A Quote by Kool Keith
I'm not really entertained anymore, everything sounds the same. We have a crisis right now of innovative music. I'm probably the only person left trying to do something different and brand new.
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There are so many wonderful classic roles, but I also would be really interested in developing something brand new. I think my heart would probably be in developing something brand new; I think that sounds really exciting.
I'm just basically trying to make music that feels good. Right now in the music industry there's a real lack of intimacy. You don't really connect with the artist as much anymore, and you don't really understand where they are. I'm basically doing music that illustrates who I am and where I am in my life.
The only reason to do a 'SpongeBob' on Broadway is if it's gonna bring something new to the brand, something new to 'SpongeBob,' and also something innovative to theater and to Broadway.
The only person who really impressed me with making new music is Cudi. Everyone else seems to be jumping on the same music, the producer-made stuff, but the one person that's made new music to me is Cudi.
When I was 13, listening to Choice FM, I would listen to a lot of R&B from America, and whenever a British person tried to do it, it didn't really work, they just sounded like they were trying to copy that whole style. Now the music sounds British, something real rather than an imitation.
Music can be new to you but not new right now. It can be really fun to ask people of different generations what they used to go see.
I'm not very good at sounding like other people. When you're going through your 20's and trying to get a break and that kind of thing, and you're trying to do something that sounds like film music, your idea of what it would be, it never really worked out for me and it's only really when I learned to trust the fact that I could only really sound like me.
You know when I started playing music as a young man I felt the need to be noticed and to prove myself. My motivation is much different now but what's still left is the love of music and the joy of entertaining people- the feeling that I make a difference, giving something back rather than just taking. Every year or two I come out with new music, or new arrangements of old music which keeps my show fresh.
Nothing is the same. I don't have one emotion that's the same. Everything is totally different; I'm a different person, the whole industry is totally different from when Glassjaw was first trying to approach it and put a record out.
It was part of a financial situation. I could only afford records in thrift stores. Then you could find wonderful things, but now everything is a collectible. I like the recycling idea --using the stuff that people don't want anymore, and make new music out of it. There was an element of looking back and listening to your parents' records and doing something with that stuff. Sort of acknowledging the past while rejecting it at the same time.
Everything I have is ready to wear, but I have the ability to have different options within the same brand. I have the Theyskens' Theory collection where it's a personal approach to how I build the collection where I fuse more fashion-y ideas and it has my name on it. So it's really something very research- and labor-intensive. And then I have the Theory brand where I infuse all points of view about fashion at large, and it's more global. It's really about making something succeed. You have an instant relationship with stores, and with sales teams, and people that are in the place.
Audiences are hungry for something different. With binge-watching, they're hungry for interesting content they haven't seen before, and they want to be entertained. A lot of shows are grim, murky and dark. We wanted to spin away from the obvious, the tropes, the cliches and what people are doing right now, and do something different.
The Greeks used to use the same stories, the same mythology, time after time, different authors. There was no premium placed upon an original story, and indeed, Shakespeare likewise. A lot of people wrote plays about great kings. They didn't expect a brand-new story. It was what that new author made of the old story. It is probably the same now. We disguise it by inventing what seem to be new stories, but they're basically the same story anyway.
And writing comedy and it really taught me how to kind of like craft jokes, it sounds like weird but really focus on crafting jokes and trying to make the writing really sharp. At the same time I did improv comedy in college, and that helped with understanding the performance aspect of comedy, you know, because it's different when you improv something vs. when you write it and they're both kind of part of my process now.
Everything can inspire me. I know that sounds like a cop-out answer, but I find inspiration in literally just about everything. As an actor, I have to watch people and observe their behaviors - this is how I create characters. My daily surroundings feed my work, whether it's something I'm working on right now or it's something down the road. Music, art, landscape - these are all things I draw inspiration from.
I loved Westerns for different reasons as an adult. It is not only our only native brand of storytelling - the only one that's not influenced by Europeans and not something that's done better by the French - but I also love the sensuality of the Western. The sights, sounds, and smell of a Western are very exciting.
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