A Quote by Kevin Parker
Grunge gave me a sense of identity, and I remember really associating with 'Silverchair,' who were these chilled-out Australian teenagers. The fact that they were teenagers was a big deal for me. It was like, 'Oh, man, you don't have to be a 30-year-old to do this.'
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I had the benefit of parents who believed deeply in my ability. And they were teenagers when they had me - they were teenagers when they got married - but they instilled in me that you can do anything and that brains were most important, that passion was important, and drive.
Youth. The fact that, in the mid-'90s, guys like Lee Fields gave me and all these young people the chance to do backup. I was in my 30s, but some of those guys were still teenagers. Others were 22 and 23 - babies, all of them.
First of all, a giant corporation probably shouldn't be being hacked by teenagers. I put that on the corporation, not the teenagers. Teenagers are going to do what teenagers are going to do - rebelling. But if they're able to hack a big corporation, that seems like the corporation should be better at security.
I was the last one of nine kids - eight girls and me last - and my sisters were going out. They were teenagers. And as they were getting ready, I would sit on the bathtub and watch them put on makeup and transform themselves - you know, putting on clothes and giggling about the boys they were going to meet and everything. So for me, that was an amazing thing - the fact of transforming themselves.
Windows 95 had its 20th anniversary last year, so we got our hands on an old system and showed it to teenagers who were not even alive in 1995. The results were pretty great and also makes you feel quite old.
I told my friend - we were working on a movie together - and he gave me a script and asked me to give him notes. And they were all male characters, and I said, "You know what would make this character more interesting?" And he asked what - and it's this road trip between three guys, basically, one older man, one 30-year-old and a 13-year-old mechanic. And I said, "If you make the 13-year-old a girl, and you make her an Indian-American mechanic." And he said, "What do you mean?" And I said, "Yeah, don't change anything in the script about him, and just make it a her."
I used to say teenagers were the aliens among us and I think all teenagers feel that way in many respects.
I think it's ridiculous to try to sell records to teenagers, because teenagers don't buy my records. And there ain't that many teenagers out there in the marketplace.
I get to help a lot of teenagers and kids that were maybe like me when they were younger. Now they have the jiujitsu so they can compete and be tough guys that way.
I remember the kind of teenager I was, the kind of teenager I wanted to be, and then the kind of teenagers that were all around me. Life is lived on such a big scale in those years - and such an embarrassing one as well.
I spent most of my time with adults because although my parents were older when they had me, they're really like teenagers. I sort of became the third musketeer.
When I first came to New York, I was surprised by all these out teenagers who were openly on the street being who they were. That intrigued me because I was 27 and still struggling with being myself.
We seem to be keeping old fans and are bringing on new fans that are teenagers. I think that is amazing. When I was a teenager, that was when I fell in love with music. It affected me in a deep way. That's why I love having teenagers at our shows.
I don't think I ever intended specifically to write for the young adult market. It's just that when the idea for City of Bones came to me, I knew the main characters were teenagers. In my mind they were just very clearly the ages they were, which turned out to mean it was a YA novel.
When your 18th, 19, 20 years old like we were at that time, its just like anyone else, you look at like Silverchair and bands like that that are super young and sound extremely derivative of bands that were out at that current moment. As they sounded like 'Nirvana in pajamas' as we called them, we sounded like Bon Jovi and Skid Row and Motley Crue, because we were only influenced by what was out at the time because we were so young
I was getting calls in 1970 from teenagers, little girls, and they'd say, 'Oh, I like your stories about so-and-so so much. How old are you? 20?' 'No. Older than that.' '30?' 'No. Older than that.' And they'd hang up.
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