A Quote by Riff Raff

I'm the Most Lyrically Flamboyant Artist of All Time. — © Riff Raff
I'm the Most Lyrically Flamboyant Artist of All Time.
I'm not a flamboyant artist.
I would wear flamboyant clothes and long hair, and most singers at the time didn't.
Where are the flamboyant characters?! This is what America desperately needs right now! Flamboyant intellectual characters who can cut different ways. And, that's just what I'm missing.
Whatever I was doing, even when I was at school, I never repressed anything that I felt. I wasn't flamboyant; I was actually quite reticent most of the time. But if I felt I had to do something, I did it.
A skillful playwright might have a good time with the story of the assassination of President William McKinley, and especially with the three most flamboyant political figures involved: Mark Hanna, Theodore Roosevelt, and Emma Goldman.
'As Long As I Know I'm Getting Paid' is a satire. Lyrically, I want to be direct. With my history in Fall Out Boy, there's some expectation that I'm going to be lyrically obtuse. But that song is a straight-faced satire of consumerism.
I spend most of my time at concerts hoping for that one second that the artist looks at me, I look at the artist, and that's when I get to say, 'Thank you.'
Most of the songs that I appreciate are lyrically vague.
You don't need to be flamboyant in your life to be flamboyant in your work.
I think the role of the artist today is about being provocative. I don't mean shocking, but you have to provoke people into action. As an artist, you ask people for their time. It's the most precious thing anyone has. I'm asking audiences to come to my work and spend some time with it. What I'm really doing, of course, is asking people to take time for themselves.
And at the time, for one of the few times in my life I didn't have a band, I just had myself and the guitar, so I was going to have to do something with just my voice, just the guitar and just my songs that was going to move someone enough to give me a shot. So I wrote songs that were very lyrically alive and lyrically dense. And they were unique, but it really came out of the motivation to - or I understood it was - I was going to have to make my mark that way.
As nearly as possible in the spirit of Matthew Salinger, age one, urging a luncheon companion to accept a cool lima bean, I urge my editor, mentor and (heaven help him) closest friend, William Shawn, genius domus of The New Yorker, lover of the long shot, protector of the unprolific, defender of the hopelessly flamboyant, most unreasonably modest of born great artist-editors to accept this pretty skimpy-looking book.
Lyrically, the most important thing for me is, how can I tell a cohesive story?
Judging your early artistic efforts is artist abuse. . . Remember that in order to recover as an artist, you must be willing to be a bad artist. Give yourself permission to be a beginner. By being willing to be a bad artist, you have a chance to be an artist, and perhaps, over time, a very good one
As soon as I turned the key I saw it hanging, the color of fire and sunset. the colour of flamboyant flowers. ‘If you are buried under a flamboyant tree, ‘ I said, ‘your soul is lifted up when it flowers. Everyone wants that.’ She shook her head but she did not move or touch me.
Lyrically, I've always thought about albums as a record of a period of time.
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