Sonic Youth Quotes
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I like that show 'Ray Donovan' - I'm obsessed with that. He's in Hollywood, he's some kind of a fixer, but he's also kind of a thug. And 'Scandal,' the D.C. one with Kerry Washington.
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I read a lot of science fiction, and it's ingrained, in a certain way, and I've been very involved with Kerouac and the Beats, but before that, it was a lot of science fiction.
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I always use the Rolling Stones as the whipping boy for this, but they still play old songs as 90% of their set, and we would die if that were the case.
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I'm very interested in the distance and the space between those two poles: very concrete, song-based stuff on the one hand and very improvisational, abstract stuff on the other. I don't see any reason music should exclude one or the other, and I think the pairing of them together makes for very interesting music in a lot of ways.
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My main pedal is the Ibanez Analog Delay, the AD9 or the AD80, whichever one it is. That's my go-to pedal for short delay. I don't think I could live without that pedal.
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The Strokes will never get anywhere after that first record.
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It's amazing how many things you can do when you're just pretending.
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There is still nothing under the sun quite like a Grateful Dead concert.
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We're obviously not a platinum-selling band, and yet we've managed to maintain a career on a major label through all this time, and I think we always felt like we were, to a certain degree, infiltrators there. And it's been an interesting thing. It's all been like a big art project for us.
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In a certain way, we felt almost like spies in the major label world. We were coming from some other world, and we somehow got our foot in the door and crept in and were prowling around, checking things out and taking back reports from the front.
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Lyric writing is an interesting process in Sonic Youth. There's three people writing now, and we've all had a lot of interest and involvement with expression through words.
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But everything has been so gradual that it's sort of all come from, just hard work and basically being at it.
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Certainly our records could be found in most of the mom and pop indie stores, but we still found there were a lot of major stores that weren't on the tip of knowing what was happening and weren't stocking our records as readily as they were stocking, you know, Guns 'n' Roses or Billy Joel or whatever the hell. That certainly changed, and it changed rapidly after Nirvana's rise, that's for sure.
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In the early eighties, there were a lot of artists involved with the music scene. All those young artists, before their careers took off, were into music. Robert Longo used to play some guitar. He had a band for a while. Basquiat had a band. I mean, people were always trying to mix music and art - in fact, I'm guilty of it myself.
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You can't be a strong or cool woman and be represented except in a harsh way, looking mean and cold and hard. It's like reverse sexism.
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My parents lived by Rancho Park. And my mom, later in life, got into playing golf. She and her male cronies would get up at five in the morning and sneak onto the back nine. I kind of just started getting into it. For a long time, I was really puzzled by why people liked it.
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Of course you want to keep making good records, but I think there were certain aspects to the indie rock situation at that point where we were pushing the envelope a little bit too far. We weren't happy with the distribution we were getting, and a few other things. So for a lot of ways it made sense for us to jump to a major label right then, and it made sense in terms of challenging ourselves to put ourselves in new situations.
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We've been around long enough that there have certainly been people at every stage of our career telling us about one or another record being influential to their lives in one way or another. It's always nice to hear that stuff.
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Signing to a major, there weren't many bands from our sphere that were doing it. I mean, obviously R.E.M. had done it, and Husker Du and the Replacements had done it, and maybe Soul Asylum, but that was probably about it. Those four bands were pretty much the only ones from that milieu that had signed to a major.
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We're like old people now playing music. I'm so glad we stuck it out because it's a lot better. I used to feel kind of anxious. Now our apprenticeship is over.
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We're all very sensitive that Jim has the shortest history with the band. He wants to be somewhat of a free agent. I'm just going to let time dictate how Jim's future evolves.
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I really want to do a book on the history of the no-wave music scene in New York, how it extended out and formed lots of other things. It was such a great visual culture.
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Sonic Youth has always been the vehicle for my writing, you know, because it's a collective songwriting entity: we write our songs as a group.
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I just think that playing bass, like punk rock bass with a pick, wasn't meant to be done for 25 years.