A Quote by Sixto Rodriguez
I sing about social issues, not the boy-girl stuff.
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Believe it or not, people went so far as to suggest that I might not be able to write songs anymore because now I am married. I tried to explain again that there are other things to write about besides boy meets girl, girl meets boy, boy breaks up with girl, girl is sad.
'The Marriage of Souls', like 'The Rationalist', is an exploration of humanist philosophy wrapped between the delicate leaves of an eighteenth-century tale. The story of the two novels - and they should be read as a two-volume work - centres around the old war-horse of boy meets girl, boy loses girl, boy finds girl. But what a boy and what a girl.
I don't know if I even consider myself a very political person. I have always had strong beliefs on important social issues. Politics have politicized social issues, but I don't know if social issues are in fact political. If anything, they are more human issues than they are political issues.
The idea behind a dish - the delight and the surprise - makes a difference. Great literature surprises and delights, and provokes us. It isn't just 'Here's the facts - boy meets girl, boy loses girl, boy gets girl.' It's how you tell it.
I can’t tell you what that first song was about. Something about love and a boy and a girl… And this boy can think of nothing but holding that girl’s hand in the darkness... All those ridiculous songs about love - I finally understood.
What bothered me was playing one-dimensional parts in films which were really about, 'Boy Meets Girl,' 'Will Boy Get Girl?'
And your life,' Katie said to Christy, 'is turning into a rather predictable romance. Girl meets boy. Boy is a dork for four years. Girl blossoms into a gorgeous woman. Boy finds his brain. Girl turns into starry-eyed mush head.
Romance goes like this: Boy gets girl. Boy loses girl. Boy gets girl again. The end. It can't be any other way.
The things we sing about are timeless. Political affairs and social situations come and go. But if you're singing about empowerment and not playing by the rules, you can sing about them until you can't sing anymore.
What's difficult to understand about German opera? It's always the same. Boy meets girl, boy falls in love, girl gets devoured by horrible winged creature with claws.
You either have to sing about being scorned by a lover or sing about thinking a boy is cute and wanting him to notice you. That's about as edgy as you can get.
It's the oldest story in the world. Boy loves girl. Boy loses girl. Boy gets girl back thanks to the unethical behavior of megalomaniacal mad scientists who never met a corpse they wouldn't try to resurrect. Anyone coming within a hundred yards of my happy ending had better pray that they're immune to bullets. - Shaun Mason
I just really need to sing and sing and sing and not worry about writing. Just by singing for pleasure, your voice takes you to what it wants to sing. And that is how the best stuff kind of emerges.
The Tea Party we were told is only about economics; not true. It was always about economics and social issues. They just hid the social issues and now we just see who they really are.
Boy meets girl. Boy marries girl. Boy and girl angst over which family they visit at Thanksgiving and which one in December and whether or not it's best to serve turkey or goose for the family feast. When first faced with the reality that the family you married into does things differently, the warmth of tradition can take on a chill.
It's worth pointing out that no one faults a male protagonist for falling in love. What is it about a boy needing a girl that seems to round out his character, while a girl needing a boy can be dismissed as pathetic?
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