Quotes of All Topics . Occasions . Authors
There is something to be said though when you have 4 or 5 guys playing with no net, there is a sense of urgency, It is organic with a lot of anticipation and you can hear it, the way it is played. My favorite bands that I love from way back have a lot of things going on and it makes it real, it is not tangible but it is the spirit of the moment.
For me, I don't want to live in a world where I am afraid of making the kind of art I want to make. The idea that I should be afraid of publicly ridiculing and mocking and chopping up and rearranging a giant corporation that intrudes on my life whether I want it to or not every day... The idea that I have to be afraid to do that is absurd to me.
When recording, whatever you first think about, you come out with something totally different at the end of it. Whatever plans you have you throw away, because it's always going to end up sounding pretty different from what you initially thought of. I probably only had about five or six songs when I started, and it just sort of flowed from that.
If I've learnt one thing, it's that I need to surround myself with people who want to know the real Pete Wentz, not some myth they've concocted from a bunch of press clippings. I can open the door a centimetre wide, and some people think I'm showing them the whole room. But all they're getting is a glimpse. That's all I want to show most people.
Everything is reduced to what's physical in the end, because it's the filth inside people's minds that creates all the evil. What is a body, anyway? I suppose you've got to abuse your body to understand it. If you're not prepared to humiliate yourself in order to give somebody else a moment's pleasure, I don't believe that you've actually lived.
Every time, my syncopation is different, because I can never play the same fill twice. I just can't, never have been able to. Even as a Beatle, they'd say, 'Oh, double-track that.' I don't know how you do that, because when I'm in a fill I'm sort of this blackout, just this pure me coming out and I can't pure me the same, twice. So, that's that.
What bother me, not "bother me," exactly; that's not the right way to put it. But especially in the horror genre, once a movie like Paranormal Activity comes out and becomes popular - and that's a totally fine and valid movie - everyone starts copying it. Everything becomes a found-footage movie that looks like somebody shot it with their phone.
So tired of this straight line, and everywhere you turn There's vultures and thieves at your back The storm keeps on twisting, you keep on building the lies That you make up for all that you lack. It don't make no difference, escaping one last time It's easier to believe In this sweet madness, oh this glorious sadness That brings me to my knees.
I would say, if you're a musician then you probably have some capacity and some intuition. You've got to trust that intuition and be true to what compels you. There will be a lot of things along the way that will try to remove you from that, and if you do, then I think you are diminished. If you stay with it, then you have something that's real.
We live in an age of music for people who don't like music. The record industry discovered some time ago that there aren't that many people who actually like music. For a lot of people, music's annoying, or at the very least they don't need it. They discovered if they could sell music to a lot of those people, they could sell a lot more records.
My dad and I didn't talk much. Our relationship was OK but not amazing. So there I was, dressed up in my sort of uniform, the clothes my band was wearing at the time. He could tell I was I getting serious. I guess he knew I was going to go for it. So he told me how to handle myself professionally, not to take what people write about me to heart.
If people knew that Burzum was just the band of some teenager, that would sort of ruin the magic, and for that reason, I felt that I needed to be anonymous. So I used a pseudonym, Count Grishnackh, and on the debut album, I used a photo of me that didn't look like me at all to make Burzum itself seem more out-of-this world and to confuse people.
In fact, on a side note, after the success of the first record, I got asked to write for some pop artists, as everybody does, and I did a couple songs for some of these massive stars and the review that I got back was, "This artist likes the song but it's too POP-y for them." I was like, "What do you mean, I thought I was writing for a pop star."
I think it's really tragic when people get serious about stuff. It's such an absurdity to take anything really seriously ... I make an honest attempt not to take anything seriously: I worked that attitude out about the time I was eighteen, I mean, what does it all mean when you get right down to it, what's the story here? Being alive is so weird.
Although I have guitars all around, and I pick them up occasionally and write a tune and make a record, I don't really see myself as a musician. It may seem a funny thing to say. It's just like, I write lyrics, and I make up songs, but I'm not a great lyricist or songwriter or producer. It's when you put all these things together - that makes me.
There seemed to be a sense about Sarah [Harmer] even back then.She was obviously a quick study. I remember going to the Harmer farmhouse and sitting around the pool, and Sarah had a guitar. Maybe I knew four chords, but she already knew five. After doing 600 gigs that week, I would sing with her in a ragged voice, and she had the voice of a bird.
If a slave were to raise his voice to his master, he risked all manner of punishment. Yet what was possible in many circumstances was to lift one's voice in song. This was a major ingredient in what is now known as blues and gospel. Slaves may have been regarded as subhuman by their cruel captors, but through music, they were proud and dignified.
I listen to a lot of different kinds of music and rather than just doing one thing when I make an album, the challenge to myself is to write all these diverse tracks, but to make them work. It's like a jigsaw because if you've got a lyrical track going into a hard rock track... it's got to work. You've got to write things that will work together.
I love the Beatles. I haven't named any kids after them but I still really love them. They were the first group that I was ever properly aware of. In my early teens I would sometimes stay in and listen to the radio all day in the hope that I would catch a song by them that I'd never heard before and be able to tape it on my radio-cassette player.
People need to stand up, women need to stand up for each other and say, "No you can't kick this person like they're a dog. You can disagree with someone politically, you can have arguments, definitely privilege needs to be discussed in real productive and valid ways. But it's not real criticism if it's just like, "you're a disgusting bad person."
There is something I like about talking to journalists that really goes beyond promotion because you aren't just talking to the journalist, but you are talking through them to people who presumably are fans of the Rolling Stones. The interviews give you a chance to say a few things and maybe clear up some of the things people read about the band.
I always say to people, the Eighties were so inventive because people wanted to stand out. By the time we got to the Nineties, everyone wanted to fit in. It was all about having the same pair of trainers and the same pair of jeans. That's fatal. Whereas the Eighties you would never be seen in the same pair of jeans that somebody else was wearing.
None of us went to university, none of us went to college, none of us played in a different band before, none of us done anything. We were the last great band to come out of nowhere, on an indie label. We've sold 50 million records. That's still the benchmark. Until someone does what we've done, I'll always consider myself the last big songwriter
Even to survive and have everyone in good health now is really precious. Bands half our age don't even get that lucky sometimes. It's good to practice gratitude, as they say. I used to be so ungracious, I wasn't even aware that I should be feeling grateful! Now I actually try and put it into my daily thought: Be grateful. It's not always so easy.
I have a thing for Baltimore: the word itself, the place - I don't know where it comes from; it's just a weird city. I have a song called 'Baltimore,' but I'm not from there. I've driven through there a lot. We've played a couple of shows there, but it's not a big market. Some good bands come from there, though. Animal Collective and Beach House.
Every time the mainstream media talk about progressive rock, they wheel out a clip of Rick Wakeman in a cape. For me, it's one of the most ambitious forms of music. The problem is that when it doesn't work, you end up with Emerson, Lake and Palmer doing symphonies with 60-piece orchestras and revolving pianos, which I think is ridiculous as well.
President Obama is viewed by much of the world as feckless, weak, and incompetent, even antiAmerican - and that's by nations who are our allies and friends. As it pertains to China, Iran and North Korea (who just set off a nuclear weapon) they spit in America's face. They have no respect for America, and they sure as hell have no fear of America.
I remember writing 'The One I Can't Have' at the kitchen table. I was looking at a picture of Truman Capote with Marilyn Monroe and that's where I started. It doesn't make any sense because he was gay, but it was just the idea of the short guy and the beautiful blonde out of his league. That's where I started, but very quickly it became about me.
My mother, father and brothers (I was the youngest of three boys), were all very sarcastic and we were a complete Irish-Catholic family. We didn't talk about our feelings ever, and if we did, we were yelling about them - there was no in-between. That's just carried over so many ways in my life and sabotaged relationships, sabotaged creative stuff.
I listened to classical music. I listened to jazz. I listened to everything. And I started becoming interested in the sounds of jazz. And I went to a concert of Jazz at the Philharmonic when we lived in Omaha, Nebraska, and I saw Charlie Parker play and Billie Holiday sing and Lester Young play, and that did it. I said, 'That's what I want to do.'
When you're a music director, you have people constantly sending you music and trying to get - I mean, I'm sure you have the exact same thing when you do a magazine - that you have people constantly wanting to get your attention. And I think I learnt a lot from being on that end of things, when I was trying to book the tour, the first tour we did.
I've spent a lot of time in tiny venues in the way that I got my record deal and got my name out there just performing live. I was literally performing my songs in all kinds of different ways with different guitarists, and I didn't have an album up online or anything. It's been a lot of work; it definitely hasn't been a sudden explosion into fame.
Americans have been dumbed down to the point where more people watching 'American Idol' than listen to the state of the union address. And that's too bad. I'm not trying to take any bread out of the mouth of Simon Cowell, but if the president is speaking to the people of the United States, and people are going to watch 'American Idol,' that's sad.
There's nothing new about the government protecting corporations and calling it the freeing of the world or bringing democracy to bereft nations. Nowadays, the media have to be there for them, to keep you from asking too many questions, from getting together with other people who might want to do the Jeffersonian thing and call out the government.
People never grasp the fact that they're going to have to go through the same thing again. They get to the sort of five-year stretch or the seven-year itch or whatever these tension points are that seem to be organic, built in, like the tide coming in and going out. It's like every time the tide goes out you quit--you move your house or something.
I always tell girls who say they want to start a band but don't have any talent, well, neither do I. I mean, I can carry a tune, but anyone who picks up a bass can figure it out. You don't have to have magic unicorn powers. You work at it, and you get better. It's like anything- You sit there and do it every day, and eventually you get good at it.
Very often mothers go to work right away after the child is born and, unless the father or someone else stays home, this is quite serious. A baby has to be near its kin most of the time when he is little for three, four or five years. To give him this grounding, this feeling of connection, this feeling of relationship, is the most important thing.
Strangely enough a lot of my ideals are christian in a sense but I don't like the way that religion is portrayed in America but, I think, the album "Antichrist Superstar" really expresses, when you look at the lyrics it expresses, how I feel. I mean it's based in individuality and, strength and believe in yourself, believe in, you're your own god.
Look at me... look at me... I need the attention, oooh I'm punk rock I got some tattoos, I got some piercings. If I'm gonna get some piercings then I want everyone to see it...I don't need to advertise my punkness. A real punk doesn't need to show off...Its like a Karate man... the Karate man bleed on the inside. A real punk is punk on the inside.
There's a point when you're dating someone where you become aware of all the things you kind of thought you couldn't depart from. You kind of build all of these nostalgias and sort of antiquated memories in your mind, and when you're at the point during the breakup, you realise, "you know what, it actually takes a bit more than all this bullshit".
One thing that I'm really interested in is the kind of esoteric detail that surrounds these great figures. And Wikipedia is full of that kind of stuff, whether it's true or untrue. It staggers me: why, in the short space assigned to a person or an event, that kind of random information is there. To be honest, that's wonderful fuel for songwriting.
I've had to try and find a way over the years of writing narratively that doesn't really require you to sit down and work out what the story's about. You're brought into a sort of sequence of images that have that emotional resonance, but it's kind of irrelevant what the actual story is. It's taken me maybe 13 albums or something to work that out.
When a war is over I think it's a cowardly thing to leave the war behind you in minefields that hit women and children and the most vulnerable. Imagine the war is finished and you go to work and there are snipers shooting at you. Imagine taking your kids to the beach and you find that the beach is blowing up beneath you. Like there's nowhere safe.
I remember when I was about 15 and still listened to Pet Shop Boys and Chas And Dave, some lad at school lent me a Blur tape, and it had on it a song called 'Bank Holiday.' I said, 'What's this? I liked that tape, but that one song is a bit fast'. He said, 'Yeah, it's punk. It depends what mood you're in.' And then something sort of clicked in me.
I hate cliché. And when you're a rock singer in 1966, or whatever it was, psychedelic blues, through to the '70s, which we know all about, and the '80s, which was a scramble to hang on in, and the '90s, which was a great time for experimentation... and I'm really still excited. The huge vast diagonals within the music that I've been involved with.
Rastafari is our king or emperor, and being a king, being an emperor you've been taught all the ways of the ancestors. With the knowledge and teachings and studying his majesty, I've learned to put all these principles and precepts into the music, so that is how it inspires me to be singin' good songs and makin' good music for the people. Natural.
Donald Trump wants to dramatically reduce America's corporate tax rate (to 15%) and thereby unleash economic growth. Hillary Clinton hasn't said a word about lowering corporate tax rates. Being a Fedzillacrat, you don't need to be an economic soothsayer to know that she supports taxing the producers and further strangling America's anemic economy.
I would sit on the street corners in my hometown of Indianola, Mississippi, and I would play. And, generally, I would start playing gospel songs. People would come by on the street - you live in Time Square, you know how they do it - they would bunch up. And they would always compliment me on gospel tunes, but they would tip me when I played blues.
Well now I'm no hero, that's understood. All the redemption I can offer girl, is beneath this dirty hood. With a chance to make it good somehow, hey what else can we do now? Except roll down the window, and let the wind blow back your hair. Well the night's busting open, these two lanes will take us anywhere. We got one last chance to make it real.
I was a guitar player on the streets of Asbury Park and already a member in good standing amongst those who lie in service of the truth - artists with a small A. But I held four clean aces. I had youth, almost a decade of hardcore bar band experience, a good group of homegrown musicians who were attuned to my performance style, and a story to tell.