A Quote by David Cook
I actually got to write with one of my musical heroes, a guy named Raine Maida from Our Lady Peace. I got to sit down and write some songs with him, and that was pretty heavy. I listened to Our Lady Peace growing up. It got me through the teenage angst.
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What I got was not so much gifts and whishes come trues but a feeling of peace. I got peace itself, actually. And when you have peace, you can be strong; and when you are strong, you can get through what you have to get through, and not with exhaustion and frown marks and slumped shoulders but with relative happiness, and humor, and sometimes even gaiety.
I should write a musical. That is probably one of the final areas that I should pay attention to, because it does kind of involve everything. It's got theatre, it's got young, pretty people... And it's got money!
I listen to everything from Lady Gaga to Lady Antebellum. I've got Frank Sinatra. I've got old stuff, new stuff. Iggy Azalea. I've got everything.
If you've got craft, you got game. If you got game, you can write your way in and out of anything. Writing is the best gig in the whole business, as far as I'm concerned. It's the only job where you don't have to wait for someone to tell you what to do. You just sit down and make s**t up.
Our goal is to write memorable songs. We're not there yet, but we're getting closer. Each time we sit down to write, we have hopes of coming up with something that will be remembered forever. That's our dream.
I don't sit down and write a song, and then slam down the phone like, 'We got another one!' and pop some champagne. It's like if someone's writing a novel: You write a series of drafts.
That song [You Got To Make It Through The World] came from a vibe I picked up from an old blues singer named Bo Carter. My lady was making a film as a thesis for U.C.L.A. and she wanted me to write a song to depict this character. The movie had something to do with bootlegging and stuff like that. I found this Bo Carter record and he was just saying something about making it to the woods or something like that.
Why I got into music was James Taylor, so to see him be a real down-to-earth guy that's unbelievably talented... then to hear him sing those lyrics of 'What I'm Thankful For,' which is a song Ms. Yearwood and I got to write together, that was definitely a highlight of my recording life.
I'm not saying Christopher Pyne and all them are my enemies, they're great blokes, shouted me a few beers a couple of times which I like, it's - we have got to sit down with the people like that. We have got to sit down with people like that and negotiate and work our way through. If we don't do that then we're just going to continue the sins of the past.
Barry White is my musical hero. He was the guy who you danced to in the club and then when you took your lady home to the bedroom, you listened to him there, too! That's who I always wanted to be - the guy who was always there.
Every time I sit down and write I got to put something conscious in there. It's like I got a job now. They say that for those that know you got to deal in equality. If you know and you don't speak on it and don't apply it, it's like you're the worst hypocrite. I feel I got a job to do, being that I study so much and I believe in Allah like I do, I feel like I got to spread the word.
My dad was a particularly polite kind of guy, very courteous. So when we got on a bus, he would always encourage me and my younger brother to get up and offer our seat to an old lady. I grew up kind of liking that, thinking, y'know, that's a nice thing, that's a courtesy.
Back when I was growing up, gangs wasn't heavy. We was solo thugging. When we got money on our own, the hood got money. It wasn't about colors or a certain name when I was growing up. We wasn't doing no gangs. But as the generations change, things change.
In high school, I listened to Lady Gaga and I was really obsessed with just being who you are and owning that experience - she was a really big inspiration in that aspect to me and my friends, who were young and growing up, and making our way through the city and the world.
I was never ambitious. I just wanted to have quiet, calm, listen to public radio and say, hello, how are you? Sit down, rest. But I had an early partner named Fred Freeman, a wonderful writer who I met at Northwestern. And I thought we were doing very well with "Jack Paar," and he said, no, we got to go to Hollywood. We got to write sitcom. It's the coming thing.
When you first sit down to write the first song, until you've maybe got three or four under your belt, it's always, to me, like a mountain to climb. You look at that one blank piece of paper and you think, `God, how many songs do I have to write here?' It always feels like pressure.
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