A Quote by Vidya Vox
It's all about the balance. For musicians, me personally, you just can't keep doing covers or mash-ups. It would get old pretty fast.
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But lots of people do parody now. The whole mash-up thing that's so prevalent now was starting in the 80's when I was starting to think about this stuff. I certainly wasn't the first person to do it but now... comics mash-ups, all kinds of mash-ups are everywhere.
I played with so many musicians and some of the musicians would have something I want. I steal a lot of them, and I mash it up, I mash it up into my chords.
Part of doing mash-ups is getting the legal rights to use the songs. If you're going to do a mash-up with five songs, you should probably find 10 songs, because you're only going to get half of them cleared. It's a real collaborative effort.
You want to be excited about what you're doing. So whenever I get tired, I think, 'Would ten-year-old Adam be pretty stoked on what I'm doing and what's happening?' So I just live my life as if I'm using my ten-year-old brain.
I started working out and doing martial arts when I was about 4 years old, and I was competing by the time I was five or six. So my mom and dad had me doing push-ups and sit-ups from a very young age.
A man can get old pretty fast if he doesn't keep his mind active.
I do covers for CDs and LPs of music that I like, reissues of old-time music, and then I'm inspired to make some kind of drawing based on this love of the music. I don't do album covers or CD covers for groups or musicians I don't like or have no interest in.
I've always loved doing covers. Some artists don't like covers. Some listeners don't like covers. But I love them. It gives you a new perspective production-wise. It's easier for me, if I'm starting a new record, I like to produce a few songs that aren't mine just so it frees me up not to worry about it so much.
My whole thing, to keep myself interested - and, you know, I'm a huge hip-hop head - I have tons and tons of a cappellas. So I do these live remix mash-ups with my tracks and just throw them in there.
Longevity in my family's been pretty good. And my grandparents were pretty spry at their age, so I figured I'd probably stay skinny and fairly agile. I used to do old men all the time in sketches. And there used to be an organization called the Gray Panthers. And they would send me, oh, terrible letters about making fun of old people. And I would just always say, "I'm playing the old person I intend to become!"
I would say I stay pretty calm. Don't let the game get too fast on me. I try to keep my emotions in check, I guess, so I don't show that anything fazes me out there. And I try to take it one pitch at a time.
Being a hybrid maker off and on over the years, I'm very comfortable with the idea and have been the subject of quite a few pretty good mash-ups myself.
I would look at older blues musicians who just keep going into their seventies. They keep doing it until they drop dead. And I've always felt like that's what I want to do. I've felt that since the day I was able to start playing music for a living. I don't see the point of thinking about retiring because it's not work to begin with.
I was always pretty decent at fast stick work or doing stuff that seems impressive that's not really; I was pretty tasteful and had good ideas musically. But I had a terrible sense of tempo, which is like being a blind painter. The conductor would just rip into me, and it lasted for years.
I, personally, would be shocked if we went to the end of the tape now and I didn't have at least one... Look, even if I don't get one directly, eventually they're just going to have to give me one when I get old. So no matter how you slice it, I'm getting one.
You can't get tied into your past. It's not fun for me. You can't just keep doing the same material forever. Some people just play the hits, and it's the same show every night. They're happy to do that. I personally am not.
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