When I have interns, I always say, 'Handwritten thank-you notes can make a difference.' People remember that - not an e-mail, a handwritten note in an envelope.
I don't know how old I was when I first started going to shows, maybe 14 or 15, but very quickly, I discovered Dischord Records in D.C. and loved all the music on that catalog. I was a big Rites of Spring fan, Minor Threat, of course.
I would get records by Earl Scruggs... I would tune my banjo down and I'd pick out the songs note by note. Learned how to play that way. I persevered. There was a book written by Pete Seeger, who showed you some basic strumming and some basic picking... And I kind of worked out my own style of playing.
I don't remember that I copied any guitar player note-for-note. But I remember copying Charlie Parker note for note.
How do I let the director know how obsessed I am and willing to do anything for the movie? Like, I wanted to write this one director a letter, so I wrote him a handwritten note. But then I was like, 'How many people are writing this guy handwritten letters? Is it going to seem cheesy? What do I do?'
Often times I'll quickly dash off an email or text message when I leave a party. A particularly enjoyable evening, however, that warrants a thank-you note or a phone call. I always say a handwritten note is the ultimate hallmark of a classy woman. But an email is better than nothing.
I think about Dischord. There's been a pretty consistent notion that Dischord have been some sort of "overlords" of the scene. Some people have felt 'they are too cool for us,' or 'they won't put this out,' etc. All we're doing is our own work, our own thing. That's all we've ever done. Our work.
Sadly, e-mail has triggered the decline of the handwritten note; I have seen its near-disappearance in my lifetime.
I taught myself to play the guitar by listening to Paul Simon records, working it out note by note. He is an incredibly intelligent musician. He's not someone who has a natural outpouring of melody like McCartney or Dylan, who are just terribly prolific with musical ideas.
There are a lot of people that impacted me. I remember hearing Oscar Peterson live at the Blue Note, which was very expensive, but... $50 in the '80s... hard to come up with. But it was amazing.
I bought a Three Dog Night album when I was pretty young, and I remember listening to all those songs. That's just greatly crafted songwriting, and the songs have such great harmonies. I remember marveling over those and trying to figure them out on piano. That was my early education - figuring out records, older records, as a kid.
It's interesting: in the late '80s, there was this really random mix of new wave, industrial, and these early house records. And a lot of it was coming out of Chicago because of Wax Trax! So I always visited Wax Trax Records.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.
God picks up the reed-flute world and blows. Each note is a need coming through one of us, a passion, a longing pain. Remember the lips where the wind-breath originated, and let your note be clear. Don't try to end it. Be your note.
I remember seeing this image of these women wearing these bright clothes and patterns, and it struck me. I remember taking note and going, like, "What is that? Who is that?" and finding out it was Gucci and being surprised.