A Quote by Sherrilyn Kenyon
I didn’t know they’d do this to you. (Syd) It’s okay, Syd. Who could have imagined that a man who heads up a company of paid assassins and mercenaries would be psychotic? (Steele)
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Then why are we being shot at? (Syd) ’Cause the sonofabitch can’t tell time. (Steele)
You are so vicious. (Tee) Hence the nickname. (Syd) You know it’s bad when you make me look like Glinda the Good Witch, right? (Tee) Just call me Elphaba. But don’t drop a house on me, ‘kay? (Syd)
Oh, sheez, what’s Syd Vicious doing back in town? (Payne) How’d the testicle retrieval go, Payne? You still limping?...Thought so. I got the thank-you card from Planned Parenthood last week. Seems they want to honor me for saving the gene pool. (Syd)
Look, I don’t care what the Ooga-Boogas do. It sounds like they need a family counselor, not a sniper. (Steele) They’re not Ooga-Boogas, they’re Uhbukistanis. (Syd) Whatever. My personal belief is that we should leave Ooga-Booga Land to the Oomp-Loompas. Let them fight it out with the Snozzwangers, Wangdoogles, and the mean Vermicious Knids. I’d rather go peal carrots with a spoon. (Steele)
How did you escape? (Syd) I fought my way out in a manner that would have made Rambo proud. And when I got home without his body because I couldn’t pull him out without getting myself killed, I got slapped in my face by everyone around me. So don’t talk to me about death, little girl. I wrote the book on it. (Steele)
Has anyone ever won an argument with you? (Syd) Just Tee, and I was drunk and wounded at the time. (Joe)
You’re not weird, are you? (Jack) Not particularly, no. (Syd) Well, good. I got enough weirdness for the lot of us. Don’t want to share it. (Jack)
I'll let the record [Who You Selling For] speak for itself. I don't want to get too in-depth with my personal opinions of it and where the songs came from because I think it messes with the listener to know the inside mindset of the writer. For example, I watched a Pink Floyd documentary the other day, and I learned that "Shine on You Crazy Diamond" was about [frontman] Syd Barrett. I didn't want to know that!
Of course, we found out later Syd Barrett had mental problems. But there was something so otherworldly about him. He was hovering, like, six inches above the ground.
Also one of my heroes is Syd Mead, who designed the vehicles for the first Tron. So, there are so many beautiful things happening here. And working with Joe was great. He's an architect, so I worked with other directors in between who were just about the action.
I really liked them, not just Syd, but all of them. Roger was very important, I thought, his contribution. And so was Rick's organ playing. It was a good band. It became something else completely, obviously.
I'd photographed musicians before but this was different. Syd was very charismatic, and he had the aura of a poete maudit, which made him the perfect subject for me - I realised that rock n' rollers were the modern equivalent of all the poets I was so enamoured with.
I've always been a prog rock fanatic, even before Vengeance. However I think I started to love the genre with Pink Floyd, yeah. I love them from the very beginning, also the Syd Barrett era.
Above all, I would like to be remembered as a man who was selfless, who strove and worried so that others could share the glory, and who built up a family of people who could hold their heads up high and say 'We're Liverpool'.
Syd Barrett of Pink Floyd was the first person in rock I had seen with makeup on. He wore black nail polish and lots of mascara and black eye shadow, and he was so mysterious. It was this androgynous thing I found absolutely fascinating.
I love the weird overdub style, like 'The Madcap Laughs' by Syd Barrett, where you can tell it's being overdubbed and it's kind of warbly. It creates a different experience. Or the 'White Album,' where you can tell it's overdubbing. But there's something about a band in a room - it's a feeling you can't replicate. There's a feel to the music.
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