Quotes of All Topics . Occasions . Authors
Most people are living lives of sort of survival. And constantly posing an existential crisis, either through fantasy or oblivion, really has been pretty much explored in rock and roll. At least in the western version of rock n' roll.
That's the real endeavor: to try to create that direct conduit from the pure consciousness of your creative voice to the person who's a craftsman who can go into the world and consistently deliver new things worth paying attention to.
When you present people with things from the heart and from the soul, they make better choices: They make better choices about their bodies, they make better choices about their partners, they make better choices about the environment.
About six months ago, I listened to Siamese Dream. That was the first time I'd ever really heard my own album, because I had separated from the experience of making the record. And it really moved me. It made me cry, it's so beautiful.
My version, of course, is not this flag-waving, let's all get on the Jesus train and ride out of hell. I'm not that kind of guy. It's an embrace that life is good, worth living and yeah, it's not easy, but there are more pluses than minuses.
I was raised a Christian, but I wouldn't call myself a Christian now. I think when I was younger it was easier to focus on the negative, nihilist vision... this is sort of picking up on the other half of the body, which is God and white light.
Most of my arguments with musicians through the years have had more to do with their attitude about music, or their attitude about their own lives, or their personal responsibility. Music has never really been the big centerpiece of the fight.
I've always been spiritual but I've never had a proper context, and it took me awhile to find the proper context. It's hard to realize you can have any kind of relationship with God you want...and so I now have a punk rock relationship with God.
I've always been spiritual but I've never had a proper context, and it took me awhile to find the proper context. It's hard to realize you can have any kind of relationship with God you want... and so I now have a punk rock relationship with God.
I rummage around in artistic things from the past. If you don't understand the context, they wouldn't make any sense. I rummage around in conceptual ideas of the future, but if you don't know the source of the thinking, [it] wouldn't make any sense.
I know how stupid people can be. I've played in front of 5,000 people that bought a ticket to my concert, and some guy who's bought a ticket decides he's going to throw a bottle at my head. That's a simple act of stupidity. That's not even defiance.
I get more out of life just being myself, by just being a human being. Not by being a rock star, not by being whatever. Sometimes I act like a jerk, but I think people respect me for being myself. That's the ultimate thing about the Smashing Pumpkins.
The difficulty, if you're in the world - and this is for anybody - is the eventual disappointment that comes with having to meet other versions of reality. Imposed systems that ask you to compromise or sacrifice things which you consider holy or sacred.
Everybody can close their eyes, picture a dream house or a perfect place [where] they'd like to have a picnic. But actually creating it - how do you create something from nothing? Anyone who's creative understands that that's the magic, that's the alchemy.
I did 13-something years of talking to wrestlers and promoters about why they did certain things and why they booked matches a certain way and what they were thinking and whether they were satisfied with the draw. And I got a lot of insight in the business.
I'm passionate about creating new systems that are more holistic to humankind. What do I mean by that? I mean, create new systems of business so that people with ethics both exploit their goods and their gifts while not exploiting the earth, exploiting one another.
Actually, I was having dinner with Michael [Stipe, of R.E.M.] when our second album went platinum, which up until that point was the highest success we'd ever had. And he turned to me during dinner and said, 'Welcome to the deep waters, kid.' I'll never forget that.
I mean my point as an artist is I'm on my own little weird journey across the sky here and whether or not anybody's listening, or listening to the degree I would like them to, at the end of the day has to be an inconsequential thing because I can't chase this culture.
I think it would be very interesting to see that many people would probably be okay with paying more for services and goods that they felt were more holistically [generated]. Which means the death of the old system which rewarded people for taking advantage of one another.
In 1992, with the weight of a perceived world on our shoulders, we disappeared into a parking garage to write the songs that would change the course of our lives forever. 'Siamese Dream' represents all of our dreams coming true, while the dreams of a happy band fell apart.
The mythology in rock n' roll is that I'm a bit of a loose cannon. Yet I've produced more music than anybody in my generation. So how much of a loose cannon am I? But the general public believes that I'm a loose cannon, so let them believe it. I'm not going to correct them.
In the music business I am surrounded by people who don't view music as a sacred voice. They view music as something that they can use and exploit, often times lazily. They have no sense of the tradition, they have no sense of honor about those who came before and charted the path.
I just don't want to live in the past. I'm really disappointed by so many people of my generation who - in order to promote their new work, they have to constantly lean on their past. I don't want to be that type of artist... I see a lot of people out here doing really marginal music.
I've rarely done anything that's overtly self-destructive without consciously knowing what I'm doing. And then of course, the astute journalist jumps forward and says, "Why are you being calculated?" Calculated seems to assume a sinister intent. My intent is always for artistic effect.
There's been someone up here screaming 'Landslide' for the whole show... Normally we don't play 'Landslide,' but on occasion we've been known to play it... So since this person's been screaming it all show long... That just about kills the chances of me playing it tonight, or ever again.
I put up with the music business because I understand that I'm in the tradition, I'm in a tradition that's of far greater importance than the business I seem to be in. Everywhere I go in the world, people ask me about the business that I seem to be in, but I'm not really in that business.
You could have a zillion Facebook followers. Those people don't buy records. It's about a hundred to one...Record companies, they don't have any money, so they see social media as the free marketing... So... 'Billy, light yourself on fire and stand upside down, and that'll market the record.'
What bothers me is when music becomes entertainment. Of course, music is supposed to be entertaining, but go back to any period of time - music had a cultural significance on different levels, whether it was folk music, it was the news of the village, or it had to do with the rites of passage.
Fur is a contentious issue. Meat is a contentious issue. GMOs are a contentious issue. I think this whole thing going on about whether or not products should be labeled if they have GMOs in them - I, as a consumer, would like to know if I'm eating GMO food. If I choose to buy it then it's my choice.
Like any form of death, at some point you just have to get up and say yeah I'll take it, whatever's gonna happen is gonna happen and sorta chop your head off. It's easy to avoid all that...there's always another moment, another girl, another high, another drug, there's always something to distract you.
I was playing heavy metal when I was 18. I had to evolve out of that into an alternative consciousness about what it meant to change the way I played guitar, and the kind of songs, and the subject matter, and singing about child abuse, and all this stuff. I had to come from somewhere, and I had to take chances to do that.
If you're really going to uncover something as an artist, you're going to come into access with parts of your personality and your psyche that are really uncomfortable to face: your own ambition, your own greed, your own avarice, your own jealousies, and anything that would get in the way of the purity of your own artistic voice.
It's about the girlfriend who left me last year. I tried to put all my anger in those words, even though I'm just as much to blame for the break-up. 'Soma' is based on the idea that a love relationship is almost the same as opium: it slowly puts you to sleep, it soothes you, and gives you the illusion of sureness and security. Very deceivable.
Now the expectation is that, once the public decides that the artist is gentrified, the public demands that the artist stop growing. And [the public] actually puts all their energy into reasserting or re-establishing what the artist has long ago left behind. Because that's what they want. The source of creativity, the gift that's been given, be damned.
Instead of taking the 'I'm cool, I hope you adore me' path (with my music), I chose the path of how to connect. I think that's the reason a lot of people feel a deeper connection with our band than other bands, and I also feel that's why people polarize on us. If you don't get it, it seems preposterous; if you do get it, it's really heavy - it has a weight to it.
I don't know if God would agree with me, but believing in God is kind of unimportant when compared to believing in yourself. Because if you go with the idea that God gave you a mind and an ability to judge things, then he would want you to believe in yourself and not worry about believing in him. By believing in yourself you will come to the conclusion that will point to something.
That's the age that people are exploited, exploitable, and they're easily manipulated. The problem with me is, you can't manipulate me anymore. I've seen it, I know it, I've been there. And that's partially why, particularly in America, you see issues with artists as they get older. And they like to keep it a young man's game. Because that's how they can fudge around with the rules.
I don't like that the government is going to manipulate the information to try to convince me that what I'm eating is not what I'm really eating. If people choose to eat cardboard because it's ten cents cheaper, then let them. That's at the root of freedom. But in the reverse, I'd like to know if what I'm eating or consuming or buying is somehow hurting or exploiting someone in another part of the planet.
As far as a theoretical point of view for my generation, I'm probably the most successful theoretician. I mean, double albums and concepts and dresses and major disasters and wonderful successes and yet you don't see the critical review of my work. Why? Because it's all focused on the persona. Billy Corgan. But I get to sort of jump in and be Billy Corgan. But then I get to sort of jump back out and be like, sensitive man in the corner.
I created a paradigm by which I could succeed, and up until recently it was the only way I could do it. I could not take the brunt of standing in the light of my own work. There was a Faustian bargain I could not make. I could have you mock me for wearing funny clothes that I could deal with. But I couldn't deal with actually standing in the light of my own musical power. That's the difference now. It's like, okay, no more of that, you're done.
I've thought many times, 'I can't write this,' but on my own little planet I found the courage to write it because it was true. I put aside fear of Father being angry with me. It's hard though; the world pales in comparison with the stature of a parent. In some small-consolation way, my parents feel I'm helping people by giving them something to identify with. They feel proud in a sort of reverse way. My mom's proud of the fact that lots of kids look up to me.
Twenty-eight to 31 is the tough period. You have to be really careful because it's so cataclysmic, so life-altering. People do really dramatic things like get married, or they'll get divorced. Your chances of committing suicide go way up. It's basically psychic death. You see the signs of it around 27, and you're still on the out-end of it around 31. Everyone I've talked to who's gone through that and come out the other side walks out of it like, "MY LIFE IS GREAT".
You could have a zillion Facebook followers. Those people don't buy records. It's about a hundred to one...Record companies, they don't have any money so they see social media as the free marketing...So,...'Billy, light yourself on fire and stand upside down, and that'll market the record'. I've spent a lot of time thinking about this. I don't think people by records because of anything that happens on Facebook. They buy records cause they're friends say 'I bought this record and I love it'.
There's something going on right now in America, where the American spirit or character is reasserting itself around liberty. I think it's an important time, and I'm trying to document that as an artist. If I just filter what I read through the media, if I just go through what I read through the media, I'm not really in touch with the world I grew up in. I know there's a gap there, I talk to my relatives, I talk to people I meet traveling around, and their mind is on something completely different.
I think I kind of approached music with this sort of, like, weird thing where I kinda set myself up where I could kinda be myself but not really. I kinda had a backdoor out. So if you criticized me, I kinda had my defenses working. And the problem is that some people seize on that as inauthenticity, which is understandable. So that's painful because it's not that you're being inauthentic...there's a difference between being a poseur and being someone who's so emotionally challenged they're kind of just doing their best to show you what they've got.