A Quote by Bruce Sterling
Saying you have a political solution is like saying you can write a pop song that's going to stay at the top of the list forever. I don't have many illusions about this, but I'm not cynical about it.
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I usually don't write songs by people calling me and saying, 'Write a song about this.' Usually I'm just going with what I want to write, so you never know.
The good thing is in my case I'm all about love and communications, so there was no hard feelings, it was like ok we reached the end of this season and I wish you well and it's time to move on. As a pop song it's definitely open to many different interpretations, I received a call from a cousin saying that it helped her heal after an abusive relationship and another friend said it represented her of a summer fling. We tried to write carefully so that it can be relatable to cover a wide audience.
To write a love song that might be able to make it on the radio, that is something that is terrifying to me. But I can definitely write a song about that chair over there. That I can do, but to sit and write a pop song out of the clear blue sky, that is very difficult and I admire the people that can do it.
I've known Prince for many years - I worked on the "Raspberry Beret" video - and Kirstie [Alley] and I used to fight about him.He once sent a card [saying] he had penned a song about me, called "Palomino Pleasure Ride." I remember bringing this card to work one time and showing Kirstie and saying: "See? Now who's the better friend?" It was so ridiculous.
Women still routinely get passed over when everyone sits around the table and says, "What's our list of 10, 20, 30 directors that we wanna put at the top of our list for this project?" You need more people who are either women who care about this issue or men who care about this issue, who are sitting in this room and saying, "Guys, where are the women? We need to be going out to women." And particularly in the projects that really could use a fresh feminine perspective, whatever that ultimately means.
When I'm tired, I tell myself what the people are saying about me. In that second workout when I'm saying, 'Man, I don't want to do this.' I remind myself, 'They're saying you're old. They're saying you're 33. They're saying you can't do it this year.' I play games with myself off that stuff.
Saying you're a pop group isn't saying very much. Personally, when I think of pop, I think of instant, accessible, catchy songs - I definitely identify our music as that. I think that by writing pop, or instant, accessible or hopefully catchy music, it shoes you into bigger audiences because it seems that more people like that music. I think the possibilities are endless if you stick to a simplistic short song; the music can be as wild and bizarre as you want it to be, as long as at the core of it, there's something really strong.
There's only so many things to sing about, so what's going to make a song appeal to you more than someone else's is just a unique way of saying the same thing.
I realized probably when I was, like, 20 years old that the hardest thing to do is to write a pop song - not, like, a candy-pop, throwaway pop song.
It's hard to stay at the top. There's a cheesy saying isn't there: it's easy to get to the top but once you're there it's harder to stay there, and I'm fully aware of that.
Don't try to be young. Just open your mind. Stay interested in stuff. There are so many things I won't live long enough to find out about, but I'm still curious about them. You know people who are already saying, 'I'm going to be 30 - oh, what am I going to do?' Well, use that decade! Use them all!
I thought about going onto the first one, Pop Idol. My mum was saying, 'Go on!' But I decided not to. 'The X Factor,' though, doesn't really seem to be a show about musical talent anymore.
When I'm rapping, like, a turn up song, I'm thinking about what the people want to hear; this is what they're going to like. When I'm singing, I'm, like, telling my story. I'm not worried if people like it; I'm just trying to be truthful, you know what I'm saying? I'm just talking about something that happened to me.
I remember years ago hearing a top band talking about a song of theirs that was a monster hit and they were really dissing it, saying that they hoped they'd never have to play it again. I thought: 'That's not right. If people love a song, play it.'
Well, what's interesting, I try not to think about the radio when I'm writing a song. I want people to love the song, and that means it might not be exactly thinking about the radio, but it's thinking about your audience and saying, 'I want people to like this song after it's done.'
I think there's something antagonistic about bedroom pop. We're reappropriating pop and saying you don't have to be an ex-Disney star to make pop music. You can be from Shepherd's Bush and have spent most of your life listening to the Smiths and still make a pop record.
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