What I’m trying to say in my own language is that he wasn’t treated with the respect he was due. “The expectations and the weight of your legacy is so immense,” Corgan continued, “This is my own interpretation… struggling very publicly to find a new voice in relation to the old one or find this sort of balance between things, he was treated very, very horribly. ‘I’m gonna back to the larger than life' and you know, he was playing stadiums, he was massive again. He was somebody through a very interesting period, then at the end of the ’70s Low and Lodger, went very arty…I might be telling this story wrong but from what I understand he was basically broke at the beginning of the ’80s and that’s what brought on Let’s Dance. He was considered a nobody then he was a somebody.
“When you’re David Bowie and you’ve had incredible critical and commercial success through the first phase of your career, and don’t forget he had 12 or 13 failed singles before Space Oddity became a hit song. Towards the end of the ’90s, he started dialling back into this other thing, let’s call it the third version of himself.” As he tried to find, and he did, eventually, by taking that journey into whatever he needed to do. “We were on the same label, we would cross paths here and there.
“I got to know David Bowie a bit in the 90s,” Corgan recalled. Since 1983’s Let’s Dance, he’d struggled to impress the critics with his more experimental explorations, however, this one night at Madison Square Garden proved the Starman’s legacy extends far beyond the scope of hit singles.Ĭorgan reflected on their friendship at a Smashing Pumpkins Q&A, following Bowie’s passing in 2016. In truth, the 90s was far from the peak of David Bowie’s historic career.
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