A Quote by Jenny Lewis
When I think people like one record more than the other, then someone will surprise me.
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It's always interesting to me to see people projecting things, like people would say, "This record is much more mature than your other record" and I would think, "Well, this record has more songs from when I was 18 on it than the other one."
Writing the record for me - every record is almost a surprise. When people ask me, what are the themes you want to grapple with on this one? I have no idea until the record's finished.
When I produce someone's record I have to remember it's their record..no matter what I bring to it..er, sometimes that's not too easy:) It is a responsibility made less easy by people I work with encouraging me to play guitar on their record...A soon as I start playing guitar on someone's record it inevitably starts to sound like me...not always a good thing.
Music has always been a part of my life and because it always seemed so natural to me, it took someone else saying, "I think you should consider doing this for a job," for me to actually look at it that way. To me, it wasn't super goal-oriented in that way. It was like, "Oh, I like to play shows and I like to record," but I didn't think of it any more than that.
The longer I live the more I realize the impact of attitude on life. Attitude, to me, is more important than facts. It is more important than the past, than education, than money, than circumstances, than failures, than successes, than what other people think or say or do. It is more important than appearance, giftedness or skill. It will make or break a company . . . a church . . . a home.
When I hear a great new record, especially when it's by someone that I respect and admire, then a part of me is like, Why didn't I think of that? Why didn't I write that record? It makes you sick, but in a way it can be a great thing. It makes you want to go back to the lab and start writing again. Maybe it will inspire you to try a little harder.
Then the challenge is, once you left brain it and build it, then when you're on stage you have to know it so well that you can get lost in it. I don't want to be onstage looking like a robot, I want to be at the end of the day very emotional and what feels like someone being up there rather than reciting things. That's always the challenge, to analyze and then somehow lose yourself in something you absolutely know backwards and forwards. And nothing's going to surprise you, but you have to be surprised by it and let it surprise you.
Hopefully, the people that would look at a Good Charlotte record and dismiss it for maybe what they think is a certain kind of content, if they do discover something meaningful, then it's a nice surprise. I like those kinds of contradictions.
I think that if you're really going to snog someone and it's going to be a perfect snog, it's got to be between two people that really like each other, rather than someone you think is fit and you snog for the sake of it. That normally turns out not to be a good snog. But if you have two people that really like each other, then fair enough. Really, it's a little mix of kissing, a bit of lips, maybe some biting, and then a bit of tongue and stuff. It depends on what kinky little minx you've gone for on the night.
If I ever get looks on the street, which, for the record, is almost never, it's rarely because they think I'm someone they saw in a movie. More often someone sees me and thinks, 'Hey, was that guy my waiter the other night?'
So there's nothing more vulgar than the sound of someone saying, God Bless America, someone who doesn't really believe it, but he thinks it will make him look good to other people. I think it's the most nauseating spectacle.
I'm not going to change myself because I think it'll make somebody like me more. And in terms of being a business, I've found that when you're always in the people-pleasing mode, that's the easiest way to lose control of your brand's DNA. I want to sit across from someone who's authentically who they are, even if they're not my personal cup of tea. It's still more comforting than being across from someone who's making moves to please other people!
I'm not totally blind to the fact that I like people to see my work, but if it's not something I would enjoy seeing in a magazine, then I think I shouldn't be making it. I think that I don't represent only myself, I represent more people; I mean, if I like it, then I think more people will like it because I think I'm quite a normal guy.
I always hope people will like me, and I'm always afraid they will think I'm a fraud. I try harder than perhaps I should to make people like me, then it backfires. They think I'm a buffoon.
Though we think intrinsic desires tend to be pretty stable, we do not think they imply anything like the amount of predictability in behavior that traditional virtue ethics requires for someone to have a one-word-in-English character trait such as "benevolence". Other things being equal, a person with more of a desire for other people's wellbeing will do more for other people's wellbeing, but things are almost never equal.
The problem with success is that you lose the capacity to fail and the capacity to surprise people. So, if I'm able to surprise myself every day, I can surprise you as well. If I enjoy someone's work and they offer me their project, I do it. So what's the point of the supposed creativity? If Mona Lisa could be made by anyone, then it wouldn't have been the most beautiful painting in the world. The knowledge that you can fail can make you come first.
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