A Quote by David Friedman
I may not be the most famous songwriter in the world, but you know a David Friedman song when you hear it. It took me a long time to appreciate that.
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If I hear one of my songs by anybody, it's a dream come true every time for me as a songwriter, because I want to write a song, I want to write a song that the world can sing and will always sing.
When I first started writing songs, I was probably about ten or twelve years old, and the first thing you think as a songwriter is, 'Can this be a hit? Can this come out, and people are going to hear the song and like the song, and then they're going to like you, and you'll get famous and rich?' That hasn't changed a bit.
It took me a long time and most of the world to learn what I know about love and fate and the choices we make, but the heart of it came to me in an instant, while I was chained to a wall and being tortured.\
It took me a long time to realize you don't choose what you're famous for.
I like Twitter, actually and I like Instagram and I like talking to people. Most weeks, I'll take a day, a morning or two out of my day and I'll sit and I'll just answer my tweets. You have to get back quickly. And I think that's important to let people know that you see them because they took the time to acknowledge me. And they took the time to if you want to be my fan and to follow me and appreciate what I do.
The myth of the inevitability of economic globalization is based largely on the work of Milton Friedman, and easily the most underreported story of our time is that the current economy proves Friedman flatly wrong.
I'm a songwriter. So I'm OK. But when I wrote "Stand By Me" as a song and to know that the song will probably be here for hundred and hundreds of years to come, it's great, you know. And it was just simple lyrics.
I'm really not a songwriter, so if I hear a song, I feel it and like it, I'll do it. But I'll make it the way I want to hear it.
In the words of the old song, it's a long time from May to December but, you know, it's an equally long time from December to May.
As a songwriter, you're allowed to write anything, and as a person, I am all colors in the rainbow. I've been through everything, you know, so I can write a positive song like 'Better Get to Livin'' because that's my attitude. But that doesn't mean I'm happy all the time. You can't be a deep and serious songwriter without feelings. You kinda have to live with your feelings out on your sleeve and get hurt more than most people. The fear I might get hurt means I might not be able to write another song.
The roughest part for me when I'm writing a song is staring at a blank page. Where am I going from here? If you're a songwriter, you have to do that every time you start a song.
When I heard 'Jesus, Take the Wheel,' I was like, OK. Some people look at it as a song written for an American Idol, Carrie Underwood, who is wonderful. But when you're a songwriter listening to a song, you hear something else. I heard that song, and wow.
It took me a long time to learn how to write a good song.
Not write what you know, but know what you write. If you write about a world before, after, or other than this one, enter that world completely. Search it to find your deepest longings and most terrible fears. Let imagination carry you as far as it may, as long as you recount the voyage with excitement and wonder. But this is the most important rule: write the book you most long to read.
Most people in the U.K. discovered me playing a standard on Parkinson. In America, it was on VH1 singing an original called 'All At Sea,' which is a contemporary pop song. So the people that know me there tend to think of me in the singer/songwriter category.
And I took a long time to appreciate Lynch.
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