In 1967, in DeKalb v. DeSpain, a court (255 F.Supp. 655. N.D.Ill. 1966.) took a 4-line nursery rhyme used by a K-5 kindergarten class and declared the nursery rhyme unconstitutional. The court explained that although the word 'God' was not contained in this nursery rhyme, if someone were to hear the rhyme, he might think that it was talking about God - and that would be unconstitutional!
I met Arcade Fire on their first record, 'Funeral.' I loved that record, and it was a record I was listening to while I wrote 'Where the Wild Things Are.' Those songs - especially 'Wake Up' and 'Neighbourhood' - there's a lot of that record that's about childhood.
Nursery rhymes were political when they were first written! To me, that's what it's about: it's about using it to say something more than just what the story is.
Witches were part of my imaginary childhood playground, so I wanted to make an archetypal fairytale about the mythic idea of what New England was to me as a kid.
Rhyme to kill, rhyme to murder, rhyme to stomp,
Rhyme to ill, rhyme to romp,
Rhyme to smack, rhyme to shock, rhyme to roll,
Rhyme to destroy anything, toy boy.
On the microphone:
I'm Poppa Large, big shot on the East Coast.
This is what rhyme does. In a couplet, the first rhyme is like a question to which the second rhyme is an answer. The first rhyme leaves something in the air, some unanswered business. In most quatrains, space is created between the rhyme that poses the question and the rhyme that gives the answer - it is like a pleasure deferred.
I was able to notice in a very early stage, there were discrepancies between the people who are writing the songs and discrepancies about the self that I was writing about. I was feeling that there were all these different people, both writing the record and having the record being written about them, even though ostensibly it was me sitting down and documenting a series of life experiences. Part of that, when I recognized this unconscious thing I was doing, was about these spaces, about these gaps.
I guess I always had made some assumptions about what it would be like to work in a tech company, and some were right, and some were wrong. I had a lot of, looking back on it, now naive ideas about how companies build their brands, and a lot of those notions I ended up realizing were kind of wrong.
No real fairytale scared me, but Freddy Krueger did. 'Nightmare on Elm Street' scared the living hell out of me, but no fairytale. Maybe 'Hansel and Gretel' a little bit when they were walking through the forest and they met the witch. But I liked being scared, I really enjoy being scared.
I see some recurring themes: things that feel threaded together, some symbolic references, and songs about some of the big questions, like death. There are a lot of references to weather, too!
I don't think if you asked any of my childhood friends they would say that I had a weird childhood; they might say there weren't a lot of regular rules, the conversations in the house were always very open, dreams were a great thing to talk about, everybody was making something all the time.
Were I asked, what is a fairytale? I should reply, Read Undine: that is a fairytale.
Being a pastor's kid comes with a lot of pressure and scrutiny. A lot of my dad's sermons were about respect. It was a beautiful way to be taught about love and two people being equal.
When you start talking about the known knowns and the unknown unknowns, you're thrown into a crazy meta-level discussion. Do I know what I know, do I know what I don't know, do I know what I don't know I don't know. It becomes a strange, Lewis Carroll - like nursery rhyme.
People talk about fantastic memories of childhood, but I remember children being cruel to me and wanting to come out of childhood as soon as possible because I knew adults were generally more contained in their cruelty.
We've got to protect the nursery schools. I'm chair of governors in a nursery school in my area. If we lost the provision, I'd be worried about the socialising skills of children.