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There was a period in my life where most of my musical career was spent in a band that was very aggressive, and there was sort of a wall of volume all the time.
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Team Rock: Away from the band Soundgarden, do you guys still hang out together?
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I think back to my childhood, and I remember running around as a kid. We were all running around then. It wasn't about getting into shape. It's just what we did.
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There's this existential argument that comes in, at some point, when you're over-thinking the songwriting process. There's no guarantee that the more time you spend or the more you concentrate on certain aspects that that's going to produce a better result, especially in the arts.
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They're a great audience, kids. They actually respond. They don't have the references that adults have, so everything is immediate. It's always interesting to see what they react to in whatever I'm working on at the moment. And they don't even want to discuss why. That's a lesson to remember: My son doesn't care about why.
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When you have four guys in a room writing songs, it different. It's great - that's what makes a band a band. Audioslave was great.
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I used to hate playing Seattle shows.
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To a degree, rock fans like to live vicariously and they like that, music fans in general, but when indie music sort of came into prominence in the early '90s, a lot of it was TV-driven, too, where if you saw the first Nirvana video, you're looking at three guys that look like people you go to school with.
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Melody Maker: Did Andy Wood's death and then Kurt Cobain's affect your attitude to drugs?
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What's important is to get into shape and then not to have to worry about it. I don't want to get on stage and not being able to do something. Not being physically fit doesn't work for me.
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Interview with Team Rock Magazine, Summer 1996.
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I got in touch with the creative process between the age of 14 and 16, mainly because I was alone so much.
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It's about trying to step out of being patterned and closed off and reclusive, which I've always had a problem with. It's about attempting to be normal and just go out and be around other people and hang out. I have a tendency to sometimes be pretty closed off and not see people for long periods of time and not call anyone.
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When all of a sudden you're successful and sought after overnight, you are instantly opened to a lot of sides of humanity that the average person is never going to see. And those can often be pretty disheartening, and it can make somebody pretty lonely.
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Friends of mine that are from here or that have spent time here have told me about Israel and how warm the people are and that I should someday come here.
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In the United States, workouts tend to focus on body image and how you look. For me, it's really all about the brain.
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When Soundgarden formed, we were post-punk - pretty quirky.
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It's great when you play to an audience that knows the words to all your songs, and sings them back to you.
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Bands work in a way where everyone, at some point, has to have a similar idea of how you do things.
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'Superunknown' was one of the most dramatic shifts in what we were doing musically. I don't think I realized it at the time.
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When I met my wife Vicky's family, I had to go out of my way to convince them, to show them, that I wasn't anything like their idea of a musician.
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You can really walk around a song and completely, if it's a good song, look at it from a lot of different angles. Johnny Cash with Rick Rubin illustrated that perfectly.
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Not really. I don't even have enough time to pursue everything I want to do musically. Also, there's a lot of people out there who spend a lot of time trying to act, so I think most of the good acting jobs should be reserved for those people.
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I think my children are definitely musically inclined, and they show it, and they're exposed to a lot of it. And they're their own people, and I think easily they could do something musical, or they could do something in acting or film or other types of the arts, and I would fully support it.