A Quote by Eddie Rabbitt
A song can go a million different ways once you first get it down on tape.
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I have to figure out different ways to get into the moves that I do because everyone has a different offense, and I need different counters to go into my moves, and that's more down to tape watching.
When I put out my first mixtape, '50 Cent is the Future,' it was the first tape where an artist did the entire tape in song format.
I put out my first song, 'The Other,' in 2015 just on Soundcloud. It was always my most popular song but never really went far in a mainstream way. Then, a couple years after it came out, I watched it go from 8 million to, like, 100 million.
You can say your lines a million different ways and play your character a million different ways and still hit the common, agreed-upon finish line.
Every time I write a song, it's different. I'm all about the rhythm of the words and the melody. Musically, you gotta have a throbbing pulse going. But as far as what it's all about, there's a million ways to go. You have to invent a new code for every song. Then you have to break it. It's like Scrabble or a crossword puzzle on steriods. I could talk about the process for days. But it's never dull and there's no one way in.
All these directors who do different locations forget that one room can be shot from a million different angles and a million different ways. When I direct a movie, I'm going to use that.
Every song on '10 Day' is a completely different sound - the cadence, the flow, even the production - because I like so many different types of music and because my taste is so refined. 'Acid Rap' is another tape where every song sounds different.
The schematics are a little bit tricky, but once you get it down you're able to really program an entire show. Every song has a lot of different guitar sounds in it, so that's what it is.
I had invented my own system, my own way of making electronic music at the San Francisco Tape Music Centre, and I was using what is now referred to as a classical electronic music studio, consisting of tube oscillators and patch bays. There were no mixers or synthesizers. So I managed to figure out how to make the oscillators sing. I used a tape delay system using two tape recorders and stringing the tape between the two tape machines and being able to configure the tracks coming back in different ways.
The problem is that once I start on a song and get a rough idea of where I might go with an arrangement, I try dozens, sometimes hundreds, of different things on a song. The bass, the backing guitars, the lead guitars, the keyboards. It's a long process. It's like 100 steps forward and 99 steps back.
You have to get something down, and then find ways of working in complexity and different layers of meaning... My first drafts are usually the ravings of a delusional fantasist.
I'm influenced in a million different ways by a million songs that I've heard and digested.
The million, million, million ... to one chance happens once in a million, million, million ... times no matter how surprised we may be that it results in us.
I think 'Tattoo's a song that can go so many different ways. Some people think of it as a break-up song, but, for me, it's about somebody who comes into your life and really touches you - be they a friend, a family member or someone you're in a relationship with.
I'm amazed that movies ever get finished at all - much less come out good once in a while. It's an awful lot of work and it can go wrong a thousand different ways.
If I were to ask you who the first million-pound show winner was on British TV, you'd probably go for Judith Keppel. She was, indeed, the first 'Who Wants To Be A Millionaire' contestant to win £1 million, but the first one on TV was actually Clare Barwick, who won £1 million on Chris Evans' show 'TFI Friday.'
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