A Quote by Jim Root
My approach in 1999 was basically to play what I had, that was all I could do. At the time I was broke. I think I only had one guitar, a flametop green Jackson and I had these DC-10 Mesa Boogie heads. I think I had a cheap Shure wireless.
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We were broke in a way that only kids can be broke. Our toes were black with dye from wearing boots that weren't waterproof. We had infected ear lobes and green rings around our fingers from cheap jewelry. No one ever even had a chocolate bar.
I remember, in 1999, when we did the last Ozzfest that we were part of, and I think Disturbed was on it, Static-X, obviously Ozzy, us, and we were the only band on the tour that had a rider that had any alcohol. Nobody else had it.
I grew up with rock and pop music from the 70s and 80s. I had to play guitar in school - it was a music college and we had to take instrument classes there - so I think guitar playing and guitar sounds have always been an influence.
A long time ago, we had to build interfaces to connect with other companies, and I thought that was a great idea. The company had to pay a lot of money to build it and basically launched it, but our whole operating system almost broke. So, we couldn't continue it. In the end, I had to go on the train to Paris to explain that I had spent millions.
I was broke until I was 40. Really broke. I could get by, but I had nothing. No health insurance, so if something happened I was screwed. I was lucky my parents had money and my brother was willing to support me for a long time. Once I started doing standup, I had an income, and that was amazing to me.
I had a guitar leaning against the wall and I'd squint at it. It was almost like a dog that had been kicked - I didn't think I had anything to offer it.
I hope our legacy will be enduring and that people think of us as an important band. But I think Ricky's guitar playing, our style of writing, the fact that we had men and women in the band and gay and straight, I think it's an important band, and the way we wrote by jamming, we really had a different approach.
Yoko had 10 years and I had 10 years and I would rather have had the 10 years I had than the ones she did. I had the raw talent and the raw human being, before the sycophants arrived.
We invited HP executives to participate in the management and in the board. HCL had this concept of corporate officers since inception in 1999. We had a remuneration committee. Now everyone is talking about nomination and remuneration committee. We had this from 1999.
I was raised to think women had babies, stayed at home, and men worked. By the time I got ready to do it, I thought I had all the answers. Only somebody had changed the questions.
I always knew I wanted to be an actress, and I had the attitude that I would learn more under people like Samuel L. Jackson, Laurence Fishburne or Mike Myers than from someone who had never starred in a movie. I just didn't think that someone who had never been in a movie could teach me how to act in one.
I did take guitar lessons as a teenager, though, and I started to teach myself how to play everything I could play on the guitar on piano, so I had a really weird, non-traditional route to proficiency. I think it probably helped me come at things from a new angle.
I think I would have had an easier time of it if I had had training much earlier. Because when I got to the training, it was in my late 30s and I already probably had every bad habit a singer could have. In fact, it still goes on. It's un-training those habits and retraining new ones - the breathing, the relaxation, the tongue, the lungs, the everything.
I had 10 years of lessons at the conservatory in Belgium, studying classical music. I learned how to sing, play the piano, and all the theory that I needed. By the time I left, I had confidence in my skills, and I knew that the experience had prepared me to become a real professional.
Not that I play guitar anywhere near as well as she sings, but I think I have always had a tendency to play solos the same way, in emotional relation to the structure of the song. I choose simple lines, and only play what seems emotionally relevant, and often express that emotion in time, that is in play or resistance to the set time of the song.
I think with being blind the one thing you would have going is that you could still feel things, see your way around so to speak. And if you had had the experience of seeing at one time in your life, then you would know what it was like and be able to function. I've said this before, I think I could really photograph blind if I had to.
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