I see no kind of reason to not just try everything. I mean, I feel like we all have such varied tastes, and to not just try our tastes is a crime.
I don't want to say I hate remixes, because I don't, but I hate what instantly comes to mind now when people say 'remixes.'
I went to college, grad school. I got an M.B.A., had a really cush corporate job. But I was just bored stiff. I didn't fit that mold.
Back in the Rat Pack days, we'd take Frank's plane and sit dead center, because of Nancy. We'd watch the Rat Pack in the center ring and you couldn't ask for a better thing.
That was sort of the 'Second City' approach, which was try to be intelligent and assume your audience is intelligent. We were influenced by 'Monty Python,' too, which would have philosophers in a wrestling match.
Improv seemed to replace stand-up, which was very big before that. Stand-up comedy was real hot in the late '80s and through the '90s.
No, I've heard over the years that it's nice for them to see somebody who's like, you know, a well-known successful musician who's Asian. I've heard it from a few musicians, too.
Musicians always come off sounding a little bit pretentious, and a little bit... I don't know, hypocritical, from what they do, talking about strong issues.
If you put all the songs together that I've written on band records, and put it up next to my solo record, there's definitely a different kind of feel than Billy's songs.
When I went to Harvard and studied planning, I found I didn't have the skills or the strength to become the kind of public person who could go out and lobby government agencies.
Hannibal Lecter: You're very frank, Clarice. I think it would be quite something to know you in private life.
Dorothy Vallens: [to Frank] I have a part of you with me. You put your disease in me. It helps me. It makes me strong.
Frank Booth: In dreams, I walk with you. In dreams, I talk to you. In dreams, you're mine, all the time. Forever. In dreams...
I really appreciate Frank Ocean's lyrical style, I appreciate the way that he can kind of draw you into this personal space, but it's still lyrical. It's almost poetic, in a way, but it's very personal at the same time.
I got into dub a long time ago. I was into dub before I even had any interest in reggae or Jamaican songs, Bob Marley, or any of those established artists. I just thought it was such an unusual sound.
Working with the Kinks, there always seemed to be some kind of automatic process at work. Ray and I had this telepathy happening for a long time, where one of us always knew what the other could do with something.
I was actually in an iron lung for about a year, and then I was paralysed from the neck down for another year after that. So I spent a lotta time just lying down as a kid. And some of my earliest memories from then are of listening to the radio.
I've heard that Alfred Hitchcock said that by the time he was ready to shoot a film, he didn't even want to do it any more because he'd already had all of the fun of working it out. It's the same thing with these Frank comics.
Teaching was my first job after leaving university. It was a challenge, but I enjoyed it. Some of the kids were disruptive, but I could deal with it because I was only 24 at the time, and my own school memories were still fresh.
So I am one of those bass players who can do something and musically, it was back then and now it is even more, if you noticed on the new album, I am not playing all the time anymore.
During the 1970s and 1980s Gibson did use my likeness, but we never signed anything. This new Signature model is the first time we struck a formal written deal for a guitar with my name on it.
