Every collaboration helps you grow. With Bowie, it's different every time. I know how to create settings, unusual aural environments. That inspires him. He's very quick.
The press will naturally come and go as it has done with all artists, from David Bowie to Neil Young to U2.
Davy Jones was the grooviest of the Monkees, which makes him one of the grooviest pop stars who ever existed. He was the best dancer in the Monkees, the Cute One, the one with the coy English accent, the bowl-cut boy-child who shook those cherry-red maracas and always got the girl. He was also the guy who stole David Bowie's original name.
I would love to be looked at some day - and I'm not ever saying I'm at this level - but I'd love to be mentioned in the same breath as a Bowie or an Eno. Those are the people that I admire artistically, their career trajectory, the integrity throughout their career, the bravery of their career.
I listen to a lot of old music, like Joni Mitchell and David Bowie.
Everyone wants to pretend like they sprang out of the ground with an Animal Collective record in their hands and a David Bowie haircut, and that's just not the case. You discover these things gradually.
I was a huge Bowie fan since I was 12 years old. That was the first 'punk' rock I got into in the Seventies. I didn't find out about a lot of the other stuff that was going on, like New York Dolls and Roxy Music, until a lot later.
I think people are 'just creative,' and this can be expressed in a number of ways. Bob Dylan and David Bowie create both music and art.
How could 30 years be the blink-of-the-eye it felt? It was the difference between black-and-white footage of the Second World War and David Bowie on 'Top of the Pops' singing 'Life on Mars.'
When I was 8 years old, I made my own encyclopedia of American biography - Johnny Appleseed, Jim Bowie, Davy Crockett, Daniel Boone, Charles Lindbergh, my pantheon of favorite heroes. Then I would write my own things and sew them together and try to make my own book.