A Quote by Gina Schock
We didn't like the way that our 'Behind the Music' came out at all, to say the least, and so it made everybody kind of gun-shy about ever doing anything like that again.
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I don't like to start anything, ever, but if they're going to try to intimidate me, I like to just stand there and say, 'Sorry, it ain't gonna happen.' I'm shy but I'm badass. I'm not shy in a timid way, just shy in a way that I'm not comfortable with people.
It is so short and jumbled and jangled, Sam, because there is nothing intelligent to say about a massacre. Everybody is supposed to be dead, to never say anything or want anything ever again. Everything is supposed to be very quiet after a massacre, and it always is, except for the birds. And what do the birds say? All there is to say about a massacre, things like "Poo-tee-weet?
When I came here it wasn't that I was anti-Music Row, but it was like I was going against the grain of what everybody on Music Row was doing, and that's what has made me successful.
It's so hard to do anything that doesn't owe some kind of debt to what Stanley Kubrick did with music in movies. Inevitably, you're going to end up doing something that he's probably already done before. It always seem like we're falling behind whatever he came up with. "Singin' in the Rain" (1952) in "A Clockwork Orange" (1971) - that was the first time I became so aware of music in movies. So no matter how hard you try to do something new, you're always following behind.
Music is what is going to save me," "On the bad days, when I have to look at the cold, hard facts of life, I see that this is not the music business I came up in and I have to be very, very objective and detached and say, 'what's good about it and what's bad about it?' Mostly, I'm finding it good that it's not the same old music business, because the music business I came up in really didn't advance anything I was doing, and I don't think it was particularly kind to a lot of artists.
I am not the kind of person that wants to enforce my wants, likes, desires, on everybody else. I have no desire that everybody like what I like. I have no desire everybody say what I want to hear said. I have no desire everybody stop whatever they're doing and listen to what I have to say. I have no desire that everybody agree. No, that's not true. I do wish everybody agreed, but I'm not gonna sit around and force that on people.
Are you sure that being like everybody else will make you happy?" "I don't know any other way." "Let me show you." And then we're kissing. Or at least, I think we're kissing—I've only seen it done a couple of times, quick closed-mouth pecks at weddings or on formal occasions. But this isn't like anything I've ever seen, or imagined, or even dreamed: this is like music or dancing but better than both.
In an odd way I thought I was lowering the bar for myself, in saying, well, I'll make a pop album. But in a way it's kind of harder to make pop music. It's like the more abstract you get with music, you get into that emperor's new clothes thing, where you can go anywhere, and just claim that your audience may not be prepared to go with you. But with pop music, I think everybody understands the form, everybody knows what it's meant to do. So I would say it's harder to write that kind of music.
I like to make music because I've been making music since I was 7. I can get across the things that I want to say in my music so that I don't have to say anything. I don't have to speak out about the things I believe; I can say them in my music.
We make music for a living. Like I've always said, if you like what you're doing, you're halfway there; if someone else likes it, that's even better. If they don't like it, at least you like it. Not to be selfish, but you kind of have to be.
I'm singing the way that I love to sing, which is like old soul, like old Al Green. I grew up about an hour from Memphis. So all that music that I grew up with - the Stax music and early rhythm n' blues - I'm doing that. I'm actually getting out from behind my guitar and I'm singing.
So rather than really have, like a close relationship to anything that's coming out today, people are just, they've got it on as background music. It's kind of the same way the cabdrivers use music; it's very disposable. But, that doesn't mean there aren't a great number of artists who are doing things to change that.
When I hold a gun, I know how to be sensible about it. I'm not holding it to wild out or just to shoot somebody because I'm mad at him. There's responsibility in buying that gun, and part of it is dealing with it like a man, and not dealing with it like an idiot, and getting behind iron bars for unnecessary reasons.
It's always about trying to make everything go with the music, like a script. It's not like, 'Let's have a confetti gun!' If I ever have one of those, it will be because it's absolutely the right thing at the moment in the song. I can't just go get a confetti gun.
I never stopped believing in us and I never felt like I was wanting for anything, except for my father, and that was not going to be. I describe in the book [that] I don't think I ever felt young again in that way. I never felt I had my 15, 16, 17 kind of years the way I maybe should have. It's a huge dent in you that it's hard to knock out and make it all smooth again.
I'm always going to want to be part of music. But who's to say? This whole thing for me in the first place just kind of happened without trying. I think about things like acting and all that, but I'm not going to force it on myself. I'm kind of shy, believe it or not.
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