A Quote by David Toop
I'd entirely forgotten about Pass The Distance, and then I went to Japan in 2000, and was asked to do interviews with all these journalists, who were showing up with bootlegs of this record, asking me to talk about it. I was astonished. It kind of gained momentum.
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How long have you been away from the country?" Laruja asked Ibarra. "Almost seven years." "Then you have probably forgotten all about it." "Quite the contrary. Even if my country does seem to have forgotten me, I have always thought about it.
No one comes up to me asking for a crack dealer's number. People come up to me to talk about lyrics, about music, about the band.
Before the war, my parents were very proud people. They'd always talk about Japan and also about the samurai and things like that. Right after Pearl Harbor, they were just real quiet. They kept to themselves; they were afraid to talk about what could happen. I assume they knew that nothing good would come out of it.
It's strange, somebody asked for my autograph the other day. Because I finished school and I'm not really doing anything at the moment, I was just kind of aimlessly wandering around London and these two guys who were about 30 came up and asked for my autograph. I was really quite proud at the time, and they wanted to take photos and stuff. And then they were sort of wandering around and I was kind of wandering around and I bumped into them about three times, and every single time their respect for me kept growing and growing and growing.
Yes. I was looking for Lettie. They were both very kind to me,” Percival said, “Even though they’d never seen me before. And Wizard Howl kept visiting to court Lettie. Lettie didn’t want him, and she asked me to bite him to get rid of him, until Howl suddenly began asking her about you and—“ “what?” he said, “ I know someone called sophie who looks a little like you.. And Lettie said, that’s my sister,’ without thinking,” Percival said. “ And she got terribly worried then, particularly as Howl went on asking about her sister.
I got irritated with people asking us the same questions. Like, 'Are you a real band?' Journalists wanted to slay us, tried to cut us down, and I just started caring less and less about doing interviews. With Facebook and Instagram, you kind of don't need to anyway. But now and again, we'll do something when there's new information to share.
There have been many times when I've been asked to appear and I'd say to myself, what am I going to talk about? Early on, when I did interviews, I'd tell everyone, Don't ask me about dates. I don't even remember what I did yesterday.
There's a book of interviews with John Cage by Joan Retallack called Musicage that was finished the summer that he died, in 1992. And in one of the last interviews, he was very excited to talk about nanotechnology. There's real technophilia from him, a kind of utopian embrace of the idea that nanotechnology will free people up to do what they really want to do.
We wanted to talk about death in the DC Universe, and how some people go to get a pass and come back, and some people didn't. That opened up a whole other topic about legacy. We wanted to talk about what was required to be a hero, what were the elements of true heroism?
It's not hard for me to be honest with my fans because that's what I set out to do from the beginning - I've based my entire career off of just trying to do that for them - but I always kind of forget that my real life friends can hear my music and they can watch my interviews if they want and that's when I get kind of like- "oh..." - I don't necessarily sit down and talk to my friends about all the things that I write my music about, because it's easier for me to write music than to sit and talk to my friends about it sometimes- it's almost like writing in a diary.
People, who accused me of practising a monopoly were wrong. The media fuelled rumours about my 'monopoly.' The first question I was always asked during interviews was about my supposed monopoly.
I saw. I wanted to start my own store so people would know that what they were buying was real. There were bootlegs around at the time that had my name on the cover, but the music had nothing to do with me. I'm not trying to compare myself to [Jimmie] Hendrix, but back in the '70s, there were some Hendrix bootlegs.
We were in Little Rock. We were assessing a very important issue. In the midst of our discussions, we were receiving urgent inquiries from The Washington Post asking about interviews.
You know, you can talk about race, you can talk about sex, you can talk about your biopsy. But when you get into class, people kind of clench up.
I got on the phone with the president of my label and I said, "Obviously, I write songs in a lot of styles and play a lot of different kinds of music. We're getting toward the end of our business collaboration. If you could envision a record that you wanted to hear from me, what kind of record would it be?" It wasn't like asking him to fill an order, it was really just a conversation. For all the things I'd ever asked him, this was one thing I'd never asked, and I don't know why. So I was curious. And the thing that he was most interested in hearing was a solo record.
I just don't want to do crap movies, man, because I just love that I can get up and talk about them and talk to journalists about stuff that I'm really proud of.
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