A Quote by Mark Hoppus
There was a great push and pull of what Blink-128 should sound like all the time. Travis Barker comes from a different background than I do, and Tom DeLonge comes from a different background than either of us in terms of what we write and what we think a song should be. Tom pushes me out of a box that I put myself in.
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Why, Tom - us people will go on livin' when all them people is gone. Why, Tom, we're the people that live. They ain't gonna wipe us out. Why, we're the people - we go on.' 'We take a beatin' all the time.' 'I know.' Ma chuckled. 'Maybe that makes us tough. Rich fellas come up an' they die, an' their kids ain't no good, an' they die out. But, Tom, we keep a-comin'. Don' you fret none, Tom. A different time's comin'.
I don't know if it's possible to affect my ego any more. There's no room left. For me, I think I make music like the way I think it should be made, like what rock should sound like. It has nothing to do with the current marketplace. And so from that state of mind, it's gonna sound different from anything else out there. And when something sounds different, I think that can be inspiring to other musicians.
For sure I think the traditional martial arts is a good background to have and definitely allows me to do a lot different things inside the cage. My wrestling background definitely helps me out a lot, but I don't think either one led directly to MMA.
I think there couldn't be a more perfect time with the state of the world than to come together and share an experience - especially an entertainment experience like This Is Us - to say, "You're different, and I'm different, but we all agree that life should be lived. You should be happy, and we're all deserving of joy."
I don't feel any different than Tom Brady's daddy just because I played. I don't think I'm any different from any other father who's got a son out there playing.
If you have somebody who's brilliant and highly creative with a different point of view than you have, and a very different intellectual background, great things can happen.
Tom’s aunt Georgie spoke to me first, and Tom found me through her. At the time, I didn’t actually think Tom was a big enough character to carry a story. If it had to be anyone from Saving Francesca, I thought, it would be Will Trombal or Tara. But the line in Francesca, ‘I want to be the first male in the Mackee family to reach 40 and still have a liver’ stuck with me, and in the end, Tom has been one of the biggest surprises. I’m glad I didn’t kick him out of my head.
Jazz, to me, is one of the inherent expressions of Negro life in America: the eternal tom-tom beating in the Negro soul - the tom-tom of revolt against weariness in a white world, a world of subway trains, and work, work, work; the tom-tom of joy and laughter, and pain swallowed in a smile.
The United States has larger enclaves than one might suspect of communities that have simply never engaged with anyone different than themselves or anyone that has an ideology that's different or a background that's different.
A lot of times you'll hear bands and it's a different sound coming out than what's on stage. Because you can clean it up through a PA and make it sound completely different than what they really sound like.
I think it's absolutely possible to write a song and go somewhere where no one's been before, uncharted territory. In terms of content, I see limitations where there should be none. I know there are things I wouldn't write about, but that shouldn't be the case. You should be able to make a song out of anything, out of any situation.
i understand that the world was nothing: a mechanical chaos of casual, brute enmity on which we stupidly impose our hopes and fears. i understood that, finally and absolutely, i alone exist. all the rest, i saw, is merely what pushes me, or what i push against, blindly - as blindly as all that is not myself pushes back. i create the whole universe, blink by blink.
I think you get to see, through the different cult members, why people are attracted to a group like this. Everyone is there for a different reason and from a different background. That was part of what was interesting for us, in researching cults and exploring it. A lot of this happens in California.
I'd love to do a song with Tom Waits. Around when I was like 17 or 18, my buddy, D-Money, put me on the Tom Waits and I literally at that point got every one of his albums and kind of studied his music. I like that he provides an entire world for the listener. He's hopefully someone that I could vibe with down the line. I'm not sure how it would sound or even how it could work, but he's always been a huge influence.
I think our songwriting has evolved. We can show that we have continued to branch out and do different stuff and incorporate different instruments. When it comes to writing, I think that we have pushed the envelope. We can do whatever we want to try - a longer song or a shorter song, some different instruments, some piano, an intro with just vocals, something that's scathing. Whatever. However we feel the song should go, that's what we will do. With that mindset, I think it's made us better writers.
I don't want everybody to try to sound like something; I think that God has given us each unique talents and passions. The things that come out of me will be different than my neighbor, because I have a totally different set of relationships, totally different set influences and personality traits.
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