A Quote by Jon Landau

The title song of David Bowie's 'Young Americans' is one of his handful of classics, a bizarre mixture of social comment, run-on lyric style, English pop and American soul.
I knew about things like Iggy Pop and The Velvet Underground, weirdly, before I knew about David Bowie. I didn't know what David Bowie was, when I was a kid. I thought he was like Visage.
David Bowie emerged as a rock star in the late '60s. And as Ken Tucker wrote, "In the face of the hippy era's sincerity, intimacy and generosity, Bowie presented irony, distance and self-absorption. His song 'Changes' announced the arrival of a new counterculture," unquote.
There are a handful of music docs I'd love to do, including David Bowie.
I think it's a shame when pop culture forgets that theatricality is a big part of it. When Neil Young is fumbling around in his pocket looking for the right harmonica, it doesn't matter that he's a dude in the hat who is a man of the people - there's a theatricality there. You don't have to be David Bowie or the Kabuki theater to have that theatricality going on.
David Bowie is my biggest inspiration. Pretty much the only thing that stayed the same with Bowie was his eyes. Everything else constantly changed, from his sexuality to his songs.
I was in L.A. with my wife in a restaurant, and I spotted my great hero David Bowie at another table. Of course I wasn't going to bother him. Then I felt a tap on my shoulder, and it was Bowie, and he squatted down to talk to me. David Bowie came down to my level - so gentlemanly.
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.
David Bowie used to cover loads of people, and there was an element of "David Bowie did it, so we wanted to do it," because we're kind of obsessed [with him].
But this is predicated upon the man's becoming in very fact an American and nothing but an American. If he tries to keep segregated with men of his own origin and separated from the rest of America, then he isn't doing his part as an American. There can be no divided allegiance here. . . We have room for but one language here, and that is the English language, for we intend to see that the crucible turns our people out as Americans, of American nationality, and not as dwellers in a polyglot boarding-house; and we have room for but one soul loyalty, and that is loyalty to the American people.
If you took a couple of David Bowies and stuck one of the David Bowies on the top of the other David Bowie, then attached another David Bowie to the end of each of the arms of the upper of the first two David Bowies and wrapped the whole business up in a dirty beach robe you would then have something which didn't exactly look like John Watson, but which those who knew him would find hauntingly familiar.
David Bowie and Elvis Presley are my style icons.
[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 also mixed David Bowie's Young Americans album in 5.1 earlier this year and it will be available very soon. Even the original stereo mixes have been re-mastered and sound amazingly good, better than ever, in fact!
What, then, is this new man, the American? They are a mixture of English, Scotch, Irish, French, Dutch, Germans, and Swedes. From this promiscuous breed, that race, now called Americans, have arisen.
I guess my style is a cross between David Bowie and Clint Eastwood.
I didn't love David Bowie. Sure, I loved a lot of his songs, like everybody else, and, like everybody else, I had an incarnation of Bowie that I loved best - in my case, the solemn 'art-rock' Bowie of the late Seventies.
This site uses cookies to ensure you get the best experience. More info...
Got it!