Quotes About Bowie

I moved to London to work at the National Theatre and spent my first wage packet on Patti Smith, Bowie and Velvets records.

Now U2's not my favorite band, but I do respect them, and in the same way I respect Bowie: They change without fear of change.

Berlin inspired Bowie and stirred him to write about real, important matters.

I'm a massive Bowie fan, always have been.

I'm a '70s guy at heart. I play a lot of Bowie and 10cc at home.

I know every Bowie song backward.

Don't trust anyone that doesn't like any Bowie songs.

I felt like I grew up with Bowie. I never dressed like him, even though I did love the music, but consistently throughout my career he has been a go-to reference point: The suit from 'Young Americans,' or the gold Missoni-type looks of Ziggy Stardust. 'The Berlin Years' still influences me.

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.

Salary arbitration is probably in place - was put in place then and probably is in place now - because I supported it.

Bowie has an unusual face. He's neither a man nor a woman. There's this aura of fantasy that surrounds him. He has flair.

I'm a born librarian with a sex drive

And you, You can be mean And I, I'll drink all the time 'Cause we're lovers, And that is a fact Yes we're lovers, And that is that - "Heroes"

Being a (male) Bowie fan meant that your schoolmates branded you a 'poof', too.

On 2 October 2002, Bowie returned, triumphantly, to the Hammersmith Odeon (now known as the Carling Apollo), a venue whose place in Bowie lore had been guaranteed

Bowie clearly at ease and enjoying himself. In Dublin he reportedly said to the 16,000 audience, 'Tiocfaidh Ar Lia', 'our day will come'. 'He said it near the start

If it was too windy sixty feet up, Bowie couldn't perform the song for fear of toppling off his mounting and becoming a rock'n'roll casualty. For the 1987 tour, as if in a fit

Invited round to meet Ava Cherry's mother and father, Bowie finished off his meal by bringing out a phial of coke and snorting right in front of them.

Don't you wonder sometimes," sang Bowie all the way to Kinshasa, "about sound and vision?

I grew up in Deptford in south London, and at that time I used to wear toppers, loon pants and tonic suits from shops like Take 6 and Topman. I was a bit of a soul boy, but I had a very eclectic taste in music - I was into James Brown and Bowie; and I was the only kid in the neighbourhood who would also be listening to Chopin.

My whole relationship with Bowie started when I was 13, and I bought a copy of 'Aladdin Sane' when I didn't have a record player. I had this record for a year before I could play it, and it was the image - not the sound - that I was attracted to. I just saw this image and thought he was my cousin.

One day, I hope that I can come to Sandhill, and there's a huge sign that says, 'Welcome to Sandhill, Home to Tori Bowie.'

Bowie's five best albums came all in a five-year rush: Station to Station (1976), Low (1977), "Heroes" (1977), Lodger (1979), Scary Monsters (1980). What do these albums have in common? The rhythm section: Dennis Davis on drums, George Murray on bass, and Carlos Alomar on guitar.

Ziggy was a requiem: Bowie came to bury the sixties, not praise them. He hit the road and toured like a madman, spreading the glitter gospel in a rock scene full of interchangeable flannel-and-denim sincerity pimps.