A Quote by Gilbert O'Sullivan
I used to get these reviews in American newspapers saying that they didn't understand what my lyrics were about. I saw that as a compliment. That's exactly what English songwriters should be doing!
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I try to write lyrics that will be able to function on their own if they get separated from the music. But I wouldn't want to take anything away from poets, who work without the frames songwriters get from melody, and I think lyrics should be considered as their own thing.
I used to read reviews - I read a lot of the reviews when I did 'Borgen,' but the thing is, people were so harsh that I talked to my wife about it, and I said this is too tough - the people are too personal and too idiotic to understand it, in my mind.
I remember reports that the American and English newspapers were very happy about the fact that so many were killed in Dresden. There are many instances of barbarity and cruelty on the part of the Allies which I could tell you.
[Opetaia Foa'i] brought in the melody and the lyrics, but the lyrics were in Tokelauan, and so, we talked about what it could mean and whether this could be the ancestor song. So, I started writing English lyrics to sort of the same melody.
You know, in college, I never got either degree, but I was a double-major in Computer Science and English. And English at Berkeley, where I went to school, is very much creatively-driven. Basically, the entire bachelor's degree in English is all about bullshitting. And Computer Science, which was my other major, was exactly the opposite of that. You had to know what you were doing, and you had to know what you were talking about.
I hate the word surrogate, because what does that mean? Like when people talk about I`m my father's confident, at one point, they were actually saying major newspapers were publicly were writing that I was Vice Presidential candidate. I`m saying no. I`m a daughter.
As you can imagine, over the years I have been asked many times to discuss and explain my song "American Pie." I have never discussed the lyrics, but have admitted to the Holly reference in the opening stanzas. You will find many interpretations of my lyrics but none of them by me. You will find many “interpretations” of my lyrics but none of them by me. Isn’t this fun? Sorry to leave you all on your own like this but long ago I realized that songwriters should make their statements and move on, maintaining a dignified silence.
"On Script" is one of my favorite songs I've ever written. I'd just been jamming on it one day, and again I was struggling with lyrics. I'm still figuring out what it's about. I've seen a couple of reviews that are like, "It's about the monotony of playing the same songs every night," because I say, "On script every night/Like a well-rehearsed stage show." It's not about that at all, but I find that funny, how people project what they think about me, or songwriters in general.
I think the American people would be compassionate and practical. But we need to be talking about assimilation as well, something that is politically incorrect, I know, to say that people should learn English, should learn American exceptionalism, shouldn't come here to use our freedoms to undermine the freedoms we give to everybody. But there's nothing wrong with saying people who want to come here should want to be Americans.
I think in Arabic at times, but when I'm writing it's all in English. And I don't try to make my English sound more Arabic, because it would be phony - I'm imagining Melanie Griffith trying to do a German accent in Shining Through. It just wouldn't work. But the language in my head is a specific kind of English. It's not exactly American, not exactly British. Because everything is filtered through me, through my experience. I'm Lebanese, but not that much. American, but not that much. Gay, but not that much. The only thing I'm sure of, really, is that I'm under 5'7".
English is, from my point of view as an Americanist, an ethnicity. And English literature should be studied in Comparative Literature. And American literature should be a discipline, certainly growing from England and France, Germany, Spain, Denmark, and the Native traditions, particularly because those helped form the American canon. Those are our backgrounds. And then we'd be doing it the way it ought to be done. And someday I hope that it will be.
I don't think anyone is saying that we should be treating boys and girls exactly the same and that we should try to eliminate all differences. What the psychologists who do this work are saying is we should be aware of it and careful about it, especially if we think it could be limiting choices.
Codifying discrimination in our laws should be something we read about in American history, not on the front pages of today's American newspapers and magazines.
And in the Second World War, you didn't just read about it in the newspapers because you weren't allowed to read it in the newspapers. It was all censored, you know? So nobody knew what we were doing.
Every song has a different genesis, or feeling. Usually the lyrics, I don't really know what it's all about, I just kinda do it. I mean, there's a combination of, like you're saying, that kind of lyrics about commitment or vaguely relationship lyrics mixed with jokey 90s Beck-style non-sequiturs and stuff.
Being a third-generation Mexican-American and speaking English exclusively, I heard Spanish spoken by my relatives all my life, especially when they didn't want me to understand what they were talking about.
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