A Quote by Benjamin Booker
In 2012, I started writing songs - not for the world to hear, but for certain people I needed to talk to. My family, we were not big communicators. I had a hard time talking to people in general.
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When people ask me about my dialogue, I say, 'Don't you hear people talking?' That's all I do. I hear a certain type of individual, I decide this is what he should be, whatever it is, and then I hear him. Well, I don't hear anybody that I can't make talk.
Actually, I never tell for whom my songs are written. It's a kind of superstition! I started writing songs for not having the courage to say certain things in people's faces and started to put these feelings on paper... Over the years, became a mania and then I never talk about for whom they are made.
When I wrote for Jordan Knight, I was 17 or 18, they were pretty much the only songs I was writing. By the time people like Christina or Usher came around, I was able to know that I was writing for different points of view and people that might not want to say certain things. So you have to be considerate of whichever artist you're writing for.
It sounded weird to hear you talk so much; normally you only said a few words at a time. I'd never imagined that you'd have a story, too. Until that moment, you were just the kidnapper. You didn't have reasons for anything. You were stupid and evil and mentally ill. That was all. When you started talking, you started changing.
When I try to explain to people the big influences in my life, or at least when I first started, the most important ones were my friends who were also writing songs and were typically four or five years older than me.
People used to say, "Oh, I like SNL show, it's funny." And this 2017 season, people were saying, "Oh, I love the show, I needed it, thank you." It started towards the end of last year, when the Primary started to heat up. I remember in the summertime people were excited for it, talking about SNL in July and August.
I don't really premeditate what I write my songs about; you know, they just kind of happen, and I can't start writing songs to please a certain group of people or propagate a certain message all the time. That's just not how my songwriting works - it just sort of comes out, and the songs are what they are.
We had offers to go everywhere and we could have done them. But what would have been the point? We were tired. We had worked hard and needed a break before we got stale. We spent six months at home and writing songs.
I loved both [Bob] Seger and the Eagles, knowing why they didn't play some of the songs I wanted to hear. But at the same time, they covered all the big bases, and the stuff that most people had heard. But they definitely had a bunch of album cuts that I wanted to hear that they didn't get around to.
I'm writing all the time. And as the songs begin to coalesce, I'm not doing anything else but writing. I wish I were one of those people who wrote songs quickly. But I'm not. So it takes me a great deal of time to find out what the song is.
When we first started playing in the early days, none of us really had any idea about writing our own songs yet. We were struggling how to learn our instruments and play songs to be able to perform for people.
When I first started writing songs and being very explicit, it was hard, but one of the main things people respond to in my writing is that 'just say it' attitude of my songs. There really is nothing personal or private; it's all universal, if you can just find the courage to be open about your life.
I was on 'Melrose' at a time where we had to all go home and be there at the same time when the show was on, or set your VCR. But that was a big thing, and people of my generation still talk about that. They remember where they were, at what point of their lives that show came, and then talking about it the next day.
Guys like Otis Blackwell and Bobby Darin, and all the guys who were writing songs for Elvis at the time, just hanging around, writing songs, talking about music.
When we started, I was delivering meals to people in Atlanta. We were a direct-care organization. And it was - people needed meals, they needed transport, they needed medication, they needed buddy systems. They had a death sentence. There was AZT, and that was just prolonging the agony, basically. Now people, of course, if they are on antiretrovirals, they face a lifetime of health, basically. I mean, it doesn't - it's I would say in the 99 percent certainty bracket that if you are on that medication, you will have a healthy life.
When I first started writing these kind of songs that would eventually become Decemberists songs, I was writing them because I knew that nobody was listening at the time and that it wouldn't hurt to challenge myself and get weirder and see if I could alienate more people
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