig fliers. (“The most original band I’ve seen in New York. They’ve got it.”) It wasn’t that he had unerring taste—how would that ever be the point?—but he had the appetite of a true pop fan. His last album was inspired by Kendrick Lamar, who was born during the Glass Spider tour.

by refusing to repeat it, much to the despair of their record companies. Both wrote gorgeous sci-fi ballads blatantly inspired by 2001—“Space Oddity” and “After the Gold Rush.” Both did classic songs about imperialism that name-checked Marlon Brando—“China Girl” and “Pocahontas.” Both were prodigiously prolific even when they were trying to eat Peru through their nostrils. They were mutual fans, though they floundered when they tried to copy each other (Trans and Tin Machine). Both sang their fears of losing their youth when they were still basically kids; both aged mysteriously well. Neither ever did anything remotely sane. But there’s a key difference: Bowie liked working with smart people, whereas Young always liked working with . . . well, let’s go ahead and call them “not quite as smart as Neil Young” people. Young made his most famous music with two backing groups—the awesomely inept Crazy Horse and the expensively addled CSN—whose collective IQ barely leaves room temperature. He knows they’re not going to challenge him with ideas of their own, so he knows how to use them—brilliantly in the first case, lucratively in the second. But Bowie never made any of his memorable music that way—he always preferred collaborating with (and stealing from) artists who knew tricks he didn’t know, well educated in musical worlds where he was just a visitor. Just look at the guitarists he worked with: Carlos Alomar from James Brown’s band vs. Robert Fripp from King Crimson. Stevie Ray Vaughan from Texas vs. Mick Ronson from Hull. Adrian Belew from Kentucky vs. Earl Slick from Brooklyn. Nile Rodgers. Peter Frampton. Ricky Gardiner, who played all that fantastic fuzz guitar on Low (and who made the mistake of demanding a raise, which is why he dropped out of the story so fast). Together, Young and Bowie laid claim to a jilted generation left high and dry by the dashed hippie dreams. “The

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