Bowie developed an interest in music from an early age. He studied art, music and design before embarking on a professional career as a musician in 1963. "Space Oddity", released in 1969, was his first top-five entry on the UK Singles Chart. After a period of experimentation, he re-emerged in 1972 during the glam rock era with his flamboyant and androgynous alter ego Ziggy Stardust. The character was spearheaded by the success of Bowie's single "Starman" and album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, which won him widespread popularity. In 1975, Bowie's style shifted towards a sound he characterised as "plastic soul", initially alienating many of his UK fans but garnering him his first major US crossover success with the number-one single "Fame" and the album Young Americans. In 1976, Bowie starred in the cult film The Man Who Fell to Earth and released Station to Station. In 1977, he again changed direction with the electronic-inflected album Low, the first of three collaborations with Brian Eno that came to be known as the "Berlin Trilogy". "Heroes" (1977) and Lodger (1979) followed; each album reached the UK top five and received lasting critical praise.
After uneven commercial success in the late 1970s, Bowie had three number-one hits: the 1980 single "Ashes to Ashes", its album Scary Monsters (and Super Creeps), and "Under Pressure" (a 1981 collaboration with Queen). He achieved massive commercial success in the 1980s starting with Let's Dance (1983). Between 1988 and 1992, he fronted the hard rock band Tin Machine before resuming his solo career in 1993. Throughout the 1990s and 2000s, Bowie continued to experiment with musical styles, including industrial and jungle. He also continued acting; his roles included Major Jack Celliers in Merry Christmas, Mr. Lawrence (1983), Jareth the Goblin King in Labyrinth (1986), Pontius Pilate in The Last Temptation of Christ (1988), and Nikola Tesla in The Prestige (2006), among other film and television appearances and cameos. He stopped touring after 2004 and his last live performance was at a charity event in 2006. In 2013, Bowie returned from a decade-long recording hiatus with The Next Day. He remained musically active until his death from liver cancer at his home in New York City. He died two days after both his 69th birthday and the release of his final album, Blackstar (2016).
During his lifetime, his record sales, estimated at over 100 million records worldwide, made him one of the best-selling musicians of all time. In the UK, he was awarded ten platinum, eleven gold and eight silver album certifications, and released 11 number-one albums. In the US, he received five platinum and nine gold certifications. He was inducted into the Rock and Roll Hall of Fame in 1996. Rolling Stone ranked him among the greatest artists in history. As of 2022, Bowie was the best-selling vinyl artist of the 21st century.
Full Wikipedia article: https://en.wikipedia.org/wiki/David_Bowie
Studio albums
David Bowie (1967)
David Bowie/Space Oddity (1969)
The Man Who Sold the World (1970)
Hunky Dory (1971)
The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972)
Aladdin Sane (1973)
Pin Ups (1973)
Diamond Dogs (1974)
Young Americans (1975)
Station to Station (1976)
Low (1977)
"Heroes" (1977)
Lodger (1979)
Scary Monsters (and Super Creeps) (1980)
Let's Dance (1983)
Tonight (1984)
Never Let Me Down (1987)
Black Tie White Noise (1993)
The Buddha of Suburbia (1993)
Outside (1995)
Earthling (1997)
Hours (1999)
Heathen (2002)
Reality (2003)
The Next Day (2013)
Blackstar (2016)
New York's In Love
David Bowie Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I'm sure it's love
Would you do one thing
New York's in love
The city grew wings in the back of the night
The clouds are stuck like candy-floss
She sees the rich trash having all the fun
Makes her wonder where they get the energy from
This city's all clean and waiting
I don't mean to wait too long
But this joint can't get much higher
CHORUS
New York's in love-
With her big green eyes
And her long blonde hair
New York's in flames
New York's in love
With the way she talks
And the way she walks
New York's in love
Goo Goo Goo Goo Goo Goo
My, oh my, it's a tom-tom beat
No-one knows they've had their day
We can dance and we can see the singles swing
Everybody's waiting for the Go-Go Boys.
You're turned to stone by the family
It's now the dead speak to the living
Nothing left here but a raging blaze
I don't mean to wait too long
CHORUS
New York's in love-
With her big green eyes
And her long blonde hair
New York's in flames
New York's in love
With the way she talks
And the way she walks
New York's in love
Goo Goo Goo Goo Goo Goo
The lyrics of David Bowie's song New York's In Love is a tribute to the city that he had fallen in love with. The song speaks of the city's vibrancy and energy, the way it inspires and energizes the people who dwell in its confines. The soaring lyrics suggest that the city itself is in love, with its own people and perhaps the world outside its borders. The metaphorical language of the lyrics paints a picture of a city that is not just alive but seems to have a life of its own, one that never sleeps but is constantly in motion.
The first verse describes how the city has grown wings, evoking an image of freedom and boundless energy. The clouds, meanwhile, are described as stuck like candy-floss, suggesting that they are an obstacle to be overcome. The second verse speaks of the city's nightlife, with the rich and trash having all the fun. Yet even while she wonders where they get their energy from, the city is clean and waiting, revealing her underlying orderliness and purpose. The chorus then declares the city's love for herself, with her big green eyes and long blonde hair, and the way she talks and walks. Even the sound of the repeating syllables Goo Goo adds to the city's sense of rhythm and beat.
Overall, the lyrics of New York's In Love speaks to the city's unique character and how it inspires those who live or visit there. It also demonstrates Bowie's own love for the city, which he considers as his second home. Through the combination of metaphorical language and vivid imagery, the song expresses the raw energy and spirit that emanates from the streets of New York City.
Line by Line Meaning
Do you see that thing
David Bowie is pointing out something that he considers important
I'm sure it's love
Bowie is convinced that what he is seeing is a manifestation of love
Would you do one thing
David Bowie is making a request of his audience
New York's in love
Bowie is personifying New York City as being in love
The city grew wings in the back of the night
Bowie is describing the transformation of New York City at night with poetic language
The clouds are stuck like candy-floss
Bowie is using a simile to describe the fluffy clouds in the sky
She sees the rich trash having all the fun
Bowie is commenting on the excesses of the wealthy in New York City
Makes her wonder where they get the energy from
Bowie is indicating that he wonders how the wealthy manage to party so much
There's nothing you can do to her
Bowie is suggesting that New York City is beyond the influence of individuals
This city's all clean and waiting
Bowie is making an observation about the state of the city during a particular period of time
I don't mean to wait too long
Bowie doesn't want to waste any time
But this joint can't get much higher
Bowie feels that the atmosphere in New York City couldn't get any better
New York's in love-
Bowie is repeating his assertion that New York City is in love
With her big green eyes
Bowie is using anthropomorphism to describe the city's features
And her long blonde hair
Bowie is continuing to compare the city to a human being
New York's in flames
Bowie is using hyperbole to describe how intense the city's emotions are
With the way she talks
Bowie continues to use anthropomorphism to describe the city's character
And the way she walks
Bowie is comparing the city's way of moving to a human gait
Goo Goo Goo Goo Goo Goo
Bowie is repeating a nonsensical phrase for effect
My, oh my, it's a tom-tom beat
Bowie is commenting on the music being played
No-one knows they've had their day
Bowie is suggesting that the people listening to the music are unaware of how fleeting their popularity is
We can dance and we can see the singles swing
Bowie is describing the scene at a nightclub in New York City
Everybody's waiting for the Go-Go Boys.
Bowie is indicating that there's something exciting about to happen at the nightclub
You're turned to stone by the family
Bowie is suggesting that people in power can have a negative effect on individuals
It's now the dead speak to the living
Bowie is using metaphor to describe the situation in New York City where past legends still have an influence
Nothing left here but a raging blaze
Bowie is using figurative language to describe the end of a party
Goo Goo Goo Goo Goo Goo
Bowie is repeating a nonsensical phrase for effect
Lyrics © O/B/O APRA AMCOS
Written by: DAVID BOWIE
Lyrics Licensed & Provided by LyricFind
DrJKintobor
on I Can't Give Everything Away
I can totally imagine this being the end theme of Sabrina Online, when Sabrina marries Richard and they drive off into the sunset...
Peter Bonney
on Diamond Dogs
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