A Quote by Jessica Brown Findlay
I shout at the radio when someone starts talking over the end of a song. Shut up! I don't want to hear that the DJ has just found a mouldy sandwich in the corner of the studio. Nor do I like it when the magic of something you're watching is shattered by an advert for Argos.
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When you're listening to radio and hear the same 20 songs over and over and over, you want a break from it. Sometimes you don't want to hear something that sounds just like everything else on the radio. Eventually, if you hear the same sounds and the same musicians and the same mixes and all of that, it will start to sound like elevator music.
If I tried to shout over my older brother, my mother told me keep quiet. If I tried to shout over my little sister, my father told me to shut up. I found the best way to be heard was to lower my voice and actually speak when I had something to say.
I want to make people feel things when they hear my music I want to give a song to someone who is going through a break up, I want to give a song to someone who loves someone and can't tell them. A song for someone who has just fallen in love and a song for just people who are living their lives.
I was lucky enough to grow up in an era when radio was less formatted. It was really special. You could hear a jazz song then a pop song then a show tune then some jazz. Basically, whatever the DJ felt like playing, he would play. He was educating you and exposing you to things you would never hear otherwise.
Traditionally, with a DJ set, you just go hear DJ that has a good reputation and let the DJ take you somewhere. It was up to the DJ what he wanted to play. Typically in dance music, people didn't know most of the songs a DJ played.
Just A Girl' was the first song that was on the radio for us. That was incredible because to hear that song on KROQ-FM in L.A., where we grew up, and you've listened to KROQ your whole life, and then to hear it on the radio was unbelievable.
You have the core hip-hop, which would just be beats and breaks, more something like what you hear with DJ Premier. Then you get into the more highly produced hip-hop, which is something like what DJ Khaled does. But at some point, it starts to get kind of pop.
When I was a little girl, my dream was just to hear my song on the radio. It was very fascinating to me, and I was like, 'How do I do that?' Now it's like, 'Oh my God, my song is on the radio!'
When I'm rapping, like, a turn up song, I'm thinking about what the people want to hear; this is what they're going to like. When I'm singing, I'm, like, telling my story. I'm not worried if people like it; I'm just trying to be truthful, you know what I'm saying? I'm just talking about something that happened to me.
The radio is good for taking somebody else's experience and making you understand what it would be like. Because when you don't see someone, but you hear them talking - and, uh, that is what radio is all about - it's like when someone is talking from the heart. Everything about it conspires to take you into somebody else's world.
I remember coming in to the studio and meeting Barry Manilow . I was kind of star-struck. He said, "I want to play you this song." We get to the end of the song and I hear him actually sing my name as part of the lyric. I had to pick my jaw up from the floor!
You might be talking to someone who relates a song to losing a friend and you end up talking in the most intimate way. You can get so engaged that you end up in this existential conversation.
I don't think you can cover a song unless you love it and have a relationship with it. With 'Golden Heart' I felt a sense of responsibility. And when we were recording it in the studio, it felt almost dream-like. Something you might hear if you were in Senegal, with someone singing from the mosque in the morning just as the sun's coming up.
When I hear a great country song, I get chills and I want to cry. You feel something. And just sometimes that magic and the stars line up somehow or another, and it creates something that's really, really, really special.
When I see something I end up making a song about it and that's the way it is. There have been plenty of times when I've been in the studio and they were like, "Hey, why don't you make a song about such and such," and I just can't. I've gotta have it in my heart.
I think it takes an amazing amount of energy to convince oneself that the Forever Person isn't just around the corner. In the end I believe we never do convince ourselves. I know that I found it increasingly hard to maintain the pose of emotional self-sufficiency lying on my bed and sitting at my desk, watching the gulls cartwheeling in the clouds over the bridges, cradling myself in my own arms, breathing warm chocolate-and-vodka breath on a rose I had found on a street corner, trying to force it to bloom.
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