A Quote by Raf Simons
One of the first things I picked up when I was very, very young out of a record store was work from Peter Saville - the early things he used to do for Factory Records.
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One thing that did get me into a lot of different types of music was when I was very young, the local record store went out of business and they were selling off all the vinyl. I remember going in - I was probably 16 or 17 and I'd just gotten a record player as a present. It was like hitting the jackpot: all these records for $3 apiece.
As I view it, in every family a record should be kept...that record should be the first stone, if you choose, in the family altar. It should be a book known and used in the family circle; and when the child reaches maturity and goes out to make another household, one of the first things that the young couple should take along should be the records of their families, to be extended by them as life goes on...each one of us carries, individually, the responsibility of record keeping, and we should assume it.
My very first records, I was very interested in how you get the particular quality you want out of it, and I began to learn about the engineering and aspects of production and things very early on. I got hands-on with the process and taught myself how to engineer, as opposed to just being a producer who asked the engineer to make it sound nice.
I hate the thought that someone had picked up one of my song records and was really excited about it, and walks [out of] a record shop with On Land and is disappointed because it isn't what they wanted. So, I try to make signs, graphically and visually, to say to people "Okay, this is this department of my work and this is this other department of my work." And of course I'm very pleased if people like all of them, but I don't want them to feel deceived at any point.
I was very unhappy when I used to record and things wouldn't turn out the way I would want to, because I was being such a nice girl. I wouldn't complain when things were going wrong.
My mom had early rap records, like Jimmy Spicer. In the middle of the records was a turntable and a receiver - I used to scratch records on it - and on top was a reel-to-reel. In front of that wall were more stacks of records. It was either Mom's record or Pop's record, and they had their names on each and every one.
I didn't have a lot of skin care products when I was a kid - my parents were very au naturale - and I think I was about 9 years old when my girlfriend told me she used Biore. I was like, 'Hmm, never heard of it.' So my mom took me to the store, and I picked out five different things and have been literally using it ever since.
Some of our early work was two minutes twenty when it actually came out on vinyl, very, very, very short. Sometimes if you made a three-minute record they would make you do an edited version for radio, particularly in America.
My mother was always expanding my art skills and getting me to paint different things. You always got to push some. And, I mean, I learned basic things like getting up on time, how to shop - you know, you don't touch things in a store you're not going to buy. These things were taught very young. I don't see today enough of this basic, you know, basic skill teaching.
I was always a little bit afraid because I found out at a very early age that once you make a record, all the mistakes and all the good things are there for eternity.
I don't love it. I write better than I used to write, I think better than I used to think, and I've got enough experience to balance things up. But I don't like the physical side of getting older and I don't like forgetting things. If I had a choice, I'd take Peter Pan pills and stay young forever.
I'm the type, when I used to go to the record store I used to buy two or three copies of certain records so I've got a pretty large selection of a lot of 12 inches.
My mother was a huge, huge reader. I think I picked up very early how precious it was to write things in books and have people like my mother glued to the page.
The reality that we were growing up in was very young and vibrant, and nobody was capturing that part of India. I started to backpack after getting out of college. I hiked and did a lot of things nobody was capturing in art at all in India, so I wrote my first novel. It was a very, trippy, experience-filled novel, and it ended up doing very well in India because nobody was writing about that at that point.
Work creates an enormous sense of self and I saw that in my mother. She was an enormous, towering figure to me in the best possible way. I picked up a lot of things from her in the way that I work... I also picked up a lot of the failings of when your father doesn't have those things and that results in a house that turns into a minefield.
They [ Factory Records] are always looking for the next group, the next big thing, to bring the record sales in and for them to promote and everything, but Factory just sign who they want to, put records by who they want to out, package it how they want to, how they like doing it. It's just run like that.
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