A Quote by Dan Hawkins

There's a lot of people out there who have seen us once somewhere in a pub or heard our songs late night on radio. We'd done four years of it before we'd even released a single. It's put us in good stead.
There are no leftover Tool songs because of the process it takes to compose our songs - the way we hash it out in a room with all three or four of us, that there's tons of riffs and jams and things. But there's no put-together songs that are sitting in the eaves.
If you're a good Amish girl, you're courting, you have three or four different beaus, and you go out and stay out all night. That's just their tradition. They date under the covering of night. No one knows who they're dating or seeing until two weeks before they're going to be married. It's how they've done it for 300 years.
By the time I actually recorded Bitter Tears I carried a heavy load of sadness and outrage; I felt every word of those songs... I expected there to be trouble with that album, and there was.... when it was released, many radio stations wouldn't play it.... The very idea of unconventional or even original ideas ending up on "country" radio in the late 1990s is absurd.
I'm really terrible at math, so I won't even attempt to do ratios and percentages, but all I know is that there's a lot of new songs that no-one has heard yet, and that there's a lot of old songs that some very, very super hardcore fans have heard for sure - there are people that have been coming and seeing me play in bars in like 2002, and there are songs that those people heard.
Usually, when you're putting out a record, you have reviews from people a week before, and you have a vibe 'cause everyone's heard it - you've heard feedback from everyone, and they've listened to your single for a couple of months. Radio's playing it.
Like a lot of us, sometimes I'm preaching to the choir, and sometimes my voice doesn't even get heard at all. Sometimes I think that what I'm writing now might not even have an impact for the next three or four generations. Sometimes I sit there and write, and I think, "It'll be two hundred years before they get what I'm writing about."
The songs that are getting recreated by us or fellow industry friends are because these songs were gold in their time and needed to be heard even today. Remixing them is a way to make them popular to the youth of today who haven't heard them before.
It seems to me, that this, too, is how memory works. What we remember of what was done to us shapes our view, molds us, sets our stance. But what we remember is past, it no longer exists, and yet we hold on to it, live by it, surrender so much control to it. What do we become when we put down the scripts written by history and memory, when each person before us can be seen free of the cultural or personal narrative we've inherited or devised? When we, ourselves, can taste that freedom.
The really cool thing about festivals is that you're getting to play in front of a whole lot of people who have never heard of us before. That's exciting. At the same time, it's a little bit of a challenge to capture the attention of people who have already seen a lot of bands.
Internet has contributed to certainly a new kind of communication among us - not all of it good; a lot of it, dangerous. When we talk about human community, we certainly now have a tool in our hands that enables us to reach out as we never have before. It broadens our sense certainly of what community is and even of our own place in it.
So we've done science songs. We've done historical songs. A lot of people would like us to do more historical songs. Our history record would probably be like the people's history of the United States, set to music.
A lot of people think YouTube is quite easy, when it just isn't. I've been doing YouTube for six years now, and I'd say the hardest years were definitely the first three or four. You have to constantly put out content that is good just to make people come back to your channel, and I work every single day just to try and expand my brand.
I've been sort of writing sketches for songs on my own forever and putting them down on cassette tapes. Yet for years and years and years, my main songwriting outlet was as a member of Sonic Youth, and for most of our time together, our best songs were written in a group setting, where the four of us were getting together in a room.
In the middle of 'Bleed Red' coming out, a huge disproportionate majority of people in radio came to us and asked if they could have 'Cost of Livin' as a single. There was even talk behind closed doors about pulling 'Bleed Red' because they had caught wind and heard 'Cost of Livin'.' We went with that.
When life knocks us down, God CAN put us back together again. He can meet us in our brokenness and restore us to something even more glorious than we were before we were shattered.
Our parents came home one day and heard us, and they thought it was the radio, but our grandfather told them it was us.
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