Conor Oberst Quotes
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I try not to think about the idea of reaching more and more people, because once you get in that mindset, I think you lose the point of why you're doing it in the first place. Still, the best feeling I ever get is when I finish a song, and it exists, and it didn't exist before, and now it's there, and it makes me feel a certain way.
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Since the songs were written over a five-year period, I think these are little snapshots. Some people call it political or topical, but I think each song is self-contained. I think it fits together as a picture of the last half-decade of time.
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And your eyes must do some raining if you're ever gonna grow / When crying don't help, you can't compose yourself / It's best to compose a poem, an honest verse of longing / Or a simple song of hope.
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There's a very fine line between one person's reality and another person's fantasy.
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In a way, to have whatever people talk about as "crossover success," I think it means you start making bad music. I mean, when I'm flipping through the channels and see the VMAs or something, I don't really see any music there.
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Desaparecidos try to be the opposite of apathetic. There are so many young people in America that are apathetic.
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And I never thought this life was possible,You're the yellow bird that I've been waiting for. In polaroids you were dressed in women's clothes Were you made ashamed, why'd you lock them in a drawer? Well, I don't think that I ever loved you more Well let the poets cry themselves to sleep And all their tearful words will turn back into steam The sound of loneliness makes me happier.
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When I run into a person or a kid that comes up and gives me the spiel about, 'Hey, I got your record at this time in my life, and it really helped me,' that stuff totally still rings true. If you're standing there talking to someone, it's really easy to tell if they're being authentic or not. And that's great.
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Rastafarianism and reggae music have always kind of resonated with me. Those ideas of redemption, liberation and overcoming oppression through music, weed and community. Fighting evil through love and music, I think it's just a really powerful idea.
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The one recurring theme in my writing, and in my life in general, is confusion. The fact that anytime you think you really know something, you're going to find out you're wrong - that is the rule. The moments where you think you have something figured out, those are the exceptions.
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The way my life's structured, I don't stay in a place for more than a couple months.
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Once you realize that everyone is in the same boat, that everyone is just as insecure and childlike as everyone else, that all these jokers in D.C. ruining our world are just greedy kids grabbing for marbles - I think that realization means you're an adult.
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When you look at what people consider success in the music industry, it's just terrible music.
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I've never conceptualized much of what I write about. Maybe, once I'm onto something, I'll conceptualize a finished record. I want the songs to tie together and make sense together. I'm not like, "Oh, I want to explore this idea." That's just not how the creative process works for me. It's more like something strikes me, or finds me, and then I wrestle with it after that. I don't sit back in my armchair, like, "What kind of philosophy can I explore today?"
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To outsiders it probably seems like splitting hairs, but to me, Bright Eyes is a simply the collaboration between myself and Mike Mogis and Nate Walcott. What you hear is definitely the sum of all our ideas and represents all three of us. But I still write the songs myself.
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We, the Desaparecidos, are perfectly prepared for people to hate what we're saying or not like what we're saying.
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I want to be enriched by the music I listen to. That's the reason it never really exists in the mainstream. Because that's not what most people are after.
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They say they don't know when but a day is gonna come. When there won't be a moon and there won't be a sun. It will just go black. It will just go back to the way it was before.
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I mean, you just go down the line, and with any of these issues, it's about rich people staying rich. And using poverty as a weapon against people. That's what we see every day. And I'm not an economist, so I can't speak to the nuances of it, but just common sense tells me the whole thing is corrupt.
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You can't manufacture inspiration, so a lot of it is still a waiting game for me. There's still a lot of mystery to songwriting. I don't have a method that I can go back to - they either come or they don't.
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On good days, I can see the inherent goodness in people, and that human beings have a high capacity to learn and adapt. But things like the environment, nuclear weapons and ideas like peak oil - if you think about them too much, they can really freak you out.
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I came upon a doctor who appeared in quite poor health. I said, 'There's nothing that I can do for you that you can't do for yourself.' He said, 'Oh yes you can. Just hold my hand. I think that that would help.' So I sat with him a while then I asked him how he felt. He said, 'I think I'm cured.'
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Every time I finish a song... most of the time it's in my own head, like this sounds too much like a Townes Van Zandt song, or whoever. I realize there are so many melodies and chord progressions in pop and rock music that are so similar that you can kind of trace it back to other things. Most of the time it's just in your head.
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Our band is different in the sense that we all are involved with a lot of different projects. It's hard to say when we'll record again, but we're not calling it quits right away.