A Quote by Mignon McLaughlin
Neurotic quarrels always have the same theme-song: Hate me and get it over with.
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Every true writer is like a bird; he repeats the same song, the same theme, all his life. For me, this theme as always been revolt.
Besides my fast and slooow songs, I further divide my work into three main song types: the ballad or story song, the variation on a theme (saying the same thing over and over and over again) song, and the weird song. It's important to have weird songs, but I find that a little weirdness goes a long way.
Love me or hate me, it's one or the other. Always has been. Hate my game, my swagger. Hate my fadeaway, my hunger. Hate that I'm a veteran. A champion. Hate that. Hate it with all your heart. And hate that I'm loved, for the exact same reasons.
I've always sung. My dad had a song in his heart and on his lips 24/7. A lot of the time, it was the same song and the same phrase over and over again.
Then a friend of Jim's suggested we make a theme song to explain the story, and this is where the Mads came from. Josh and I wrote it into the theme song.
I'm afraid of making a mistake. I'm not totally neurotic, but I'm pretty neurotic about it. I'm as close to totally neurotic as you can get without being totally neurotic.
If you write in the same way over and over again, like, in the same place with the same techniques and with the same people, you're sort of writing the same song over and over again.
I would love to do a Bond song, and I could have done a Bond song: I was offered a Bond theme, but I turned it down because I didn't like the song. But as it turned out, I was right anyway because the song was the only Bond theme that never became a hit, so I'm glad I wasn't associated with that!
Like the Birth Of Venus, the song [Yello "oh, Yeah"] denotes the birth of the bro. The song just reminds me of bros looking out over lowered Ray-Bans. It birthed a negative sexual revolution. I was going to a lot of bondage clubs at the time and they did play this song. The song I associate more is that horrible Enigma song with the Gregorian chant. There's something good buried in that song and I might not hate it as much if I hadn't been a sex worker.
When I'm writing a theme song for a TV show I always think, "What would be Pavlovian where a kid would be in the kitchen, or an adult would be in the kitchen, and they hear the theme song come on and it would draw them back to the other room so that they would watch the show?"
The notoriety you get from when your song is on the radio versus when your song is on a mixtape is two completely different things. And when you get a song get big enough to where it gets played on two stations at the same time in the same city, you're like, 'Damn!'
The anguish of the neurotic individual is the same as that of the saint. The neurotic, the saint are engaged in the same battle. Their blood flows from similar wounds. But the first one gasps and the other one gives.
For me the idea was always throw myself into different situations and push your imagination as far as you can to get to where you want to get to. I think a lot of bands make the same record over and over again because they're married to the same three or four people. At some point they've done all they can do with their own imaginations.
The reason that Shaft has a dominant theme song is because James Bond has a dominant theme song.
If neurotic is wanting two mutually exclusive things at one and the same time, then I'm neurotic as hell.
When we did the 'Titanic' theme, that song was everywhere. At the time we did it, it wasn't an old song. We didn't really listen to that song. We're not fans of the song. It was more about taking the song everyone knew and making it sound like a New Found Glory track.
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