A Quote by Jennie
When I heard I'd be the first in the group to release a solo track, I definitely felt nervous. But I'd like to think of it as a continuation of the music I've been doing as part of BLACKPINK.
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I definitely have been nervous, but often I get more nervous performing with the corps de ballet than doing a solo. There's so much pressure doing a group number because if you muck it up, you've ruined it for everyone.
I think by having solo projects, it allows us to expand our music range. There's a type of music and concept we can do as a group and do as solo artists.
Because it's our first official album, we wanted to show our color, the color of Blackpink. We wanted to present an image that people would think of when they think of Blackpink, and what kind of music we put out... we channeled the girly side of ourselves and performed according to the girly lyrics.
It's like something happened to you that caused you to do what you do...you heard something somewhere, you felt something about this music that was definitely part of your own vision. That's what the whole thing is like.
...black music is a group music. That's why I don't like doing a solo saxophone thing: My feeling stems from rhythm, I really have to feel that rhythmic thing happening.
You think about people like Hank Williams, who stood on that spot of wood, and Mr. Acuff, and, of course, George Jones. And just about anybody you can think of who has made country music has been on that stage. That's what makes you so nervous - to think about the historical part of the Opry and how it's played such a part in country music.
On student films, everyone is pitching in to do everything, and I never felt like I was a part of a group before I started acting. I always felt like I had friends in this group and I had friends in that group, but I never felt like I had my group.
I started writing rhymes first and then put it to the music. I figured out I could lock it to the beat better if I heard the music first. I like to get a lot of tracks, put the track up and let the music talk to me about what it's about.
I don't want any production credit. I think producers are overrated. They're for people who, first of all, don't know anything about music or arranging and have no ear for their own doings. They can't tell a good solo from a bad solo, stuff like that.
I'm a huge fan of a lot of different genres of music, and I really felt like somehow I had been pigeonholed a little bit - maybe of my own doing - and in a way where I felt like I was sort of falsely defined. What my music was being called wasn't really the music I was always listening to.
Really the greatest music I've ever heard I've hated the first time I heard it. It's been abrasive at first; it's been something that challenged me in a way that I wasn't fully comfortable with.
When I was 23, I felt like I was further back than when I was 21. After two solo albums for this small indie label Just Music, they'd gotten no real profile. So I kind of turned away from the solo thing a bit.
I heard a lot of different kinds of music. I heard country music, I heard jazz, I heard symphonic music, opera, everything you can think of except very modern music.
I think in general, doing The X-Factor with the Steve Aoki song was the most difficult time, but also weirdly the most rewarding as well. I definitely felt like I couldn't do it, and then I definitely felt the support from everyone around me, the friends and family but also the fans and people outside of that.
I felt very proud to be part of a music scene that was changing the face of commercial music and rock music internationally, but I also felt like it was necessary for Soundgarden - as it was for all of these Seattle bands - to prove that we deserve to be on an international stage, and we weren't just part of a fad that was based on geography.
I used to listen to music from the frosting down. As a word nerd, lyrics are really important to me, and then the melody. Playing in the Rock*A*Teens was the first time I ever heard music from the bottom up. I was hearing songs I'd heard a million times on oldies radio, and I'd be like, "Wow, listen to what the bass is doing!" When I was first singing in bands, I'd just get out there with my machete, wildly whacking away at the foliage. But you learn how to listen. When I feel I'm doing it right, it's 90% listening and 10% output. It's not "look what I can do!"
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