It's a funny thing about writing. You get so balled up in a story idea that you lose your perspective and forget that human being might read your words someday.
My big dream back then was to buy an IBM Selectric. I still have that dream. I really ought to buy a word-processor. Half the cabbies at Rocky own computers. They tell me they can write failed novels ten times faster on a PC.
I can't rightly say where deciding to write about the American Revolution came from; I had bits and pieces of information about the war and about the country at that time that I'd collected over the years and, of course, I'm comfortable in the woods, so, finally, it just all feel into place.
I notice inspiration when it comes by. I don't sit down at my desk and try to write.
My writing isn’t a career or a craft or a hobby or anything like that. It is more like a tiny annex to my life, a little crawl space in which I occasionally end up by accident in the dark.
I don't like to read or write about life in its tiring entirety. Most days, months, even years are just filler between those few moments of modest but decisive catastrophe, misfortunes so fittingly flimsy they're almost welcome. The heart doesn't storm that often on its own, so you have to wait for something outside of yourself to get the wrecking ball rolling, and then you're set: you've finally got an impression to make on others - you're in the world distinctly and distinguishable now. It's only by our ravages that we're recognizable to each other at last.
If I believe in anything when it comes to writing, and I can't stress enough that I detest writing, it's something that sticks with me not from any English class but from some awfully recondite driver's ed. seminars I had the privilege to audit during my mid-teens, and to this day I probably misunderstand it anyway. It's the term "right of way."
The lyrics seem to follow the music, and that's usually how I write. I write more about what comes out of my mouth while I'm writing the chords, and that seems to work better than filling up notebooks of what I think is really cool poetry, and try to put it on a song. That usually sounds like it's taped on.
If anything, my problem is, I'm not a genius, it's just that I can write songs very quick. I have a lot of ideas, let's put it that way - I have too many ideas. And my problem is, I stockpile ideas and I get lazy and I don't finish them, and next thing I know, I'm looking around and I've got a hundred song ideas, but are any of them any good? I don't know.
I can't write from the subconscious actually, because a lot of the time when I co-write with other people, I'm writing for them as opposed to for myself. When it comes to lyrics, I tend to want to give them their voice, since it's most likely going to be on their record, or somebody else's record. And I find for more commerial-style music, people want simplicity, less vagueness, and less space to fill between the lines, so to speak. So I can't be quite as ethereal and mystical.
We need to reshape the movement as one of grassroots activists, and not 'professional activists' who populate the seemingly endless number of national animal rights groups. For many people, activism has become writing a check to a national group that is very pleased to have you leave it to them. Although it is important to give financial support to worthy efforts only, giving money is not enough and giving to the wrong groups can actually do more harm than good.
Why do I find it hard to write the next line?
I'm a writer. I write not only for a living, I write because I'm a writer.
It's weird for me to try and write punk songs - I'm almost scared of it.
I think the biggest challenge I have faced is that I have struggled most of my life with often crippling depression which has sometimes if not keeping me off stage kept me from writing regularly and with any kind of confidence.
For the first few years I wrote jokes and performed them word for word and then wrote tags for them and did that word for word and that worked pretty well. Now, I do almost all of my writing on stage and then record and listen for any new things and then I write those down.
Writing style is something is a consequence of who you are. I think that I had a certain propensity for a style that I recognize in my early work, but that doesn't mean I didn't have to learn certain basics and the longer you write the better you get. The rhythms come from you. If the rhythm seem to echo the music, then that's delightful if people see that, but it's certainly not something that's intentional on my part. I'm trying to be as clear and precise as I can be and at the same time, I'm trying to be eloquent and witty and entertaining. I mean, writing should be a pleasure.
I never really wanted to be a daily critic who goes out every night and writes 300 word reviews, I wanted to write essays. And that gave me the luxury to be able to go out and if it was lousy, I could just say, well the hell with that, I'll go to hear something else, or, I'll go tomorrow night; I as writing for a weekly.
One of the things I always underscore when I teach criticism is that young critics, or would be critics, frequently have this illusion that if they write about music they're somehow part of music, or if they write about movies they're part of movies, or of they write about theater they're part of theater, or write about literature. Writing is a part of literature, we belong the species of literature. If you add all the music reviews together that have ever been written, they don't create two notes of music.
You're writing for some version of yourself. You're writing the kinds of things that you like to read or wanted to read at a certain point. So, primarily for most of my career, I've written the kind of criticism that fascinates me. The things I discovered the things that get me going, that I'm excited about.
Even my colleagues don't read classic criticism. And my feeling is that if you don't do that then you're not really practicing your craft. That's how you learn how to do it. You don't learn how to write about jazz just from listening to jazz. You learn how to write by reading the great writers and how they worked, the great music critics.
If I'm reviewing a record, man, I play that record to death, which is ironic in a way because if I review a concert I feel very confident in myself, certainly at this point, and have for most of my career. You're only hearing it once and then you go to your typewriter and you write the review.
I like to write scenes in the middle of the night. We could change every word of Family Ties between Monday and Friday.
I tried to stick with what I knew best, which is writing rock n' roll songs and melodies. I am as passionate as I was when I was 20.
Without doubt, the foremost band for decades has been the One O'Clock Lab Band at the University of North Texas. Through its many incarnations and under various leaders, they have demonstrated the highest qualities of musicianship imaginable, plus a willingness to balance their big band tradition with creative exploration. Astounding ensemble work, insightful interpretations of the arrangements, imaginative writing, and above all, a loving attention to musicality . . . these people play beautifully.
