A Quote by Black Thought
Anyone that I've ever worked with, it's not like I just meet you or someone throws us together for the sole purpose of coming up with a song that's gonna be a hit. I have to have some sort of relationship, or we had to have interacted on some other sort of level and that's when it feels most natural.
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I'd sort of gone through some sort of spiritual change in the late 70s where I sort of saw there was some other life to live. It changed the way that I worked just having a different presence and a different tension.
For me, promotional thing about some new album coming out destroys a lot of the excitement of making records. Records, movies, books - they're not supposed to be like math books. The purpose of them is to kind of take us out of ourselves and give us some sort of alternate experience or respite. To try to maximize the relationship of listening to a record through promotion is like experiencing driving a car by reading about stimulus programs. It kind of defeats the purpose.
When you're singing we all phrase each other in the most remarkable ways. I might hit some sort of thing I've never done before - some vocal pattern. Bonzo will pick it up - he'll phrase with me instantly and then Pagey may join in or start some other phrase - it's like a quadrant.
We kind of look at music as something very natural in people's lives. I mean, most of us can relate to music in some sort of shape and form, and if you think about it, most of us remember the first time we kissed someone, what kind of music was playing or the song that was playing on our friend's birthday.
Whether it's a 16-year old girl, or a mom, or a guy, or anybody, as long as they come up and they're excited to meet me 'cause they've had some sort of relationship with something I've created, it's the coolest thing ever. It never gets old. It's awesome.
People always like to have a good time and laugh, and, [among] the vast majority of the seven billion people on this earth, one thing that we all have in common is at some point we all need to pair up and find some sort of significant other, some sort of romantic counterpart.
Being a straight white guy in his, like, early twenties - there's some sort of thing about it. A sort of privilege, a sort of anger or something. You just say some really stupid things.
I guess I don't really know any other way to do it, it just feels like the natural way to do things for me. Like - if I'm writing a song - it has to have some sort of value. Or it only has some kind of value to me, if it's something really personal. It has to mean something to me. I guess it is a little uncomfortable, or it's a little embarrassing sometimes, to know that stuff that honest is out there. But, when I hand off the thing, when it's totally done and mastered and sent, I kinda feel like it doesn't belong to me anymore.
I didn't grow up with my mother, and so losing her for real was like, some sort of latent childhood, some sort of unresolved issue. When she left for real, it was sort of like, I was done.
I've definitely had some tough schoots. I'd say everything that I've done has had some sort of challenge that I've had to overcome. But it's the most satisfying feeling once you have and that's what I love about acting, sort of signing on to it knowing that it's going to be challenging.
I don't feel like I have a super straightforward relationship with the idea of fame. It makes me sort of level things out in my own brain almost immediately when I meet someone.
Most restaurants in most cities, including Washington, are at a sort of mid-level. They're somewhat trendy, or they have some sort of gimmick, or they're somewhat expensive. And they make a lot of money off drinks. I tell people don't go to most of them, unless your goal is just to socialize.
And religious music and the sort of symbolism of it and everything. But I had this idea. Actually, I sort of dreamt it. I woke up - just before waking up one morning, I sort of dreamt this song or the idea of it and the first little bit of it. And I jumped out of bed and I thought, well, you're still asleep. You're going to forget this in a minute - you know, like you do when you've had a dream.
I just find that with music I've always felt a sort of comfort."Paranoid Android" was the saddest song I'd ever heard in my life, but it felt so good - it was like, "Oh, you understand where I'm coming from." I was at a weird age at the time, in a hardcore band that had no melody, no chance of finding any success, and I was just trying to figure out what the hell I was going to do with my life. And that came out and changed my life forever - on an artistic level, and a lyrical level, for sure.
I find flying interesting in that it's a very intimate experience. You're so close, physically, to one or two other people and you eat, sleep, do everything together. I've met the most extraordinary people on planes, some of whom I've stayed in touch with, some I haven't. Even if you're beside someone who ignores you for eight hours, there's a physicality you wouldn't put up with from anyone other than someone you knew well. You're in it together, even if you never say a word to one another.
I was at the New York Film Critics Circle Awards one year - they called me up when somebody canceled two days before the thing, and asked me to present some awards. So I went, and one of the funniest film moments I've ever had was when they introduced the New York film critics. They all stood up - motley isn't the word for that group. Everybody had some sort of vision problem, some sort of damage - I had to bury myself in my napkin.
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