Quotes About Bowie

David Bowie always told me how good I smelt. He said to me he had never smelt Chanel smell like that on anybody!

Eight months after graduating from Ryerson, there I was in West Berlin working with Marlene Dietrich and David Bowie and Kim Novak.

With his pinned-back ears and face suffused with strong, hard-to-read feelings, Bowie looked sleek and dangerous briefly, belying the neatness, the pampered hands.

Bowie was a seasoned swindler, always on the make, a man who fled to Texas rather than face the consequences of a series of land frauds he had attempted back in Arkansas and Louisiana.

Pop culture didn't actually need an Andy Warhol to make it postmodern. Rock 'n' roll was never anything but a faked-up blues—something that the glam-era Bowie had understood perfectly. (Eno: "Some people say Bowie is all surface style and second-hand ideas, but that sounds like a definition of pop to me.")

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'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.

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.

My music diet growing up was lots of sugar. Lots of retro-pop sugar. Motown, disco. A lot of English rock, like the Turtles, the Zombies, Bowie and stuff like that.

I stopped wanting or not wanting anything concerning Bowie a long time ago. I stay neutral. He does what he does. Always has.

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.

Bowie's 'Hunky Dory' influenced me. 'Ziggy Stardust' influenced Johnny Ramone a lot, especially his guitar parts.

I had another version of 'We Dance' that was kind of glam-rock. It was a little 'Taking Care of Business' mixed with Simon and Garfunkel. But on the album, I did it in a down-and-out way, like the Frogs or David Bowie or something - a little torch song thing.

Being a hybrid maker off and on over the years, I'm very comfortable with the idea and have been the subject of quite a few pretty good mash-ups myself.

Paper clip. Ping. Disaster. Colonel Bowie is down. Colonel Bowie is down! The Mexican Army is now leaderless. Capone gloats.

I'm only involved really right now with the Art Ensemble of Chicago and the Brass Fantasy.

No problem. Just drop it back off before you go, " he says, procuring a brass key. "And if he puts on Bowie's early stuff and starts sweet-talking, dammit, you run. You run as fast as you can.

One evening Bowie vented his frustration, says Pitt, by telling him, "I'm going to write some Top Ten rubbish," then proceeded to write a song that was neither. "Let Me Sleep Beside You" would be his first collaboration with Tony Visconti, the producer with whom he's most associated; the finest song Bowie had written to that point, it also became the cause of his biggest artistic setback.