And nothing fuels a good flirtation Like need and anger and desperation No, the moth don’t care if the flame is real.
AIMEE MANNYou know what, the drummer is my manager. He’s busy. And I’m busy. I don’t need the dough, though. But having said that, there’s a limit to how much bad music I wanna play.
More Aimee Mann Quotes
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No, the moth don’t care when he sees the flame The moth don’t care if the flame is real ‘Cause flame and moth got a sweetheart deal.
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It really doesn’t matter to me what people say about me anymore.
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You get into the cadence in your mind, and it’s hard to make the kind of left turn that you probably need to keep it really interesting.
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Knowing record labels and knowing the kinds of things they would object to-they just object to everything that’s interesting.
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I suppose I should be happy to be misread; better be that than some of the other things I have become.
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Save me from the ranks of the freaks who suspect they can never love anyone.
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Nightly you retrace your steps again to return to the scene of the crime. It’s uncanny how you hover in the air of the wreckage that you left behind.
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Life is a series of problems to figure out how to solve gracefully and with dignity. That is what life is and I can’t see it any other way.
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All that I need now is someone with the brains and the know-how to tell me what I want.
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I might be stupid to think love is love, but I do.
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Everyone’s just extracting meaning and feeling and emotion from almost every aspect of music, and I think that for me, it’s a huge antidote to that to have a concept album.
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I certainly understand that we’re all trying to make a living, but I’m not thinking about that when I’m making it.
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You drew a bird that was here, a kind of sweet chanticleer. But with a terrible fear that the cage couldn’t tame
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It’s easier to describe that shame, that horrible feeling of not being able to control your own life.
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All the perfect drugs and superheroes wouldn’t be enough to bring me back to zero.
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They want to sign distribution deals with labels, who have lots of product, lots of artists.
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When I grew up in the ’70s I thought you had to take drugs. It was almost like I didn’t think you had a choice.
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Clearly in this business you have to contend with a lot of that.
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And if that’s your sole motivation, it’s going to reflect that narcissistic greed and you’re going to hear it in the music.
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I don’t believe in asking people to spend $15 on something they’ve never heard before. That’s just unreasonable.
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At a major label you can start to feel that you’re working for them, and that any work you do, you’re never going to see any benefit.
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If you’re an artist trying to put out your own record on your own label, it’s hard to get a distribution deal because no one wants to sign a deal with one entity.
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I think, to be happy is to be interested and engaged.
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I have a 6-year-old, and his thing is to turn on Radio Disney in the car, and I get such an allergic reaction to listening to that music and the context into which it falls. I’m really working on him about that.
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I did it when I was young, and some of the music was OK, but it wasn’t great.
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But I can’t confront the doubts I have. I can’t admit that maybe the past was bad, and so, for the sake of momentum I’m condemning the future to death so it can match the past.
AIMEE MANN