A Quote by Petra Haden
When we were on breaks from recording and touring, I was kind of moping around, like not knowing what to do. It was hard to adjust back to normal life after being so busy.
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I got divorced, after having been married for almost eight years. That is a very life-altering experience. There's a period of time that you go through, where you're having to adjust to knowing yourself and knowing who you are from being a couple to being an individual again.
Nowadays, it's like two different arenas, recording and touring. When I started way back in the day, doing both was nothing, you didn't have to think about it, the road and recording.
I call it "being interrupted by success." We had done The Soft Bulletin, which came out in 1999, and we knew we that were gonna make another record before too long. But in between this, we were still in this mode of kind of just - not re-creating what we could be, but kind of doing different things. For the longest time in the Flaming Lips we were like, "Make a record, go on tour. Come back, make another record," and you know, I think, frankly, we were kind of like, "There's more to life than just recording records and going on tour."
It's nice to have some perspective, when you are just touring, touring, touring, it becomes kind of a crazy experience. But, when I have time off and live my life at home, and then I get back to the airport and I am back with my whole family again. My brother, my band, my tour manager and sound guy get to re-unite, it's kind of an uplifting feeling to be rolling with such a crew and so much gear from country to country. It feels good.
The late '60s and the '70s, a lot of this really beautiful equipment was being made and installed into studios around the world and the Neve boards were considered like the Cadillacs of recording consoles. They're these really big, behemoth-looking recording desks; they kind of look like they're from the Enterprise in Star Trek or something like that. They're like a grayish color, sort of like an old Army tank with lots of knobs, and to any studio geek or gear enthusiast it's like the coolest toy in the world.
The touring thing is such a huge time commitment. I'm really feeling like I want to start writing and recording music again. But I have to leave for tour tomorrow. That's kind of frustrating; at the end of the day, you're plugging into this lifestyle. It's the "band lifestyle," and that's weird! I would like for touring to be creative in its own right.
I keep telling everybody that touring has now become my normal life and that normal life is like a very odd vacation.
Did you get so caught up in the preoccupancy of a relationship that you lost who you were or were busy in life or career that you, like Adam and Eve, got lost in the garden putting fig leaf after fig leaf title, relationship, this accolade, this saying over you that you forgot who you were and what's life's about? So getting back to the core of that and building life by design, that is authentic.
Although I have been pretty vocal about hating touring, the only part of touring I don't like is being on the bus and bouncing around.
The first rap I recorded was on Jeezy's 'White Girl' beat. One of my partners invited me to his studio, so I go. I wasn't planning on recording, we were just messing around. And I started recording a song, just a freestyle. Back then, Jeezy was going so hard, that's what everyone was on. That's what me and my partners in the trap would listen to.
The first morning after Westley's departure, Buttercup thought she was entitled to do nothing more than sit around moping and feeling sorry for herself. After all, the love of her life had fled, life had no meaning, how could you face the future, et cetera, et cetera.
I have this problem where I get incredibly, miserably nervous every single show. This is part of why touring is so exhausting for me. I have not gotten to a place where it's like, "All right, here's another." It just doesn't feel workaday, at all, yet. It's kind of killing me, being so nervous so many hours of the day. After the show - we try to end on an anthemic note, and I try and let that be decisive, and I will often come back out for an encore a cappella, and that's where I try and take leave from the feelings of the stage. Trying, after I do that, to return to my life.
When I was around Bowie, I was nearing the bottom. When we were touring together, I looked at him as a kind of big-brother figure and I also looked at him as somebody I had a lot of respect for. The age and the period he's at in his life, I'd like to be there some day. He has a kind of content peace about him that's something to shoot for.
I never really thought in terms of the concept of being a rock star - being around people like that just seemed like normal day-in-the-life stuff to me. Those were just the surroundings I grew up in.
I do like touring but my life sort of starts to fall apart under it after a certain point. So you just have to stop. And it's hard to.
I always feel like I'm in the five to ten pound struggle, but my life is so busy. I'm just not that concerned, really. I'm normal and I'm perfectly happy being that way. Some weeks I'm like, 'Man, my clothes are fitting so good' and then some weeks I'm like, 'I need to cut back on a few things,' but that's it. I don't fall into the trap of having to be 110 pounds.
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