Quotes of All Topics . Occasions . Authors
It has never mattered to me that thirty million people might think I'm wrong. The number of people who thought Hitler was right did not make him right... Why do you necessarily have to be wrong just because a few million people think you are?
Kid's heads are filled with so many nonfacts that when they get out of school they're totally unprepared to do anything. They can't read, they can't write, they can't think. Talk about child abuse. The U.S. school system as a whole qualifies.
They used us as an excuse to go mad and then blamed it on us. Gandhi says create and preserve the image of your choice. The image of my choice is not Beatle George - those who want that can go and see Wings. Why live in the past? Be here now.
Wherever I go in the world, when I see devotees, I always say "Hare Krishna!" to them, and they're always pleased to see me. It's a nice relationship. Whether they really know me personally or not, they feel they know me. And they do, really.
Music is an individual pursuit - it is made to please yourself first. The pleasure of other people is a byproduct of the pleasure that comes from yourself so again I cannot judge or look down on someone who does whatever they feel like doing.
I like the idea of going out with a woman and not doing anything, and just eating dinner and talking, and that's cool, too. So, someone might look at me and say, "No way, man. He's just banging strippers." And I do that, but not all the time.
I hope women feel confident with themselves and realize that we don't all have to look alike or be the same size to be beautiful. I hope they feel like representing what it means to be an individual and to remain comfortable in your own skin.
You need music, I don't know why. It's probably one of those Joe Campbell questions, why we need ritual. We need magic, and bliss, and power, myth, and celebration and religion in our lives, and music is a good way to encapsulate a lot of it.
We're not uncomfortable with it, and we've already been through enough of the music business where I'm not really worried that commercial success is going to in some way - we're already past saving, you know what I mean? It's too late for us.
You never knew what was going to happen in concert. It was a really exciting prospect to go onstage, and you can hear that in the live recordings ... wherever we were and whatever year it was, we always went onstage determined to do our best.
Everything I've ever done is out. I don't have boxes of unreleased stuff. There's nothing in the files. I can never keep anything unless I don't like the sound of it or it didn't work. If I can sing it to an engineer, I can sing it to anyone.
I remember seeing McCoy Tyner in concert, and thinking that the music was incredible, but wanting to be invited in. I figured that humor was the way of letting the audience in. I've gotten a hard time about it, but I love to be funny onstage.
I watch videos on YouTube of bands that I've heard of that I want to check out. And sometimes I don't even finish the video. And that's really sad, because maybe I'd like that song. I think that we don't give stuff a chance to really sink in.
I hate the attitude of, 'oh we already have a Lydia Lunch, so we do we need a Bikini Kill.' Well, there's like 2 hundered million all-male bands writting 'baby baby I love you, let me drag you around on my ankle.' Is that enough already? Duh!
I just don't like when there's a rumor that says I'm dating someone who is below my standards. But when I got divorced, my ex-wife said I was spending all my time with Lindsay Lohan and Angelina Jolie. I was like, 'Thank you for the big ups!'
I might be a completely different kind of songwriter but I definitely think there are some things... I've taken pieces from different people that I've met and worked with along the way from the Killers experience, within the band and without.
There's the obvious shift in the tech industry. I'm not really politicized about the whole thing, but it's definitely clear that rent is harder and it's harder for musicians or artists or someone not making a ton of money to live comfortably.
If you look at the history of music, you have classical composers, church music, pop music, etc. Music that's existed for centuries. I think there are some songs that are close to immortal. They will last longer than we will in this lifetime.
Kylie Minogue is just a demonic little idiot as far as I'm concerned. She gets cool dance producers to work with her for some bizarre reason, I don't know why. She doesn't even have a good name. It's a stupid name, Kylie, I just don't get it.
Rock's gone soft, it's gone miserable and boring, there's not really much exciting about it. So it's important that we cross over, because we feel like we belong more in a place where people just like music and it's not about how heavy it is.
I know that women in the music industry get treated a lot differently than men. I've seen it firsthand with somebody in particular, where it's almost that men like to treat women in the music industry like they can't make their own decisions.
I never knew much about business. But I've been made happy. The TV and commercials have been very fortunate for me and my career. And Atlantic Records has always been wonderful to me. I don't think I could have chosen a better record company.
What I'm trying to do is find either existing properties or come up with properties or angles or stories which will create music drama. It's my obsession and most of all I would like to remain working in theatre. I think it's very much alive.
When I wrote the song, I had the sea near Bombay in mind. We stayed at a hotel by the sea, and the fishermen come up at five in the morning and they were all chanting. And we went on the beach and we got chased by a mad dog - big as a donkey.
Criticism is beyond your control and is a collective group of people deciding things about you that may or may not be true. Some critics look for more when there's no need to. They have a dotto-dot picture of me they are intent on filling in.
It's lifestyle music. It's not like some secretary who likes some pop song, but can't name who the band is; whereas a heavy metal fan is into every aspect of it. We'll see if rap holds up to that. Run-DMC seemed to be the Led Zeppelin of rap.
That's one of the cool things about going to local bars: seeing what people are doing and jamming with them. I'm a huge advocate of jamming with others; you learn a lot. So I love to go and do that - even if people wipe the stage up with you.
I went to a boarding school when I was 13, and it was a very arty school, so there was an opportunity for a lot more. I joined a band and so on. We would do concerts at school, and I would play cover tunes and thought, 'This is really great.'
I still use a lot of cut-ups, I physically cut-up pieces of paper and stick them all together on another piece of paper then I'll think, "Ah, that looks good," or shuffle them around a bit and then I'll photocopy it and then that's my lyrics.
I drop free music because I want people to know I'm still working. I want people to know I'm working and making my money independently. I don't want to charge for a mixtape; I'd rather charge for an album and really give something to my fans.
The Angels shows are really intense. We play for a couple hours at a time. They're very theatrical and full of audience interaction and emotion. I've seen a lot of people crying and stuff. It's a little bit like church, but it's very secular.
There are some things that I write that I know are personal in a way, or the gag is so obscure that it's just for me, and there's other things that could basically be for anybody or be anything, at least until the lyrics start to get written.
I've never really been nervous about any concerts. I enjoy it so much. All that matters is getting the songs played well, trying to get them to sound as close to the record live, which isn't easy, because my music is quite complicated to play.
When you're trying to make people believe in what you want to do, you have to be really careful to figure out how you'll make it work, how to maintain the momentum that you're getting without sacrificing much. It's a complete learning process.
You know when you become friends with someone, you don't even remember? When you weren't friends? You're just kinda like, 'When were we not friends? When I met you, weren't we just already friends?' I have the same thing with the Strokes guys.
When we signed our deal in 1974, we'd already been together for six years. When they lowered the drinking age in Ontario in 1971 to 18 years, we went from playing two or three high schools in a month to playing clubs two or three times a week.
'She's Dynamite' was a 100 years ago, and I recorded that song because the company thought that it was a great song and it was hot. That was the beginning of rock n' roll, and I guess they thought it would be a BB King version of rock n' roll.
Sometimes, I think the way the music business has been destructive and the way the fans are been put through it and try to navigate through it, so much is so foreign to what musicians would actually want to do or what would be natural to them.
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 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.
We are singing today of the WIPE-OUT GANG - the WIPE-OUT GANG buys, owns & operates the Insanity Factory - if you do not know where the Insanity Factory is located, you should hereby take two steps to the right, paint your teeth & go to sleep.
It's been really interesting watching people's reactions to the new music, to the old music and also watching how modern young people will be standing in front of something going on like live music, and there's a camera in front of their face.
I am very grateful to punk because I was a girl, and I felt like if I got in a band, I'd be kind of a novelty act, but punk was all about non-discrimination. No one cared because it was punk, so, you know, anyone could do anything they wanted.
Love is not obedience, conformity, or submission. It is a counterfeit love that is contingent upon authority, punishment, or reward. True love is respect and admiration, compassion and kindness, freely given by a healthy, unafraid human being.
I had a rule that I would never force the muse in my younger days. I would follow the feeling. I would just put the pen down and walk away, and wait for it to come back. But these days, I have a kid, I tour a lot, and I'm always short on time.
A long time ago, I made a promise to myself: "Okay, you know what? I'm going to play music, and hopefully I'll make enough money that I can go back to school. Once I make enough money to put myself through school, that's what I'm going to do."
I meet young people who know me and are familiar with my stuff. They know the package. They might have cherry-picked five or six key tunes. That's how it seems to work. I sometimes wonder if they realise they are not getting the whole context.
But we will play 6, 7 new songs each evening, approximately a third in the concert. I think it's a good balance. It will be very interesting to see the public's reaction. But i think when we'll play the very first new piece, we will be scared.
If you want to be a rock star or just be famous, then run down the street naked, you'll make the news or something. But if you want music to be your livelihood, then play, play, play and play! And eventually you'll get to where you want to be.
I'm one of those people that is up for most things. When I was offered to sing at the Oscars I was like, 'Yeah, I want to know what that's like!' I'm always curious to know what things are like - as long as you're not compromising who you are.