A Quote by Katy Perry
I'd go to the farmers' market in Santa Barbara, and I'd put out my guitar case, and I'd test out these little ditty songs that I would write, and I would get a couple of avocados, a bag of pistachios, and, like, fifteen bucks. That was a lot of money for me.
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It's a farmers market. You can get whatever - peaches, a sandwich. There might be a little band there. I'd sit in with the band. Yeah, that's what I would do. Sit in with the band at the farmers market. Sing a couple of songs, eat a peach, and hug people.
A lot of groups go out, and they make big bucks in a couple of years and they're gone. I would like a band that's sustaining.
I wouldn't just have other people write songs and me go out and sing it. I would sit down with a guitar and write 11 or 12 good songs for an album and that is gonna take a long time.
I've always loved opera; it never occurred to me that I would write a proper libretto. One of my closest friends is a composer, Paul Moravec, and a few years ago, Paul and I were at lunch, and I said to him, "you really have to write an opera." So, he says very casually to me, "I'll do it if you write the libretto." Well, little did I know that the within a couple of years we would end up getting a commission from the Santa Fe Opera to write an opera together, "The Letter," which turned out to be the most successful commissioned opera in the history of the Santa Fe Opera.
I think when we were starting out, it was more about imitating our songwriting heroes. We would try to write songs like Neil Finn, or we would try to write songs like Ray Davies, or we would try to write songs like Glenn Tilbrook.
I would like to get out to the region in the Caspian sea. I would like to go there. I would like to get to Darfur. I would like to get to Khartoum in Northern Sudan. I would like to get to Zimbabwe. I would like to go back to North Korea, if I could. I would like to go to Yemen. I would like to get to Kashmir. Most of those destinations I will get to.
I was about thirteen when I started thinking about the stock market. My dad helped me a little bit. I'd see it in the 'Santa Barbara News-Press.' These prices would change every day - what was that all about?
I don't go to an office, so I write at home. I like to write in the morning, if possible; that's when my mind is freshest. I might write for a couple of hours, and then I head out to have lunch and read the paper. Then I write for a little bit longer if I can, then probably go to the library or make some phone calls. Every day is a little bit different. I'm not highly routinized, so I spend a lot of time wandering around New York City with my laptop in my bag, wondering where I'm going to end up next. It's a fairly idyllic life for someone who likes writing.
I respected it. I submerged myself into it. So on a lot of days off I would go and fish with the fishermen and the families that ran the boats. I would go work the fields with farmers. I would go and talk with farmers about growing particular products for me.
I wanted to give the songs a run for their money, to see if they stood on their own without a lot of accoutrements. It made more sense - and it was easier, too - to go out alone and see if these songs could get in a couple of fistfights and still be standing.
I was kind of secretly hoping one of my kids would go out and make a million bucks. So when they put me in a home, at least I'll have a window with a view.
I write in the studio, I don't sit around with a piano or a guitar and write songs. I get satisfaction out of that because I can finish the song really quickly. I can use whatever momentum I have. I've got to put it down, develop it, and get it as far [as I can], because the excitement of the moment of when you get that idea - you want to try and hold it and build on it and really gain strength from it. Being in the studio and writing songs like that is really the best way.
I done paid Gunna to write my songs. I never put the songs out but like when I first started rapping I used to pay him like $100 like 'I'ma give you a $100 write something for me so I can try to learn to go in and record it.'
When you put a new show out, you always have a few kinks that you need to iron out, and you need to dial your show in. You figure out over a couple of weeks what songs work well together and what songs may not have the impact you thought they would at that spot in the show.
If I would get an album out every eight months and if I would write songs that were more up-tempo and try to focus more on making singles, then I could probably get more attention. But I don't think the albums would be very fun to listen to, and it would be a drag for me.
Directing is a lot of fun, but you have to be on your toes every minute. If you zone out for even a second, you'll miss something and things will get screwed up. And here's a little secret that I'm going to let out of the bag: That is not the case with acting.
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