A Quote by Sam Fogarino
Attention spans are shrinking on a daily basis, and it's getting harder to make an impression that lasts. So the fact that we were able to make a mark in a way that led to the continued relevance of the record is kind of crazy. I'm in awe of that.
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In this fragmented world, with such short attention spans, you've got a couple of episodes to make an impression. And if you don't, you start to lose your audience in a big way.
I call it "being interrupted by success." We had done The Soft Bulletin, which came out in 1999, and we knew we that were gonna make another record before too long. But in between this, we were still in this mode of kind of just - not re-creating what we could be, but kind of doing different things. For the longest time in the Flaming Lips we were like, "Make a record, go on tour. Come back, make another record," and you know, I think, frankly, we were kind of like, "There's more to life than just recording records and going on tour."
I kind of remember a friend of mine saying, like, you guys should make a rap record. You know, because we were already making punk records. We were a punk band. And I kind of thought, that's crazy.
I think record cover sleeves really led towards, but at the same time the album as we know it didn't come into being until mainly after the Second World War because record labels realized they'd be able to make a lot more money putting all the singles of an artist onto one album and selling the whole album as a kind of a concept.
Attention spans are changing. It's very noticeable. I am very aware that the kind of books I read in my childhood kids now won't be able to read. I was reading Kipling and PG Wodehouse and Shakespeare at the age of 11. The kind of description and detail I read I would not put in my books. I don't know how much you can fight that because you want children to read. So I pack in excitement and plot and illustrations and have a cliffhanger every chapter. Charles Dickens was doing cliffhangers way back when. But even with all the excitement you have to make children care about the characters.
Craziest thing I've done for love is getting married. I think it's crazy. I think it's crazy, crazy, crazy. I'm never going to say I wouldn't do it again but I have to make sure it's love and not settling for the 'I have to do this by a certain age,' which is kind of what I did.
Yeah, we were looking for a way to represent adulthood and the passing into adulthood. And I think, for me personally and a lot of the folks that I work with, childhood is kind of a sacred, special kind of point in time that has a real joy and purity to it. And we sort of long on a daily basis to reach back and kind of grab onto that in some way.
We try to make the sound hold as much relevance as it does on the record you know, we don't try and interpret it in a different way.
I feel less and less like that every year, and I guess maybe even more so with every new record that I put out. I just think, as the years go by, it's harder and harder to really find a reason to be annoyed that you made something that people want to continuously talk about. Certainly there are contexts in which the record can be discussed which will get me on the defensive and make me want to put some kind of calibration or some kind of context on what the record means in relation to my career as a whole.
I have a proven record, a record of accomplishment, a record of cutting taxes, of shrinking the government, of reforming education, of challenging the status quo, eliminating career civil service protections, shrinking the government workforce by 11 percent, but leading the nation in job growth.
I wanted to preemptively make myself as available as possible, so it would be impossible for anyone to form the wrong impression and make me uncomfortable with the way they were digesting my music.
Understanding how to find the magic moments in your daily life is critical. If you subscribe to the philosophy that says, "My vacation will free me from burnout," then you`re waiting for a few days out of the year to make up for many days of stress. Instead, you have to be able to take mini-vacations on a daily basis.
In an odd way I thought I was lowering the bar for myself, in saying, well, I'll make a pop album. But in a way it's kind of harder to make pop music. It's like the more abstract you get with music, you get into that emperor's new clothes thing, where you can go anywhere, and just claim that your audience may not be prepared to go with you. But with pop music, I think everybody understands the form, everybody knows what it's meant to do. So I would say it's harder to write that kind of music.
As I look back, I understand what [the record company] was getting at. They were trying to market a record and make it as commercially acceptable as possible. It hurt me and my credibility with critics.
There is a connection between me and the collectors, and as admirers of the work they tell me about the differences the pieces are able to make in their lives on a daily basis.
It's kinda crazy to say, but the way Jay [Duplass] and I stay afloat, because we don't make particularly commercial fare that makes a lot of money, is that we make things cheaply and we make things small. We would kind of be afraid to go make a $100 million movie because you have to do certain things to it to have it make its money back.
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