A Quote by Stephen Malkmus
I like that band Get Hustle. They're cool live. I haven't heard their records, though.
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I don't feel anything about it. I really like "Staring at the Sun" - I like that song a lot. I haven't heard a lot of their records, but I know that they're cool. I know that the people who listen to them are really awesome and I like those people, so I know that I would like the band, I just don't own their records.
When we started the band, I was really like, "We just want to make a lot of records" - not quite unlike Guided By Voices' schedule. I've always thought that our live thing is what we do best, and having a really robust, big catalog makes for the most interesting live band - especially with people, at this point, traveling to see us night after night. For us to have almost 100 songs to pull from is a really cool thing. The sets can be different. They can be invigorating on an intellectual level. I definitely hope to continue to release records at an accelerated pace.
There's a lot of discussion about whether you should be a good live band or a good studio band. I think you can use the studio to make a great "studio record" and not necessarily have to reproduce exactly that on stage, but still be a great "live band." Having said that, if what you're going for is just the raw capture of your live sound, then that's cool, too - go for it! I enjoy working in the studio, though, and while I try to get near to an approximation of what's going on onstage, it's not my first priority usually.
I mean, just like every other prominent songwriter or producer, you have the shot. You send in records and if they make it, they make it. If they get heard, they get heard. I'm not sure if you know how that circle of songwriting and producing works, but every time a big artist is working, everybody and their mother is in the studio writing records to try to get on it.
I'm not the cool thing, and I'm not going to be the cool thing for a really long time, and it isn't like I'm not the cool thing and I sell 3,000,000 records every time. I'm not the cool thing, and I barely sell 150,000 records, if that, ever. So I'm obviously working really hard to sustain myself. I'm actually a target to be dropped, because that's just not enough records for a big company.
I was 16 years old, and I was just flailing around, looking for an interest. I heard, you know, these jazz records. They were modern records, at the time in the '50s, and I realized that I didn't fully get what was going on. But I liked a lot of what I heard.
At Uber, we say, 'Always be hustling.' Even if you are an introvert and you haven't got hustle in you, you better get a co-founder who does. And if you haven't got enough hustle to find a co-founder who's got hustle, it's going to be tough. You've got to have a little hustle in you.
You heard about, through word of mouth,
Big Bird is out, he's in the house.
He's turnin' up, with Snuffleup,
They're really gettin' their hustle up.
They stick together like Velcro,
There Grover go, there's Elmo.
And Cookie Monster there, look he likes
To take selfies with his cell phone.
They got a homegirl named Abby,
Her last name is Cadabby,
I showed her my report card,
She said, 'Not too shabby!'
They got all types of cool kids there,
It's lots of fun if you live there,
One thing I keep forgettin' about Sesame Street...
How do you get there?
It is cool to have a label head that is also a songwriter, in a band, and produces records.
If you heard my records and no one told you, I don't think you'd know whether it's a band or one guy.
What's cool about indie rock is that one band can do effectively the same thing as another band, and one band nails it, and the other one doesn't. I like that elusiveness.
I do not want and will not take a royalty on any record I record. I think paying a royalty to a producer or engineer is ethically indefensible. The band write the songs. The band play the music. It's the band's fans who buy the records. The band is responsible for whether it's a great record or a horrible record. Royalties belong to the band. I would like to be paid like a plumber. I do the job and you pay me what it's worth.
A lot of people hustle differently, and I was like, 'You know what, let me hustle and create, and let me have something to show,' cuz my hustle led to opportunity.
I definitely move to the beat of my own drummer and man, he's not playing something anyone has heard before. It's pretty cool, though. Pretty cool.
It's always cool when you get immortalized on records. I am just happy that I have gotten to the level where rappers who can actually rap say my name in records, regardless if it's a diss or not.
In the late '70s, I had a band - the David Johansen band, for lack of a better name - and I started collecting, not records, but tapes from people I knew who had jump-blues records.
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