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Having to wake up at seven and go take the subway every morning, having to get over there with all these commuters and see every possible face of humanity and realizing that you're just the same as these other people is actually an amazingly positive thing.
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We're banned from a whole lot of hotels, and we're running out of hotels we can stay in.
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If it's genuinely new, when people are hearing it, they're not really gonna be comfortable because they haven't heard it a thousand times before.
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London cabs always dis me. I purposefully give them a good tip because I'm trying to straighten up the image where they don't want to pick up some shady-looking, bummy kid like myself. I'm trying to teach them that if you pick up the bummy-looking kid, you still get tipped, man. But they still jerk me around.
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Wine is similar to music in that it's a purely experiential realm, and it's a purely subjective practice. That's sort of the funny thing about wine criticism or, for that matter, music criticism. At times, those are useful guides, but ultimately it's all about how you react to that music or wine.
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Arrogance generally is a bad thing, but with a band, somehow you have to have this gang mentality or this certain degree of arrogance to push forward an idea that's new enough that people aren't comfortable with it at first.
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I know for myself, and maybe I'm weird or whatever, but the whole thing is about constantly redefining identity.
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It's really hard to find a lot of things that rhyme with Michael Diamond.
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With '5 Boroughs,' we were each working on beats, sitting in front of our laptops and samplers.
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There is an overall seriousness in tone that pervades 'To The 5 Boroughs.'
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Things change. I used to have a real resistance to it and hold on to things, but let things happen and go with it, and you will actually go through it, and it's a lot less stressful.
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Thinking about the cold weather in England... Don't be afraid to rock the David Niven look.
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I kind of idolized older punk-rock and hip-hop bands, and I was, like, 15 when I started the Beastie Boys. And what business did we having doing that at that age?
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I don't like the George Costanza-style wallet.
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When you get to a point where you're not beholden to a record company, then it's up to you to say, 'OK, enough knob-turning. We're done.'
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The amazing thing about music is that however many thousands of records I've got now, I know that there are still thousands more that I haven't even begun to discover.
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I'm in need of a man apron. A very manly apron.
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We did make fools of ourselves, but people were into it.
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Sexism is deeply rooted in our history and society that waking up and stepping outside of it is like I'm watching 'Night of the Living Dead Part Two' all day, every day.
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I have no idea about the state of rap. I don't pay attention. I just listen to old music that I have.
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We make all the decisions on our records... We have complete veto power.
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If people pay money to see you, they have to cheer. They can't boo, or else they're chumping themselves.
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I grew up with a clock radio next to my bed.
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I was showing up at the studio all the time with no bag, being like, 'I don't want to have a backpack. I've had backpacks my whole life, and I'm a grown man now. I should have something better.'