A Quote by Jon Bellion
Originally, 'The Monster' started out as this indie, Florence And The Machine, tribal-y, almost Spanish-esque dance record.
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I made music with my friend, who we called Isabella Machine to which I was Florence Robot. When I was about an hour away from my first gig, I still didn't have a name, so I thought 'Okay, I'll be Florence Robot/Isa Machine', before realising that name was so long it'd drive me mad.
I bought a self learning record to learn Spanish. I turned it on and went to sleep; the record got stuck. The next day I could only stutter in Spanish.
One of my assistants found this old German machine. It was originally used to make underwear. Like Chanel, who started with underwear fabric - jerseys - we used the machine that made underwear to make something else.
One of my assistants found this old German machine. It was originally used to make underwear. Like Chanel, who started with underwear fabric - jerseys - we used the machine that made underwear to make something else
I don't think a lot of people realized that piracy is out there, and it's not a Disney-esque or Johnny Depp-esque type of thing.
Originally, after 'Tambourine' came out, another record was supposed to come out, but I had issues with my record label at the time, which was Interscope. We couldn't agree on a record, so that took some time. I had to leave them and find a new label.
When I started out in this business, dance was not at the height it is now. It was almost like, you're either a dancer or an actress.
This was early '90s and in New York hip-hop was coming on really strong; that was the sort of urban folk music that was almost threatening to eclipse rock music and indie rock music in terms of popularity, which it has certainly gone on to do. But you know, this is the end of the 1980s, beginning of the '90s. The whole independent label thing has really evolved to this incredible point from the early '80s when we started, and there wasn't one record label at all, until a couple people started forming these small labels.
'Daydream' brought us to the top of the heap of the indie-college market and recognition by all of our peers; 'Daydream' kind of capped off everything we set out to do when we started as a band, in terms of, like, wow, wouldn't it be great to make a record that a lot of people liked and listened to?
In Spanish, I record a lot of single-voice tracks, and in English, I 'stack' a lot of voices, so it's very different, and I think I got so used to recording in Spanish for six years that it was really refreshing and challenging to get in and record 'Double Vision' in English.
We all need to stomp out balkanization. No Spanish radio stations, no Spanish billboards, no Spanish TV stations, no Spanish newspapers. This is America, speak English.
I started out as a writer. Poetry and prose and also kind of satirical David Sedaris-esque stuff.
A significant number of people believe tribal people still live and dress as they did 300 years ago. During my tenure as principal chief of the Cherokee Nation, national news agencies requesting interviews sometimes asked if they could film a tribal dance or if I would wear traditional tribal clothing for the interview. I doubt they asked the president of the United States to dress like a pilgrim for an interview.
Our first record as the Veronicas was a big mainstream success. Maybe if we'd had the indie record first, then the breakout record, it would have been supported by Triple J.
So, when I got the contract for my album, even though it was an English record, my manager insisted on making sure we would record in Spanish as well, and it worked out really well for me.
I always enjoyed doing monster books. Monster books gave me the opportunity to draw things out of the ordinary. Monster books were a challenge - what kind of monster would fascinate people?
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