Doing something that you love regardless when it's a blockbuster movie or you're writing a pop song or trying shamelessly to succeed in something is not selling out. I think that's actually fine, and I would encourage that all the time.
To write a love song that might be able to make it on the radio, that is something that is terrifying to me. But I can definitely write a song about that chair over there. That I can do, but to sit and write a pop song out of the clear blue sky, that is very difficult and I admire the people that can do it.
These pop songs almost feel like tabloid journalism, in a way. It's c**p that people seem to like. And I don't know if it has meaning. I don't know if one of the pop songs of the summer has any fibre in it. People are consuming it, and is it healthy?... Maybe there's some healthy property or some restorative property that I'm not receiving. It seems like it has a really high fructose content.
It's so easy for me to do a boy-bashing pop song, but to sit down and write honestly about something that's really close to me, something I've been through, it's a totally different thing.
My favorite records are by bands where the musicians are all playing like themselves, but those personalities connect in an exciting way and create music that is one cohesive unit. It's not catchy like a pop song, but it's a really cool song.
You can only write so many pop songs before they all sound the same. I got to a point where something overtly melodic and straightforward sounded sort of cheesy to me. Pop songs seemed too manufactured.
The term 'popular culture' always used to mean what the people do - pop songs, folk songs, music in general used to live because people would sing these songs and tell these stories together. Then all of these new technologies came out and it became the work of professionals.
I'm really attracted to music that sort of toes that line between pop and avant-garde, that pushes the envelope of what you can get in a pop song.
I don't think I'd be able to flat-out write a pop song and make it satisfying to me. I'm ready to make a consistent sound in whatever way I can.
I feel like humans are a disease. It's a hard thing to communicate in a pop song. I mean, who wants to hear that?
There needs to be structures in place to do something about misrepresentation about hip hop. When awards are given out and the media talk about hip hop, they're confused because they haven't done their homework on it so you have a case where there's an award for the most pop song in the world and it's called 'hip hop'.
I feel like a lot of people look at pop music with a very formulaic perspective in numbers and patterns, but an outsider would think that the process is very natural. It is, but there are a lot of times where people treat it like a sport - there are tricks you can pull, different combinations that make something better. I don't really think I approach it that way, but I definitely have a love for the science that is pop song writing.
It's really hard to fit a complex idea into a 3-minute pop song. And when you're dealing with issues that you're passionate about, usually they have various levels. And within a poem, you can get around the issue of space, and in a song the same way, by simply leaving holes and alluding to what you're talking about.
With my records, it's just a matter of trying to create something fresh for myself in a very finite context, which is the pop song. I don't know anything about the people who buy my records, and what, if anything, they get out of them.
Despite my own doubts of being marketable or crushworthy, my goal was to write a record of peppy pop songs, hopefully without annoying anybody.
I'm not good at happy, lightweight kind of music. I'm not really good at pop music. "Cars" is probably the only true pop song I ever wrote. I wish I could write more, but I'm not very good at it.
I sing songs from the theater and pop songs. When I say 'pop songs,' I mean from the 90's. And I tell jokes. So it's sort of a stand up show meets a concert - not your traditional lounging across a piano cabaret show. It's much looser.
I was always one of these people who is irrationally moved by stupid pop songs.
The first time I heard Bob Dylan, I was in the car with my mother listening to WMCA, and on came that snare shot that sounded like somebody'd kicked open the door to your mind.
I'm coming from a place that's more experimental and indulgent already, so for the last 10 years, it's been more like, "How can I defend my own sensibilities by writing a nugget of a little catchy pop song?" That's how I'm stretching myself, by writing something really simple.
There's always that struggle between me wanting to keep [song] new and fresh and then be - I can never get with pop songs being so repetitive.
At one time musical theater, particularly in the '40s and '50s, was a big source of pop songs. That's how musical theater started, really - it was just a way of linking several pop songs for the stage.
I always felt like I could combine good pop songs that are easy for people to like with a real person and a real mind and integrity.
I love a good pop song. I have no problem with the concept of doing that sort of thing. For me, it's usually what I'm inspired by, what I'm thinking about.
I love pop music. It's not easy to write a good pop song.
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