A Quote by Philip Bailey
When we came up, groups and bands and performers were interested in being their own thing. They wanted to make sure that they had their own identity.
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That's one thing I loved about coming up when we came up. When you had groups like Mandrill and Earth, Wind & Fire, Sly Stone, and on and on and on, the Brothers Johnson, whatever. Everybody, Ohio Players. Groups wanted to be just themselves.
When I first started writing songs, I looked around at the bands that were making it, and they all had the original material. Jimi Hendrix, the Beatles, the Stones - everybody was writing their own songs. That's the way that you established your own identity.
Being part of The L Word made me realize how much more television can be that what I had experienced in my lifetime in terms of being able to be of service to people. I had so many fans come up to me who were really deeply appreciative of the show and what it had meant for them and their own sense of identity and their own sense of inclusion in our society and in our culture.
It seemed record companies wanted bands to be creative because they didn't know how to manufacture underground music. We could do our own thing and go at our own pace. But that changed when major labels started wanting bands that would sell 7 million records.
It happened to be, from '73 to '78, the five years that, our most glorious years for bass players. We had Larry Graham, with his own band, Stanley Clarke with his own band. We have Bootsy doing his thing. We had Jaco Pastorius. They were all leading their own bands.
There's a sorry history of these kinds of charges of bias being leveled at women and judges of color, and also gay and lesbian judges. The theory being that they're going to be incapable of a disinterested judgment on matters that involve their own identity groups. And it came up famously for Constance Baker Motley who was one of the first African American federal judges in a case involving sex discrimination.
We, black British, were searching - as the first generation that was born and raised here - for our own identity. We already knew what the Caribbean thing was about. We grew up with the racial tension and unrest. They were either touching your head for good luck or kicking you down the stairs for being too dark. But that was part and parcel of how we grew up in London. But in terms of our identity, it was more about us claiming it y'know?
If you wanted to chart new territories and head off over the horizon, you had to make sure you weren't overly influenced by what others were doing ... so it didn't matter what other bands were doing ... we did what we were doing.
Britain, as a pop music nation, used to have this very 'empire' kind of attitude. We used to 'invade' the world with our bands, you know? That's obviously changed, because in Europe they're much more interested in bands speaking their own language. Especially in France and Germany. They're starting to develop their own bands much more.
What I want to argue for is not that we should give up on our ideas of success, but that we should make sure that they are our own. We should focus in on our ideas and make sure that we own them, that we're truly the authors of our own ambitions. Because it's bad enough not getting what you want, but it's even worse to have an idea of what it is you want and find out at the end of the journey that it isn't, in fact, what you wanted all along.
Performers love to perform - that's the thing that we do. I think one of the best things was being able to imagine anything that I wanted, anything that I came up with we could do, because this theater is unbelievable.
'Monster Hunter' was its own series, its own franchise, and it just so happened that we wanted to make a realistic fantasy-based action game, and because we had the staff available to make something like that, we're able to make this game. The ideas for 'Dragon's Dogma' came from a completely different place.
I think there were some programs but in those days art programs were kind of basic. You would do drawing and simple collage type work. But at home I was beginning to get interested in doing my own thing as well. I'm not sure what inspired this, but I became very interested in decorating things.
I was looking for something and I wasn't sure what it was. [After experimenting with] certain funguses, I had a psychedelic experience where I looked up at the clouds and went, 'Oh!' I realized that we all have our own power, and that whatever I wanted to do, I had to make happen.
Being on my own was liberation, it was liberty, it was freedom, it was responsibility! It was the greatest thing in the world, getting old enough to be on my own. And today we have to deal with the fact that being on your own is so frightening and so scary and makes you feel so vulnerable. I wouldn't be where I am today if I had that attitude, if I had been afraid to be on my own.
This patriotic revolution where people want to find their own identity are not racist but want to fight for the preservation of their own people. Their own country, their own values. Their own money. Their own borders. This is such a positive thing.
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