Quotes of All Topics . Occasions . Authors
Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.
My reality is that God speaks to you every day. There's an inner voice, and when you hear it, you get a little tingle in your medulla oblongata at the back of your neck, a little shiver, and at two o'clock in the morning, everything's really quiet and you meditate and you got the candles, you got the incense and you've been chanting, and all of a sudden you hear this voice: Write this down. It is just an inner voice, and you trust it. That voice will never take you to the desert.
We were the chosen rejects. We chose not to be apart of the popular crowd. I mean, I can rember a lot of times the more popular people, the 'jock type' of people who were into sports, and staying clean, and brushing there teeth all the time, they always asked me if I wanted to join their little club, and i decided not to, you know, I would rather hang out with the people who didn't get picked for the baseball team, you know, who smoke cigarettes and listen to rock 'n' roll music.
You have to really swallow your pride and admit that you want to make a comeback. And that means that you weren't at your best and I feel like I stopped being who I needed to be. When I started making this record "Born Villain", I didn't want to be what I used to be but I certainly didn't want to be what I was at the time. I knew that I was supposed to be something better then what I was. I feel that I am close to being what I'm supposed to be and am enjoying what I'm doing here.
I'm one of a dying breed who goes out and tours all the time. Labels don't spend the money to send people out to play before they become famous, but we did do that so the fans we have are word of mouth fans who have been travelling around with us for years, and they buy the albums, but they are also the ones who go out and get the bootlegs. I don't discourage bootlegging, I like playing live, I don't think it hurts my album sales at all if there are bootlegs out there. Who cares?
When I work there are two distinct phases: the phase of pushing the work along, getting something to happen, where all the input comes from me, and phase two, where things start to combine in a way that wasn't expected or predicted by what I supplied. Once phase two begins everything is okay, because then the work starts to dictate its own terms. It starts to get an identity which demands certain future moves. But during the first phase you often find that you come to a full stop.
I'm not a suicidal person at all, but on paper it seems that I am. I think I'm really quite horrible to myself in many ways. You always think it's going to be fine, the body will repair itself. There will be another chance. But I'm 33 now. The body won't keep repairing itself. You know when you can flick a coin and catch it on your elbow, and flick it up and catch it on the back of your head? And then you can't even catch it with two hands any more. You realise something is wrong.
I like the iPhone, the iPad, all the various members of that family. But I like all the various technologies that are becoming available to make the world more accessible to people who are blind and with low vision. I also like that more and more people are committing themselves to close captioning so the deaf can really know what's going on. I like the position of making buildings more accessible by having ramps and various ways people who are paraplegic to be able to get around.
Once I chanted the Hare Krishna mantra all the way from France to Portugal, nonstop. I drove for about twenty-three hours and chanted all the way. It gets you feeling a bit invincible. The funny thing was that I didn't even know where I was going. I mean I had bought a map, and I knew basically which way I was aiming, but I couldn't speak French, Spanish, or Portuguese. But none of that seemed to matter. You know, once you get chanting, then things start to happen transcendentally.
I think a lot why our lives shows are good is because of the crowd, and because of the energy that they bring. Also, there was a time when a lot of the people that came to our shows were a bunch of drunk bros. At a certain point, we decided we were going to start calling them out. We also decided to become more gay-positive and feminist and all that stuff, and that we were going to be really vocal about it. After that, our crowd became a lot friendlier, and honestly a lot more fun.
I'm finding that people reading the book [The Heroin Diaries: A Year In The Life Of A Shattered Rock Star] are saying, "You came from one background, I came from this background - you were a rock star, I was a CEO. I didn't have a heroin/coke problem, but I had a pill problem. But I also fell from grace, didn't know how to get recovery, and I am now in recovery." People tell me that their kids read it and told them they'll never do drugs - "This book really shows me where it goes."
For us, being a label, we took out the whole aspect of the business that goes into sifting through people who don't care, who don't get what you're trying to do. We can just hire and work with people who get it - the people who understand what this project is about. When you're on a label, you're just hoping somebody will stick their neck out and work for you. Most bands are just like, "I hope they do it. I hope they promote it." But being a label, we know exactly what's happening.
Since I started as a comic person then became a musician to me it was interesting because I have this really great, interesting fanbase that's really smart and energetic and uh how could I steer them towards a medium that shaped who I was? You know, steer them toward comics. That was really the goal, to bring a lot of readers cuz they were reading a lot of comics but most of them hadn't been reading American comics, they'd be reading manga sitting on the floor of a Barnes and Noble.
When I discovered blues - I was 12-years-old - I didn't discover it in America where it was from; I discovered it from Fleetwood Mac - the original Peter Green Fleetwood Mac, Saveloy Brown - like British blues interpretations of it,' which then, when I started the liner notes and seeing all these names, I was like, 'Who's Willie Dixon?' Then I go to the record store and ask the guy there and he goes, 'Oh, you don't know anything.' And so, to me, that's the root of most of it anyway.
Being a part of a band is easier to brainstorm, and it's fun - you're encouraged and inspired by the others. In this band, it's especially that way for me, because they're my favorite musicians - they've been my favorite musicians for so long, and I get to play with them now. A lot of times onstage, I'm overcome with admiration or something, which also means that you need to step up, you need to really bear down to match the level of musicianship or artistry. It's really challenging.
I think Justin Bieber played a couple of songs up the block from it - and they said that some-one in his camp came and got him a burger. We had been talking about him a lot. Especially actually, last time we came to Australia, C.T. was on a real big Justin Bieber kick. I just thought it was really interesting to finally cross paths with him in New Zealand. And like really - the TV, everyone's just talking about it on the radio - it's a big deal that he was here. I think he just left.
When I was doing Goodenough, I'd hired a few people to work in my office, but then, toward the end of the '90s, I decided that this is not what I should be doing. I didn't want to make a big company and have to hire lots of people. I felt like I was better as an independent or as a solo operator. So I made the decision to finish everything and work alone just with an assistant or two. Although maybe there isn't the potential that there is in having a bigger company, it's good for me.
Maybe it's naïve, but I would love to believe that once you grow to love some aspect of a culture-its music, for instance -you can never again think of the people of that culture as less than yourself. I would like to believe that if I am deeply moved by a song originating from some place other than my own homeland, then I have in some way shared an experience with the people of that culture. I have been pleasantly contaminated. I can identify in some small way with it and its people.
I start my process hand written, and then I dump it in. It's like you're getting a second draft 'cause when I put it in the computer, I fix it and change stuff. That's my process. I picked that up from speaking to Neil Gaiman and Joe Hill. I was messing around with the idea of starting to write more, writing a book and doing things like this, and I reached out for advice. They were like, "Oh, we hand write, and then we dump it all in." I was like, "Great! There's no more blank pages."
My artistic goal was to write something that's one hundred percent real and true to me and to this world. I tried to touch on truths that really connect with people from every avenue of life. Ultimately, when you write from a vantage point of faith, humility and openness to the world around you, people have to respond because those same truths are instilled in them. Honestly, I don't have any agenda other than being sincere, real, and passionate about these songs and the music I make.
As a conscientious objector I did my community service in 1971 in a psychiatric hospital and a friend there, who also was a guitar player, invited me one day to join him recording film music with a band named Kraftwerk which I didn't know at the time. I came along and jammed at this session together with Ralf Hütter and a drummer (I believe his name was Charly Weiß). Florian Schneider and Klaus Dinger were present as listeners and everybody liked the spontaneous music we did together.
With God's help, I've not had a drink in nine and a half years. That's my whole story right there. And because of that, I'm doing this. I'm making records, I'm touring. I was so involved in just getting brain damaged, I wasn't doing anything. I had great ideas, many notebooks filled with notes, some of them I can read and some of them I just can't read, but I really didn't do anything constructive, it was all just good ideas. Now I'm trying to lead a constructive life a day at a time.
God, I feel like hell tonight. Tears of rage I cannot fight. I'd be the last to help you understand... Nothing's true and nothing's right so let me be alone tonight 'cause you can't change the way I am... I have a face I cannot show, I make the rules up as I go. It's try and love me if you can. Are you strong enough to be my man? When I've shown you that I just don't care, when I'm throwing punches in the air, when I'm broken down and I can't stand will you be man enough to be my man?
If we write our laws and design them around the most privileged members of society, i.e., billionaire football team owner, then we forget about the people who don't have the same resources to make an appeal, to fight a wrongful accusation. Those tend to be members of the LGBT community and people of color because those are the people who tend to engage in the work of reappropriation to subvert discrimination. And yet those are the same ones being denied, based on their own identities.
That's what I've always loved about music, that I could go be another guy for two hours. But ultimately it all comes back to: do you have the songs, can you sing them, do you have a great band that can play them with you? You're charging money to have people come watch you play; I want them to feel taken someplace good or provoked into thinking my way for an hour and a half or two hours. I have been a provoker and I'll probably always be one in the public arena for the rest of my life.
I feel like we're so limited by the context at which we look at life. The way we look at who we're supposed to be and how we're supposed to love... everything. I feel like that, in and of itself, is a project of a lifetime: the problem of how to break out of the limiting context that is imposed upon us by the educational system, by the church, by our parents... As a kid I rejected it without even thinking about it. Now that I'm a little older, I see how deeply destructive it really is.
What inspires me is anxiety and the quest to try to change things in my life. ...I got addicted to endings and beginnings and to the idea of always moving around. ...Obviously, whenever you're going through something that's the best time to create, if you're going through something amazing, or horrible, or nothing at all you should be creating. Unfortunately the songwriters of today generally torture themselves to make sure they're writing good songs and take it a little too seriously.
I fell like a lot of times, when I write a song, it is coming from an introspective perspective that my faith always kind of factors. Faith is either part of what factors in to my decision making, or it is part of what factors into my fears and my doubts. It is either the positive or the negative part of it that is afflicting me during times of conflict, which is normally when you write songs about yourself when you find some sort of conflict or you are seeking some sort of resolution.
If you're going to point out the ridiculousness of a rule, it's naïve to think that you can break it. It's the same way that rappers have embraced capitalism. Some people say they liked it better when rap was a literal protest form in the '90s. But I think it's more a form of protest today, because it's telling the story of what happens once something forbidden is within reach. I think rap is more political today when it speaks about luxury watches than it does about fighting the power.
Everybody knows that if they're happy then usually the people around them are happy, or that people around them happy make them a little happier; that's a proved thing, like "I give to you and you give to me"; they all know that but they haven't thought about it to the point of every action that they do. That's what it is with every action that you do, there's a reaction to it, and if you want a good reaction then you do a good action, and if you want a bad one, then you punch somebody.
Listen to the stage manager and get on stage when they tell you to. No one has time for the rock star bullshit. None of the techs backstage care if you're David Bowie or the milkman. When you act like a jerk, they are completely unimpressed with the infantile display that you might think comes with your dubious status. They were there hours before you building the stage, and they will be there hours after you leave tearing it down. They should get your salary, and you should get theirs.
People always say that music is a universal language. It was very, very true. We could show up anywhere with any people speaking different languages and we could just be like, "You want to play that song? Yeah, okay." We would usually want to play Latin American songs, and they would usually want to play Santana or Jimi Hendrix and stuff like that. So we would trade off. So yeah, we were able to make a lot of friends that way and meet a lot of local musicians. It was a great experience.
Any time having international interviews is a language barrier, you don't know how much you need to simplify what you're saying for it not to be damaged in translation. But culturally, there are some interesting phenomena. I get the feeling that the way rock music gets described in Germany, it is all like Rolling Stone circa 1975, taken to the 10th power. If you're a rock musician, you're part of the counterculture. Your music is like a critique of everything that is wrong with America.
I used to be cruel to my woman, and physically - any woman. I was a hitter. I couldn't express myself and I hit. I fought men and I hit women. That is why I am always on about peace, you see. It is the most violent people who go for love and peace. Everything's the opposite. But I sincerely believe in love and peace. I am a violent man who has learned not to be violent and regrets his violence. I will have to be a lot older before I can face in public how I treated women as a youngster.
A human encounter with holiness is devastating. It refuses to allow us to be impressed with the things of the world we’ve been chasing. It refuses to allow us to remain comfortable in our sin. It refuses to allow us to remain on the throne of our lives. And it leads us to a relationship with the only One who can perfectly love us, who can forgive all our sins, and who can make us into His likeness. Our encounter with His holiness is our devastation. And our devastation is our salvation.
It's sad. There's a lot about this industry that a lot of people don't know about and don't find out about. There are a lot of tough things and trials and stuff that you're faced with. Sometimes, God has other plans for people. Sometimes bands can't stick through it. It depends on the situation. Keep praying for the bands that you like, seriously, because a lot of things will try to get in the way of being together. We've been blessed with not deal with those yet, but if we ever did...?
I'm pretty critical, but I'm also pretty good at letting go once it's done. There's this existential argument that comes in, at some point, when you're over-thinking the songwriting process. There's no guarantee that the more time you spend or the more you concentrate on certain aspects that that's going to produce a better result, especially in the arts. Some of the most brilliant things that someone might do could happen in three minutes because it's something that just occurs to them.
It's a mystery to me We have a greed with which we have agreed You think you have to want more than you need Until you have it all you won't be free When you want more than you have You think you need And when you think more than you want Your thoughts begin to bleed I think I need to find a bigger place 'Cause when you have more than you think You need more space Society, you're a crazy breed I hope you're not lonely without me Society, crazy and deep I hope you're not lonely without me
If I could've picked a birthday it would've been on Halloween. Yeah, it's always been my favorite holiday. Not because it was my birthday, but actually because, I think it was the freedom, you know? When you were a little kid, you got to go out and be an adult for a couple of hours. You got to, like, just go out with your friends and knock on peoples' doors and be nuts and pull pranks and stuff like that. You could be whoever you wanted to be, you know, I guess that was the appeal to it.
We strive towards a better world, but one can never do it without compromise. We can all change the world for the better, starting in your own little surroundings, together with people who believe in it, too. This way you can make it work and show others that it actually can work. That doesn't mean that everybody has to do it like you "or else..." If there is no compromise possible, then it turns into extremism, and I don't think that extremism ever added something positive to the world.
Between me and my wife, there's this joke where I'll be doing some fun interview, and I'll get off the phone and be like, "That guy was an idiot." A lot of times, interviews are like being asked a list of questions. Invariably, there will be this part where they think you're a writer for Letterman: "Just off the top of your head, tell me the 10 most influential bands on you." And you're actually asked to come up with a spontaneous list. It's like, "Dude, I'm not living in High Fidelity."
We're affable guys in They Might Be Giants. We're not gonna do the periscope-down thing, but it's a little bit mind-bending. The biggest struggle is trying to figure out a way to back up far enough in your answer that it can be read without the context of the question. Every declarative statement you see that comes out of an interview with somebody is actually in response to a question. So it's sort of like this very real interpersonal dance where one of the people involved is invisible.
My illness has changed me - I've always thought "life is short and I wanna make as much of it as I can," but I really don't have time to mess around. This has really been a wake-up call in terms of what's important, and I'm working hard to figure that out. I need to get better at not doing favors for people all the time. It's hard because there's so many people who have helped me get to the point where I'm in a band that people wanna come see, or where people pay money to see me lecture.
I told myself that if I hoped to write a book that helped people to take a good look at some of the names that have been written on their nametags, I would need to do the same. I had to write Hello, My Name Is from a place of authenticity, even vulnerability, being willing to let God show me areas of my life that have been incorrectly shaped by false identities I've allowed to hang around for too long. I truly felt like, 'if this book is helping me, then it's going to help someone else.'
According to Melissa Mailey, we now live in a world where kings and noblemen rule the roost. And they've turned all of central Europe—our home, now, ours and our children's to come—into a raging inferno. We are surrounded by a Ring of Fire. Well, I've fought forest fires before. So have lots of other men in this room. The best way to fight [such] a fire is to start a counterfire. So my position is simple. I say we start the American Revolution—a hundred and fifty years ahead of schedule!
Girls are like apples...the best ones are at the top of the trees. The boys don't want to reach for the good ones because they are afraid of falling and getting hurt. Instead, they just get the rotten apples that are on the ground that aren't as good, but easy. So the apples at the top think there is something wrong with them, when, in reality, they are amazing. They just have to wait for the right boy to come along, the one who's brave enough to climb all the way to the top of the tree.
I hadn't had that much time practicing behind the drum kit. I've spent an inordinate amount of time listening to and programming drum parts, but it's completely different. One of the beautiful things about using a sampler is since you are so detached from traditional technique, you're forced to have a macro perspective of the project. With an instrument, it's the opposite. With drums specifically, there's nothing that provides more instant gratification and nothing that's funner to play.
No one expects the rug to be yanked out from underneath them; life-changing events usually don’t announce themselves. While instinct and intuition can help provide some warning signs, they can do little to prepare you for the feeling of rootlessness that follows when fate flips your world upside down. Anger, confusion, sadness, and frustration are shaken up together inside you like a snow globe. It takes years for the emotional dust to settle as you do your best to see through the storm.
We were never a band that did 96 takes of the same thing. I had heard of groups that were into that kind of excess around that time. They'd work on the same track for three or four days and then work on it some more, but that's clearly not the way to record an album. If the track isn't happening and it creates some sort of psychological barrier, even after an hour or two, then you should stop and do something else. Go out: go to the pub, or a restaurant or something. Or play another song.
Take the time to make some sense for what you wanna say, And cast your words away upon the waves. Sail them home with acquiesce on a ship of hope today, And as they land upon the shore, Tell them not to fear no more. I'm not saying right is wrong, It's up to us to make the best of all the things that come our way. Cos' everything that's been has past, The answers in the looking glass. There's four and twenty million doors On life's endless corridor, So say it loud and sing it proud today.