A Quote by Andy Biersack
I know what it's like to be an outcast in society. I know what it's like to want to find strength, and more importantly, I know what it's like to find that internal strength and rise out of the pain of being just sort of a weirdo.
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We just, you know, we're just sort of doing it like Bewitched, because we just think that the character of Kenny is so specific and so outrageous and so fun. And by far the hardest character to cast out of everybody to find someone who was capable of, you know, doing, you know, the comedy and just with the broadness and to be also just a really brilliant actor, you know, to do naturalism.
I feel like I go from strength to strength. What exists in between is the stuff that makes it worth it. I don't know what a triumph is unless I know what a failure is. I welcome both in equal measure because I know they're both temporary anyway. I know they're both unavoidable anyway.
The Internet, you know, 10 or 15 years ago sort of felt like the wild West. You could go out there and do anything and search for things, and, you know, find out about stuff. Now always in the back of my mind, you know, whether it's email or whatever else, it's like, well, is this going to show up somewhere? Is someone going to keep track of this and, you know, know I was searching for - maybe it's an embarrassing disease, maybe it's a weird hobby?
In American commercials in the past year or two, I don't know, the singers all sound like they're whining and the music's all melancholy. It's sort of like, I hear these commercials and it makes me feel sad, you know? Like - for instance, my barley tea is gone. Now, there's music out there that encourages you, when your barley tea has run out, to just sort of sit there and be like "My tea ran out. Oh, man." And just be slouching. So we wanted to make music that when your tea runs out, instead you're like, "I'm gonna go get some more tea!" You know? It just gives you the energy.
When you first come out, it's transition. You gotta find your routine, days you don't feel like doing it, you don't have to do it. But you know, it's in you. I like to think anyone wants to look good, I'm no different from that. More importantly, I wanna be healthy enough to run with my kids.
Find your balance and stand with it. Find your song and sing it out. Find your cadence and let it appear like a dance. Find the questions that only you know how to ask and The answers that you are content to not know.
You know, where have you - what have you been doing? You know, and you find yourself sitting next to Jesus, and he's rather an agreeable man. And you have an opportunity to say, so what went down then, you know, that night? And it's supposed to be like him just sort of telling you very conversationally. That was the idea I had. Whether it - whether it comes - came off or not, I don't know.
You know, rap is sort of like a form of talking, right? So it's like you can hear, you know, the slaves doing it. You can hear, like, you know, Africans and Jamaicans doing it just kind of as, like, a rhythmic, poetic conversation, you know, to a rhythm.
I didn't really because I know myself well enough to know that if I actually sit down and think about sort of I can spook myself out like anyone, you know? It's sort of like you've got to sort of jump out of the airplane when you're skydiving. If you spend 20 minutes sitting on the lip you probably won't do it.
There's just something about being on stage and being with the people that, once that camera turns on, you find the strength to keep it cool, look good, act like you're not cold, act like you ain't nervous, act like you aren't scared. I think that comes with confidence and practice.
I don't know if it's more acceptable or if black men are more comfortable. Black men certainly are more comfortable with it. I don't know that society, like white society loves it or black women. When you see a black man with a white woman there is a feeling that you have and I think the feeling is an instinctual feeling of you want her you don't want me. I don't look anything like her, so you don't like. You know what I mean? Something like that. It's a real instinctual primal thing.
But anyway, I was convinced that it would go away, you know. But the idea was that he was sitting on a flight - you know, one of those sort of fairly long flights, like, sort of, you know, Newark to Denver or something like that - so, you know, a few hours.
I think the record-buying public know what they like, and when people are trying to pander to them, I think they know it. They want the genuine article, so if we try to sort of "dumb down" for the mass public, I think they're too smart for that, and would recognize us as fakes. It seems like the bands that do crossover do so really on their own terms, and they just find that their terms just kind of make a big dove-tail with the masses.
When I was growing up, I didn't really know much about being popular or cliques or anything like that. In elementary school and middle school, you start to kind of realize what it's all about. There are cool kids, and then there's you, and you're just trying to figure out where you fit in.I learned a lot about acceptance and rejection,Those are the themes that you'll find spread throughout my music and weaved in throughout all of the lyrics. I really know what it's like to be accepted, and I also know what it's like to be rejected. And those are lessons I learned in Wyomissing.
I know what it's like to be hungry. I know what it's like to be homeless. I know what it's like to have to choose between breaking the law and feeding yourself. I know what it's like to take meals at shelters and at Salvation Army facilities. I know what it's like to beg for money on the streets.
Hip hop dancing is more like choreography and it's more made up and you have to learn it. This, this Krump and Clowning you can't learn, it's just in you, the music moves you, you know. It's raw and organic, you know, it's like whatever comes out of you, you make it up tempo with the rhythm, you know, and it just comes out.
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