A Quote by Mark Hoppus
I grew up the biggest fan of the Cure. Knew every lyric, had every album, B-side, single, poster, everything. Then cut to fifteen years later, and we're working on songs together. Ridiculous.
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This 'Making Mirrors' album is far more personal, even if there's a character element to the sounds I'm working with. Every song on this album I stand behind; I feel like I have a close relationship with them. There are older songs where I can feel myself writing a story, so this is the first album where I'm proud of every lyric.'
I was surrounded by music in my family, surrounded by people who sang songs - every single person I knew as a child growing up had one, two, three songs they knew from start to finish.
I saw 'Clueless' probably when I was about 8 or 9 years old. And, I had certain films that I would fall asleep so it was 'Clueless' for quite a long time, and I used to just watch it every single night and knew every single line, every single quote.
I grew up poor and used to look at people in big houses and thought they had everything. Then, later on, I looked at models in magazines and thought they had it all. When you have the ability to live that life, to some extent you find out that they don't have any magic cure for everything.
Growing up in Southern California, it's all car culture. When I was a kid, I knew every single model of every single car dealer; I knew every style of every year.
I have been singing since I was two years old, my parents tell me, and started to write songs when I was fifteen. Eventually, my friends and my parents knew that this was something I liked to do. They also knew I had a dream of making my own album. They have always been encouraging me to do something about it, and so I did. So I went to a local radio station in Tromsø, and there I got to record a couple of songs.
After playing so many songs in churches for eight or nine years, I've learned what songs people react to. Then I just had fun with the arrangements. That's how this album came together.
[Music From the Edge of Heaven] wasn't really an album at all. The band had made the decision to release an LP and then split up. We wanted to go out with a bang in Britain and the rest of the world by having a single that was four songs, not just one song. But we couldn't do that over here because we couldn't release a single without an album.
Making a record is a lot like surgery without an anesthetic. You first have to cut yourself up the middle. Then you have to rip out every single organ, every single part and lay them on a table. You then need to examine the parts, and the reality of the situation hits you. Then you pop it all back in, sew yourself shut and perform.
I graduated college in 1992 and didn't reach a sizable audience with my column for nine solid years. If I had started ten years later, or ten years sooner, everything could have happened sooner, obviously. But if I had started fifteen years later? I don't know.
I grew up in a family that was multifaceted, sexually oriented, and pretty much open to everything. And because I was working, my friends were all adults. I had a tough time going to different schools because people knew me from films and I was the fat child who got beaten up every day.
I had been told by a number of people that if you get half of what you want on your first album, you're doing really well. Pretty much every single thing they had was something that I liked. There were maybe one or two songs I didn't like, and they were taken off the album quickly.
You're not going to hit it every single time, and that's why, when I record an album, I do probably close to 50 songs. Each song I record has to get better. If it's not better than the last song that I made, it'll usually linger for a couple of months, and then it'll be put on the backburner, and then there'll be another song that I do, and then it often doesn't make it on the album.
I knew nothing about hockey when I came to Chicago and then became the biggest fan - went to every playoff game.
I sketch in a way that people can nearly do the dresses without me coming in for a fitting. Every single detail, every proportion, every cut -- everything.
When I was a kid, when I was 16, 17, I'd come home from high school, and my dad collected all of Barbra Streisand's records. And she was very young then. I think she probably had three records out, and she was 21, and we had them all. And I knew every single song, every breath, every elision, every swell. And I sang along to it.
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