I always write the first and last song of an album first, and then the middle just kind of happens.
BRADFORD COXThey had it at the library and I always thought that was interesting, even when I was into punk and stuff. Just the history of storytelling and the amount of melancholy a lot of old music has.
More Bradford Cox Quotes
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I’ve been going through a lot of… stuff. I need some space, which people were very kind enough to give me, and I feel really gracious about that. Nobody forces me to do things or say things or do interviews.
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Audiences tend to dig the earlier stuff by any given musician, and the artists themselves always tend to prefer the thing that they’re doing now.
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I played the theme from Twin Peaks on a little tiny Casio keyboard. People politely applauded. I just fell in love with that song and thought it was very heartbreaking.
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People say ‘I don’t want to die alone!’ But you know what, honestly? I don’t want to die with a bunch of people looking at me.
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When I got hit by the car, I became depressed. As a result, I’ve been on antidepressants and I feel like I have no sexuality left. People complain about that side effect, but I love it. I feel outside of society.
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I don’t have the capacity to write stuff consciously. When I do, it’s really awful.
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The first thing I think I ever played in public, aside from singing in church, would have been – and this is a true story – when I was about nine or 10 years old, I was obsessed with Twin Peaks.
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You read about that Black Lips/Wavves fight as a spectator and you’re like, “Oh man, I’m gonna pick a team to be on!
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Unlike the rest of everyone I hang around with, I don’t drink, so I remember what happened after shows. And I have never hit on anyone after a show, I’m not that kind of person. Even if I was attracted to someone, I’d be too shy.
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We didn’t have MTV, and I was desperate for something. You know, you’re young, you want something off the beaten path. And Twin Peaks was like, surrealism on network TV.
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We all come back to our little worlds.
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I was trying to write a song based on a story in a random book of Puerto Rican short stories that I found in a thrift store.
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I don’t have anything to prove.
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They had it at the library and I always thought that was interesting, even when I was into punk and stuff. Just the history of storytelling and the amount of melancholy a lot of old music has.
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Talk to Arto Lindsay and I’m sure he’s tired of people asking him about DNA; he’s probably really into what he’s doing now, which is good stuff.
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I like playing at public schools. I like when there’s more of a diverse audience. I’ll play wherever people want to hear my music, and I’ll be glad and grateful for the opportunity, but I’d rather not play for a bunch of white privileged kids.
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Contrary to popular belief, maybe, I’m a really friendly guy, I guess, and I really like meeting people. And I’m not really super impressed even if you’re my hero.
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I think the younger kids need to realize there’s this whole forgotten 90s that people don’t really talk about.
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For me, experimenting involves traditionalism.
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I see a lot of people doing an “’80s thing” who weren’t even born until the ’90s.
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I read a lot – surveys of vernacular music. A lot of it is the Harry Smith Anthology of American Folk Music, which I’ve loved since I was in high school.
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I don’t like the sound of my own voice. And, for people I don’t know, their impression of me is what they read on the internet, and they’re so far off a lot of the time.
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I’m not the guy in the dress with the blood and the unrequited gay whatever – which, according to my psychiatrist, my gayness is a form of narcissism but you’ll have to ask him about that.
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Musicians and artists are not… it’s not like politicians or something where you can’t really affect them.
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A song like “Walkabout”, it’s totally imitative. The goal of that song was to make people happy, and I’ve never really made a song to make people happy before.
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I think people are intimidated by me, and I don’t know why. Sometimes even my own bandmates can be intimidated, or irritated, by me.
BRADFORD COX