Quotes of All Topics . Occasions . Authors
But our love isn’t easy because it’s not meant to be. It requires work and sacrifice and protection. And I wouldn’t want it any other way, not right now, with the morning sun making the curtains glow and Her arms around my neck and the sounds of the street so far away. I’m in it for the long haul, I’m not going away.
We all have to go through our own spiritual process. It is very difficult. Some people are struggling and they are in their teens. Some people are in their 50s and they're struggling. Some people go through life and die not being able to accept themselves. Tragic. But it's very individual. And it's about self-esteem.
Starting a band is the easy part. Once you've formed the band, you have to tell a story, and that story requires songs. And not just good songs, but great songs. After a while, great songs won't do - they have to be the best. Success doesn't make it any easier. Each time I start a new record, it's a brand-new search.
When I'm rapping, like, a turn up song, I'm thinking about what the people want to hear; this is what they're going to like. When I'm singing, I'm, like, telling my story. I'm not worried if people like it; I'm just trying to be truthful, you know what I'm saying? I'm just talking about something that happened to me.
I wish I had time to do more reading, but I just haven't had much time. But I still find time for writing. I've always preferred writing over reading, even though those things do go hand in hand. But when I do have time, even if it's not writing music, just writing in general - ideas and stories and things like that.
When I took drum lessons as a kid the teacher would always ask me if I practiced, and I'd be like 'nope' and he'd be like: "Well you're not going to be able to play the beat." So I would ask him to show me, and he'd show me and I'd be able to hear it and play it, so I've always not really been good at reading things.
The first review our band ever got - when I was 17 years old and we had just released our first EP, and this tiny little magazine wrote a review on it, and for that month, we were the best album of the month, and we were also the worst album of the month. We won best and worst album of the month in the same magazine.
Obama might as well be president of Turkey or Brazil; it does not matter. It's the system that is absolutely flawed, where 25 or 35 or 50 people make multi, multi-billions on building Olympic structures while people live in Barbados and have no roads or clean drinking water. There's something pretty inequitable there.
Fame it's like... When you look through a window, say you pass a little pub, or an inn. You look through the window and you see people talking and carrying on. You,can watch outside the window and see them all being very real with each other. But when you walk into the room, it's over. I don't pay any attention to it.
A brilliant 1989 album, Oh Mercy; some career retrospectives; and two albums of American folk songs, with just Bob Dylan and his guitar and harmonica. All that culminated in the Grammy-winning comeback album, Time Out of Mind (1997). Once again, just as Dylan seemed to be out of it, he was back at the top of his game.
You can revisit - the wonderful thing about my job is you can revisit your 22-year-old self or your 24-year-old self any particular night you want. The songs pick up some extra resonance, I hope, but they're still - they're there, and I can revisit that period of my life when I choose. So it's quite a nice experience.
I want people to feel what it was like in the '40s. That's when popular music in the United States was so beautiful. Frank Sinatra, the Pied Pipers, Duke Ellington, Fletcher Henderson, Tommy Dorsey, Billie Holiday. That's when popular music had deeper values, to me. This was music that was selling millions of records.
To me, a performance is a military operation; it requires so much planning, and then ripping up the plan the minute you get there because you have no idea what the audience is feeling. I'm very much an entertainer, and sensitive to the audience's perception of me. I often have to do unexpected things, even for myself.
I didn't know they would pay you money to sit in a room and write songs for other people. I always thought that George Strait was singing a song, he made it up, and that was the end of it. But the instant I found that out, that that could be a job, I thought, 'That's the job for me. I gotta figure out how to do that.'
I've done lots of songs for film soundtracks and things like that-stuff I'm not ashamed of, but that doesn't represent my legacy with the Pretenders...I think domesticity certainly doesn't make it easy to write, you know, because you've got a lot of distractions and I think a writer is always looking for distractions.
I grew up poor in crappy situations various crappy situations. What kept me sane was reading and music. I had so many different literary tastes growing up, be it fiction like Stephen King or Piers Anthony or non-fiction like reading Hunter S. Thompson essays or reading the Beats. I was a huge fan of the Beat movement.
There is no evidence for a god, no coherent definition of a god, no good argument for a god, good positive arguments against a god, no agreement among believers about the nature or moral principles of a god, and no need for a god. We can live happy, moral, productive lives without such belief, and we can do it better.
I think maybe people see bands and musicians as some sort of superhero unrealistic sport that happens in another dimension where it's not real people and not real emotions. So, I grew up listening to Beatles records on my floor. That's how I learned how to play guitar. If it weren't for them, I wouldn't be a musician.
A song has to take on character, shape, body and influence people to an extent that they use it for their own devices. It must affect them not just as a song, but as a lifestyle. The rock stars have assimilated all kinds of philosophies, styles, histories, writings, and they throw out what they have gleaned from that.
It seems like the big difference between good art and so-so art lies somewhere in the art's heart's purpose, the agenda of the consciousness behind the text. It's got something to do with love, with having the discipline to talk out of the part of yourself that can love instead of the part that just wants to be loved.
When you're inside and you have no control and when you're the 14-year-old version of Frances Farmer, you know, you have reasons to be angry. You have reasons to be angry when your parents, who are very sheltered themselves, make decisions as to what you should experience in your life and what's normal and what's not.
It's more like you write what comes to you... You try to reflect the mood of the songs. Take 'Rearviewmirror', we start off with the music and it kinds of propels the lyrics. It made me feel like I was in a car, leaving something, a bad situation. There's an emotion there. I remembered all the times I wanted to leave.
A big part of making a good record is really getting a vibe, and a vibe is a mysterious thing. The vibe kind of exists in the air in the room. It's not just all the stuff you put on there, and the specific notes and arrangements and all that. That's like half of it. The other half is just the air, and just the spirit.
I've got some incredible fans actually - so loyal and they make me birthday cards and Christmas cards. I got this package of poems and artwork based around the songs. They've got this thing called 'Floetry' where they all have to put in artwork. They've set up their own competitions and stuff which is kind of amazing.
The media is to blame for everything, for all the misconceptions about the movement, but in a sense it didn't really matter if they said something good or bad, because Krishna consciousness always seemed to transcend that barrier anyway. The fact that the media was letting people know about Krishna was good in itself.
I do a lot of walking around in game parks, rain forests, places like that, but it's not like I'm camping in them as much as my day walks. I've done that all over the world, not like with a backpack on my back living out in the woods for several days. When I travel abroad, it's more the city that captures my interest.
I slept in Uday Hussein's bed - that was just so strange. Went to Saddam's palace, was in a mortar attack - crazy stuff. And like three days later you're back in traffic on Sunset Boulevard. It's all kind of behind you, which is kind of perfect for a guy like me because I can take that and turn it into quite the tale.
I found the experience of falling in love or being in love was a death, a death of everything. You kind of watch yourself die in a wonderful way, and you experience for the briefest moment – if you see yourself for a moment through their eyes – everything you believed about yourself gone. In a death-and-rebirth sense.
I found the experience of falling in love or being in love was a death: a death of everything. You kind of watch yourself die in a wonderful way, and you experience for the briefest moment - if you see yourself for a moment through their eyes - everything you believed about yourself gone. In a death-and-rebirth sense.
I remember writing lyrics for 'Take Me to Church' for a long time before I even had a song in mind for. It's not that I was trying to write that song for a year, but sometimes you just kind of collect lyrical and musical ideas and don't actually complete the song until you feel like they work together and have a home.
Since we were kids, we grow up believing that astronauts are heroes - that to go up in a rocket is a heroic thing. These guys are bigger than movie stars. To me, it's... all a well-dressed-up lie, basically. There's billions spent on rockets up there, and there's millions starving down here. It don't make sense to me.
I was sitting here without a shirt on, absentmindedly scratching my back with a pen for about five minutes and I just looked in the mirror and saw that I had drawn a nice mural on my back. It looks kind of like a map of Wyoming, with all the rivers and mountain ranges, or maybe a portrait of Bob Marley. Yes. Tablature
I don't think people should abuse the fact that they are in showbiz. You still have to be human. I think that's the point. Showbiz is about showing human things - just amplified, that's all. And when it gets too much into, "Hey, we're part of the showbiz club and we can do what we want," it turns me off and I hate it.
A couple years ago I was going to back off and actually thought about retiring, but it keeps calling me back, and I'm going to keep going back as long as it calls me. I really think it has something to do with the good vibes that I feel I've spread through my performance and through the time that I've spent with fans.
Look at what's happening with scientific things. They have discovered dark matter. They have discovered what is called the God Particle. All that is going to make religion obsolete. These are the things that are amazing, and it's an amazing time to be living in. It's a higher energy that we're going to be coming into.
I sometimes feel a bit embarrassed to play guitar. There's something - I don't want to sound ungrateful - but there's something very old-fashioned and traditional about it. You meet kids today whose grandparents were in punk bands. It's very old and traditional, but then, so is an orchestra and so is a string section.
When the Strokes first started playing gigs, instead of getting into a costume for the shows, we talked about how we should dress every day, in real life, like we're playing onstage. I don't really care about clothes, but it's about wearing something that gives you social confidence. Or maybe helps you pick up chicks.
There're the causes where people are like, "What can you do for us? You guys have success and stature; you can make money for us and at the same time present yourselves to the public as altruistic and civic-minded." So it's an exchange. I don't mind looking altruistic and civic-minded if we're actually being that way.
I think there's this standard in our society that when we become a mother, we just become a mother, and that's all you are. That's an amazing thing, but I think you're doing your child a disservice by not following your dreams either. I work really hard to make sure that I'm chasing all the things I always dreamed of.
There was a great push and pull of what Blink-128 should sound like all the time. Travis Barker comes from a different background than I do, and Tom DeLonge comes from a different background than either of us in terms of what we write and what we think a song should be. Tom pushes me out of a box that I put myself in.
With MTV in the '80s, you made your album but then you needed to use any money you made to create a video - instead of being able to use that money to pay for you and your band to live on while you wrote new songs. So MTV upped the ante of looking for one hit. Conceptual bands who didn't have a hit were going to lose.
I would never go on 'Dancing With the Stars,' because I'm not the greatest dancer in the world. But when I watch 'The Apprentice' sometimes I'm like, 'I could do that task.' The only reason I would not do that is that I could never call people for money and on that show you have to be willing to call people for money.
Hanoi Rocks was our baby and we were the core and we started the band. All those years that went to waste because of that accident, it's only right that we have some kind of advantage because it's our history. The name 'Hanoi Rocks' I think is one of the very best names, if not the best name of all rock n' roll bands.
global warming. every day i leave my house and think, "was it this hot last year?" the heat this summer here in LA and in most of the US has been unbearable. i can't remember another time when it was 105 degrees fahrenheit out here (40.5 celsius), and that's the kind of weather we've been having pretty much every day.
That's my goal, is to stay in a truthful place. And sometimes that means writing a silly song, or singing about sex or singing about environmental destruction or heartbreak, or my grandmother. The subject isn't what the core is about, it's about truthfulness and authenticity and that just comes from my heart and soul.
There's a new reality born every minute. Unless one is a believer in predestination (in which case I'll call the prestidigitator), or other puppet-like restraints on our powers, one is free to imagine and effect changes on the world. And if enough people do it, there are big changes. These things happen. Anything can.
I can't pin myself on any fixed religion, really. I'm just one of those sad, early-century people who just drifts around and picks up a bit of this and a bit of that. I was confirmed a Christian when I was a kid purely because I wanted a piece of jewelry, so I don't know whether this is just another extension of that.
I put a lot of effort in creating something fictional, yet very personal, because Shook is a defining part of me and my music: the Shook entity is much like the Batman or Superman comics characters. I like the idea that I can have this image that represents a part of me, but isn't really me, kind of like an alter ego.
The record business is changing a lot, and I don't think to the detriment of music - I think, if anything, it's helping music. It's to the detriment of the business in some aspects. In many ways, you might say this is not the time to be going back to the majors, it's the time to be leaving them, which is a good point.
I think, especially among the New York intelligentsia at that time, that there was a reason Bob Dylan went to New York to happen, because there was a culture developed there around the ideas of civil rights, around the idea of democracy growing out of Emerson and Thoreau, these ideas of the fanfare for the common man.