Quotes of All Topics . Occasions . Authors
I canceled the Russian shows because, from the days of the first Dire Straits album, I've supported Amnesty International. It's not a good thing to read about people being jailed for no reason, so I raised my hand and made a small objection. It was good to do - but where do you stop?
Design is interesting because it's utopian. Art is often a jaundiced commentary on contemporary life. Design is always about the future; it's always about something great and new that's come out that will make the future brighter. It has this weird 18th - century positivism about it.
I don't really know how writing process happens, how these songs are arrived at. One of the things I like about the writing process is, I don't necessarily know where it's going, and even if I think I know where it's going, it'll turn out different. I find that exciting and rewarding.
I wanted to make an album where every song is kind of interacting - where you can't tell what's the string arrangement and what's the song. I guess that came out of going to college, majoring in music, studying classical music, and even as a kid, being really drawn to classical music.
I think that's kind of the perfect mix, where you do something that you're not sure about, you feel like you're taking a risk, and then you turn around and look at the artists that you're collaborating with and you can read the expression on their face if they like it or they hate it.
There's something really special about childhood. When you're a kid, you're at your most creative, and you're very plugged into your imagination and emotions. But when you get older, you're encouraged to dance around your feelings and disengage, and I think it's crucial to fight that.
I'm not a vegetarian, and I like filet minion which is sort of a guilty pleasure because I have vegetarian leanings. I eat that once in a while, but generally speaking I like to eat vegetarian things. I really like pasta. I really like bread with olive oil and garlic and I like salads.
I like things that are contradictory or seem one way but are another way. I think it's more genuine. It's the way I am. I am very positive in certain ways and extremely negative in other ways. I think it's most appropriate if I can write a super pop-y song singing about killing myself.
I think there's loads of undiagnosed depression where I came from. Post-traumatic stress disorder as well. Some of the things you see as a kid are like the things you'd expect to see in a war zone, but there's no one to talk to about it because running to a psychiatrist ain't the thing.
We saw too much beauty to be cynical, felt too much joy to be dismissive, climbed too many mountains to be quitters, kissed too many girls to be deceivers, saw too many sunrises not to be believers, broke too many strings to be pro's and gave too much love to be concerned where it goes.
A great song awakens something in your body / mind / spirit or history that you had forgotten about. It ignites some emotional kindling that you didn't even know you had stored. It awakens you to a possibility for the future - be it hope or excitement - that you never knew was possible.
If it has to be put in a box, it's a country record. But it's hard to do that, because it is inspired and influenced by the history of music in two different people's backgrounds. I think the focal point for many is the harmonies, and I think that is what is special and unique about it.
Everybody in hip-hop discriminates against gay people. Matter of fact, the exact opposite word of 'hip-hop,' I think, is 'gay.' Like yo, you play a record and if it's wack, 'That's gay, dog!' And I wanna just come on TV and just tell my rappers, just tell my friends, 'Yo, stop it, fam.'
Children are inspiring because they are open and a lot more intelligent than grown ups. They also have contagious playfulness and joy. For me as an artist the challenge of having a child is having to think ahead a lot more. Which in a way is good, since I sometimes lack self-discipline.
I like to say that I was raised by sitcoms, and that my personality is comprised of different characters. Darlene from Roseanne, Denise from The Cosby Show, Uncle Jesse from Full House, a little Jessie from Saved By The Bell - but not the episode where she was addicted to sleeping pills.
When I first heard John Smith my attention was captured by his sweet, earthy voice and fine craftsmanship, but what drew me in was his heart. It's clear that he's lived the pain in his songs and that his optimism is hope born of wisdom. That's a rare thing and a gift to all who hear him.
I rented a summer home in the winter on Long Island, I took long walks, and then I ended up moving to Woodstock. It was a fertile musical area and time, and I played with a lot of different musicians there, including getting into women's music, and I ended up playing with Cris Williamson.
The Planned Parenthood 7" project is an example of us putting our noses to the grindstone on and trying to make a little difference. Working on that was my way of handling my own emotions about Donald Trump. I was talking about politics for so long, I just kind of ran out of juice on that.
I'm listening to Spotify all the time and pulling in different things. I might find an artist or a song that I like, and I'll pull that into playlists, and then you'll find related artists. But I like an album as a nostalgic thing; I remember buying albums and getting into the whole thing.
I think there's a curiosity that can make you feel anxious as to what the world's going to make of what you're doing. It's not necessarily what you're going to get back in terms of record reviews or how people talk about your record, it's getting on the road and playing the new songs live.
In today's world, having money has allowed people who are extremely uncool to think that they're cool and carry it like that. People who really are cool and people who really are artists and have ideas have to literally turn in their cool card to society just to make it past the age of 28.
I try not to read reviews because I know how sensitive I am and how debilitating it is and how it follows me around. If they're bad, you feel terrible, you feel worthless, no matter if you think they're wrong - and if they're good, it feels cheap and sleazy because you went looking for it.
The main thing I learned is that the more I can forget about being embarrassed when I make something, the more it is going to mean something to somebody else. I can't anticipate what it's going to be or how it's going to be perceived, so the quicker I let go of something I make, the better.
My life is not a political campaign. I just write about what is on my mind. I just play whatever I feel like playing. Whatever is in my soul at the time is what I want to do. I have, thank god, enough people who are still interested in what I am doing so that I can go out and keep doing it.
Love is what makes the world go around. I know it's a big cliche to use, but it is the absolute truth. There is nothing else like it. I know that is what everybody is striving to feel: in relationships, in brother- and sisterhood, and in all of the things that we aspire to have in our lives.
When you 'make good,' you find out who your real friends are. You find out pretty quick. And it's a very ambivalent feeling, because you're, like, happy you found out that people are [jerkfaces], but you're kinda sad because you think, 'Wow, I wasted so much time being this person's friend.'
I love Ray Charles. He can still teach everybody a lot about how to make great music. Not necessarily how to make hits, but how to make great music. Of course, part of it is his incredible talent. Who are the greatest jazz singers in the world? Louis Armstrong, Billie Holiday and Ray Charles.
I do think that it's better for a musical to live its life first because if you see it on the screen, would you like to go to the theater after that? Probably not. You've seen it. And that's the mystery of a musical that hasn't been filmed. You're bloody meant to go there and buy your ticket.
It doesn't affect me because I look at the internet as the new radio. I look at the radio as gone. [...] Piracy is the new radio. That's how music gets around. [...] That's the radio. If you really want to hear it, let's make it available, let them hear it, let them hear the 95 percent of it.
I'm not an advocate of true rhymes, I don't think. I think that everyone who writes musical theater needs to know how to do true rhymes, because that's the tradition of it, but I do think that in order for the art form to grow, it's important to not let tradition get in the way of innovation.
I went to art school, and I studied drawing and video art, and I've always approached music so visually as a result that I found it really difficult in the past to kind of hand off music to another director, 'cause it just ends up being this kind of mid-zone where it's nobody's vision, really.
I was finding it very difficult to find a label that understood what I wanted to do and really believed that people wanted to hear something honest and a little bit different. So, I did feel a bit like a clown. You're knocking on everyone's door trying to get them to believe what you're doing.
I'm a big fan of things in writing in general that are subtle, that suggest something without actually in-your-face saying it. And it's funny, I've started to notice it, I started to see it after a while, that that's kind of a way of writing that I was doing. But I didn't set about to do that.
All that stuff about heavy metal and hard rock, I don't subscribe to any of that. It's all just music. I mean, the heavy metal from the '70s sounds nothing like the stuff from the '80s, and that sounds nothing like the stuff from the '90s. Who's to say what is and isn't a certain type of music?
'Can't Get Closer' I originally recorded in about half an hour, just on my bed with a microphone. I actually re-recorded the song with a cleaner vocal take, but I decided to leave the demo version on there, just because I felt that instant where it was created is what captured the most emotion.
But I wanted the karaoke-style lyrics in our music videos for two reasons: first, cause nobody has lyric booklets anymore, and when I was growing up, lyric booklets were like little bibles. I want people to be able to access our lyrics without having to go to some gnarly website with banner ads.
I respect so many people, but I guess I'd have to say Madonna. Not being cliché or anything because she and I don't share a similar sound, but I truly respect how she's been in the game so long and developed so much over time and really did it her way. It's admirable. I want something like that.
If you take your happiness and put it in someone’s hands, sooner or later, she is going to break it. If you give your happiness to someone else, she can always take it away. Then if happiness can only come from inside of you and is the result of your love, you are responsible for your happiness.
I was raised by all women. I had no men in my life; it was my mom, my sister, and my grandmother. I've never identified as a man. I've always either felt like a boy or something else. I feel really uncomfortable thinking that, technically, I'm supposed to be a man, because I don't feel like one.
"I'll Still Destroy You" song is lovingly talking about how we change our states of mind, whether it's weed or wine or whatever. It's an ingredient in my life. Sometimes we overindulge ourselves. I've always been okay with that in a funny way. I sing about that stuff a lot, and the dangers of it.
As a writer, I find it very satisfying when a lyric suddenly ties together more neatly than you expected it to. But for the listener, hearing a good lyric is not generally as exciting as hearing a great beat or a great riff or a great melody or even a distinctive singing voice for the first time.
It's like I've experienced quite a weird and unusual life, you know, being with a mom who's a single parent and struggling with money and things like that. It's really hard. And it brings a lot of other insecurities in life and a lot of other issues in life, in school and a bunch of other things.
To some degree. I think that I've always been very much of a chordal person. The chords are the foundation of everything. Some of Yes' stuff is very linear, albeit complex, but it's single-line melodic stuff. So I kind of had to wear a different cap working with Yes. It's not so much chord-based.
"Dark Fantasy" was my long, backhanded apology. You know how people give a backhanded compliment? It was a backhanded apology. It was like, all these raps, all these sonic acrobatics. I was like: "Let me show you guys what I can do, and please accept me back. You want to have me on your shelves."
I'm definitely one of those people who feels that they were born in the wrong era. I don't know if that's nostalgia. I have a hard time relating to most current things. It's funny because I get associated with nostalgia a lot, but I don't hang out being like, "Man, if it were 1986... If only...!"
I was writing with different people in Nashville - whoever I could. Eddie Hinton came on the scene about 1963, and about four years later we wrote a ton of songs together. I drifted around, but Eddie and I had some cuts through the '60s and '70s. I went on the road with Kris Kristofferson in 1970.
I feel that as artists - whatever your medium is - I feel that we're watching what goes on around us and we take what we don't see, or we don't hear, or we don't feel and we do something that speaks of it; more about it, for it, or against it - whatever our perspective is - that's what our job is.
I feel like real thoughts and emotions involve the whole being. And they also outstrip little personal quirks, and they outstrip biography. You end up on a really special, universal, shared terrain in those experiences. I think it's available to absolutely every single thing made of flesh and blood.
I've always been making original music. I think that when I sat down with Losing Focus, I approached it different. I had a clearer understanding of who I was talking to, because I was able to go out and tour and see them right in front of me. I wanted to speak to them and speak about this lifestyle.
The obsessive documentation is itself adjacent to hyper-consumption in our society. The desire to just have everything all the time and adjacent to that is - it might be a little hokey but - a certain loss of identity that then only gets sort of found or ascribed to these moments that are documented.