A Quote by Styles P
I think about every song is pretty much raw emotion - even if it's not specifically about topic there's songs like "All I Know Is Pain" and "Green Piece of Paper".
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I have amassed an enormous amount of songs about every particular condition of humankind - children's songs, marriage songs, death songs, love songs, epic songs, mystical songs, songs of leaving, songs of meeting, songs of wonder. I pretty much have got a song for every occasion.
When I sat down with all the songs before recording, I realised I'd written a few songs specifically about places in America - there was this song about Detroit and another about Yellowstone National Park. My dad is actually American, so I wrote another song about that side of my family.
I'm pretty much a dinosaur in the studio. I like things hand-drawn, even today. The story artists use Cintiqs, but I'm the only person who hasn't completely converted to computers. I like the Cintiq, but there's something about the raw emotional power of using paper and pencil.
There are no limitations with a song. To me a song is a little piece of art. It can be whatever you like it to be. You can write the simplest song, and that's lovely, or you can just write a song that is abstract art. ... A lot of my songs are very serious, I'm like dead serious about certain things and I feel that I'm writing about the world, through my own eyes. ... I have a love for simple basic song structure, although sometimes you'd never know it. ... Most of the songs I wrote at night. I would just wake in the middle of the night. That's when I found the space to write.
If you're talking to an architect, he can look at a blank piece of paper, and once the initial design is there, the formula kicks in. Each room should have something unique and different about it - much the same way that in a song, every eight bars or so, a new piece of information should be introduced.
An audience will let you know if a song communicates. If you see them kind of falling asleep during the song, or if they clap at the end of a song, then they're telling you something about the song. But you can have a good song that doesn't communicate. Perhaps that isn't a song that you can sing to people; perhaps that's a song that you sing to yourself. And some songs are maybe for a small audience, and some songs are for a wide audience. But the audience will let you know pretty quickly.
I'm a lot happier on RAW. I actually can't overthink how much better I think I am on RAW than I was on Smackdown. And I don't really know the reason why that is. I feel like I look more at home here, and I feel like I look like I belong here. It's pretty obvious that RAW's the place for me.
Caron, Even though you just got here a few months ago, We've grown so close over these last few weeks And, I can remember, When you first got here, You wrote a piece of paper in my locker... I don't know why I'm crying so much man... You wrote a piece of paper in my locker that said, "KD MVP." And that's after we had lost two or three straight. And I don't really say much in those moments, But I remember that. I go home and I think about that stuff man. When you got people behind you, You can do whatever. And I thank you man, I appreciate you.
Often for me, if I hear a song I know, it clicks for me and I hear it in a different way and I think, "I could sing that song. I've got something to say about that song. Wanting to connect with an audience and wanting them to rethink songs; it is actually important to do songs they're familiar with. Also, I love those songs. In a way, I think I've changed people's perceptions of what a cabaret show like this could be.
There's probably a couple someones that are gonna hear the songs and go, 'I think that might have been about me,' or, 'I know it's about me.' I do play that pretty close to the vest. I don't think I'm ever gonna write a song and drop somebody's name in it.
Hardest emotion? They're all pretty damn hard; I don't know really if there's one specifically, but I do think, I don't know what's happening or what I'm feeling when I'm actually listening.
I don't think talking about myself making songs is a very interesting topic, there are so many other more engaging things to think about and write about.
When I'm talking to somebody, I'll put a piece of paper on the table and I'll write what I call a conversation summary - notes about the conversation on the piece of paper. At the end of the conversation, I'll take a picture on my phone and give the other person the original piece of paper.
When I'm singing a song, I'm in that song, and I'm thinking about what emotions I should bring to the song. Voicing a character was very similar. It was high energy, and I had to really think about the emotion of what was going on in the scene.
The two biggest hits (by Machito)... were about that enduring Cuban song topic-food: 'Sopa de pichn' [pigeon soup] and 'Paella'. If you think that all songs about food are double entendres for sex... Well, maybe all songs about food can be double entendres, but in many periods of Cuban history, for many people, food has been harder to get, and the subject of more fantasies, than sex.
I feel very strongly about letting people know I'm proud of who I am. I want people to know when they hear my songs it's coming from a specific place. The new record is specifically for us trans women: that we can sing about our pain, being ostracized by our lovers, who are ashamed of us in a way. There's no pop music like that for our community. I wanted to contribute in that way.
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