A Quote by Lapsley
I think my songs serve a purpose in a very therapeutic way to do with relationships, very different to do with my opinions on world affairs.
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When you're in your 20s, you're a little more carefree; you're single. You have a very different way of looking at the world and experiencing the world. But later in your 30s, when you have children, a career, career obstacles, mortgages, car payments and relationships, you have to negotiate; that's a very different life.
If you get to think of sharing wealth with people who need it and the purposes that need it, it gives a very different sense of satisfaction. I think I can build an institution which is very unlike the Gates' foundation. Gates' foundation is totally project-driven, that will serve a specific purpose and then self-destruct.
Maybe in writing about and through trauma it was therapeutic in a way, but it didn't feel like it at the time. I was in a very dark place, in lots of foreign cities, far from New York. A lot of personal trials and tribulations took over my life in those years. It might be some time before I see what therapeutic function this book did serve. But for now, it's not even easy to read from it.
I think, in general, I find writing to be very therapeutic and singing in itself to be really therapeutic.
Secrecy fuels erotic intensity because it makes you feel like you're doing something that is entirely yours. It gives you the sense of autonomy, the sense of freedom, and the sense of sovereignty. And then you add to that the sexual energy. In many affairs, people will tell you they slept with the person three or four times, but the story went on for months. That's an important thing because many people who have affairs often have very good sexual relationships at home. It's not necessarily a compensation story. But affairs offer a different sexuality with a different context.
For us, we are all very different, our languages are very different, and our societies are very different. But if we could extract ourselves from our point of view and sort of look down at human life the way a biologist looks at other organisms, I think we could see it a different way.
It's a wonderful thing to be able to create your own world whenever you want to. Writing is very pleasurable, very seductive, and very therapeutic. Time passes very fast when I'm writing-really fast. I'm puzzling over something, and time just flies by. It's an exhilarating feeling. How bad can it be? It's sitting alone with fictional characters. You're escaping from the world in your own way and that's fine. Why not?
Statistical physics or Newtonian physics gives way to quantum physics. Very unusual properties of matter emerge at that scale, and you can think about building products in a very different way. You can think about interfacing to biology in a very different way.
Most of the songs are, in a roundabout way, actually addressed to myself, there's a certain aspect of the songs that's very confessional, very unadulterated...It was a very unfettered, spiritual experience.
The script is very good because the things that happen in it are very believable to me. It doesn't presuppose that the world has changed very much. You don't have to think that you're in a different world.
I think that sometimes the whole larger-than-life gay thing is just another kind of closet. It's easier to be different if you're very different, if you go all-out on purpose. Because that way you can still hide who you really are.
I've never been married, and I've never been divorced. But I have had some very serious relationships. I was engaged twice. The way that those relationships ended, it was very very heartbreaking.
There are more similarities than differences when it comes to preparation of a performance. You're using some lyrics, you have a relationship with them, they apply to different parts of your life and different circumstances, different memories, different stories you have in your head. You form personal relationships with the song. I think that's very similar, in a way, to prepping a character. You pour your own personality, in a sense, into the character, you sympathize with a character in a way that's similar to the way you might sympathize with a song.
I don't work with an artist to try to blow up, but to see if the music can be medicine, if it can be therapeutic and serve a bigger purpose.
Fundamentally, as human beings, we're very, very alike and a lot more alike than we think, but we have a tendency to divide the world into them and us. In prison, when people commit a crime and we put them away, they definitely become "them." We don't want to deal with it because they have chosen to step out of society, so we're going to keep them out. Even if they serve their time, we're going to make sure that, for the rest of their lives, they're going to be branded. I don't know how to do it in a different way, but I think it clearly doesn't work.
I'm very lucky that people are able to say, 'Oh, that's that Moody Blues guy!' I'm very fortunate with that. That's all. Without the songs, I think, I'd just be a pretty average karaoke singer. In the end, it comes down to the songs: the strength of the songs.
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