A Quote by Heidi Klum
For the longest time, you just sound like a broken record, but you have to be consistent when teaching kids.
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I probably sound like a broken record every time I do a race, but I always look for the bad. That's just kind of how I work.
The first record was basically a quick, fast record. The second record, we were going for more of a poppier sound - like a heavy pop sound. For 'Rocket to Russia,' we'd sort of reached our pinnacle. We'd gotten really good at what we were doing, so that's like my favorite record - that's a really good record. It's just great from beginning to end.
We're good at taking care of little kids, and spend a lot of energy teaching them things like how to read. But when kids get as tall as their parents and can look them in the eyes, we tend to drop the ball - at a time they most need a loving consistent community of adults, be it parents, aunts, uncles, or others.
I think the key is never being satisfied with your skills and you have to constantly learn. I say this all the time, I sound like a broken record, but if you are not getting better in this sport you are getting worse
I don't want to sound like a broken record but I do tire of the reality TV thing.
I call it "being interrupted by success." We had done The Soft Bulletin, which came out in 1999, and we knew we that were gonna make another record before too long. But in between this, we were still in this mode of kind of just - not re-creating what we could be, but kind of doing different things. For the longest time in the Flaming Lips we were like, "Make a record, go on tour. Come back, make another record," and you know, I think, frankly, we were kind of like, "There's more to life than just recording records and going on tour."
It was three breakups going on at the same time. It was breaking up with my band, and my boyfriend, and right after that, my record label. I was arguing a lot with my record label during that whole time, so maybe they all affected each other. This record, Mondo Amore, came out of a time that was really heartbreaking and confusing, and that's why I switched the sound up a lot, to make it sound a little bit grittier and more raw.
You finally have to learn to pull all the different kinds of teaching and training and coaching together on you own, so that your voice and body and technique for a sound that is consistent and solid.
Teaching is a truly noble profession. It's sad the amount of responsibility that teachers have today. They're not only teaching kids: they're raising kids, policing kids - and they don't make a lot of money.
I was only halfway to the record and it seemed like it took me a long time. I feel like that one will never be broken. That record will never be touched.
There's really not much conscious thought involved when I record. I just kind of record what feels good. I'm not trying to make it sound like anything.
A place like Sound City, which was just a big, beautiful room where you would hit record and capture the sound of the performer - a place like that isn't necessarily in demand anymore.
I wanted 'Imitations' to be a fully realized record from start to finish, with a cohesive sound and a sequence that took you from one song to the other, just like I would with a record of original stuff.
I was so broken when I did the first record. I was living in my parents' basement, I didn't know anyone. I was broken-hearted and writing this really dark record. I was at the bottom of a well.
For the longest time, my older brother told me he was teaching me self-defense, but now that I'm grown up, I realize he was just practicing his martial arts on me.
It's really easy, in a band, to overstate - you feel like everything you do is different than the past. I think this is just another Hold Steady record, but at the same time, there is some evolution. Like, "How can we make this chorus bigger?" "What do we want this to sound like?"
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