I know a girl who cries when she practices violin because each note sounds so pure it just cuts into her, and then the melody comes pouring out her eyes. Now, to me, everything else just sounds like a lie.
I like to feel the burn of the audience's eyes when I'm whispering all my darkest secrets into the microphone.
I understand why people get desensitized and roll their eyes when they hear a protest song, or even a politician making some flowery speech. It doesn't really change anything.
On every Bright Eyes record, there's some kind of sound collage that begins it. Some of them have dialogue, some don't. I like it because it can kind of slow down the attention span a bit. It's a way to draw you in to the rest of the record.
To outsiders it probably seems like splitting hairs, but to me, Bright Eyes is a simply the collaboration between myself and Mike Mogis and Nate Walcott. What you hear is definitely the sum of all our ideas and represents all three of us. But I still write the songs myself.
And your eyes must do some raining if you're ever gonna grow / When crying don't help, you can't compose yourself / It's best to compose a poem, an honest verse of longing / Or a simple song of hope.
So when your new eyes meet mine they won't see no lies, just love...
For a song I was bought Now I lie when I talk With a careful eye on the cue card. Onto a stage I was pushed, With my sorrow well rehearsed. So give me all your pity and your money, now (all of it).
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