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.
Maybe I bring people into that pop world who don't usually find themselves there because there's not enough stuff for them to get excited about otherwise.
All the big pop acts that I've been into over the years - whether it's ABBA or Prince - managed to combine amazing melodies and honest human emotion. But coming out of the super-super-commerical pop industry in the 90s, maybe people forgot about the fact that pop music can do both of those things.
Sometimes I write songs that just come out in a pop format because I grew up on melody and these amazing artists during the 80s. It's my tradition and it's something that I can't really control.
One of the ways [racism] pops up is when they turn a comic into a live-action movie and there's this temptation to make Asian characters white.
I'm not crazy about how sort of homogenized pop music become. It used to be much more diverse. Maybe it's just what's played on the radio sounds very much the same.
I'm always loath to make generalizations about what is for children and what isn't. Certainly children's literature as a genre has some restrictions, so certain things will never pop up in a Snicket book. But I didn't know anything about writing for children when I started - this is the theme of naïveté creeping up on us once more - and I sort of still don't, and I'm happy that adults are reading them as well as children.
I've worked with everyone from Ice Cube to Snoop Dogg ... right across to working with pop stars like Justin Timberlake. Why those artists came to me is because they wanted my sound.
I was always fascinated with the way that things pop on the Internet - the ways you build communities and create little stories and ideas that people play around with and send back to you.
It's hard to be taken seriously if you're a young, female artist making pop music; you never know how people are going to react.
I've never liked the idea you have to be a certain age to be a pop star. I like the idea that anybody can enter, anybody can compete.
Pop culture is more and more about skulls and skeletons and zombies and vampires, and that's not just on Halloween.
An old pop music producer once said that there are really only four kinds of song a person can write: "I love you/I hate you/go away/come back!" That's a funny observation.
There have been many definitions of hell, but for the English the best definition is that it is the place where the Germans are the police, the Swedish are the comedians, the Italians are the defense force, Frenchmen dig the roads, the Belgians are the pop singers, the Spanish run the railways, the Turks cook the food, the Irish are the waiters, the Greeks run the government, and the common language is Dutch.
The toughest thing about homework is getting mom and pop to agree on the same answer.
Twentieth-century culture's disease is the inability to feel their reality. People cluster to TV, soap operas, movies, theater, pop idols and they have wild emotion over symbols. But in the reality of their own lives, they're emotionally dead.
It's weird, man. I've had a weird life, and I don't want to end up on the dole. I'm fed up with the plumbing. And I think it would be good to be a little pop star again.
There's the paradox of making pop music when you're in your 50s. People weren't meant to be doing that originally and yet they are. Mick Jagger [used to say] we're not going to be doing Satisfaction when I'm in a wheelchair.
My guitar playing is a synthesis of traditional American acoustic style and Urban Pop and RB.
Every few months I'll pop into a comedy club or go to Vegas.
There is still some art in pop music. But it can't happen if you're not inspired.
The pop-star thing bores me because it's somebody programming someone else. Stand over here, sing that, no, sing it like this, talk like that, when they ask you this, don't say that, say this, hold that, drive this, stay here, live there - you're not even a human being. You're a puppet.
On first listening, Joni Mitchell's 'Court And Spark,' the first truly great pop album of 1974, sounds surprisingly light; by the third or fourth listening, it reveals its underlying tensions.
Part of me believes that the completed record is the final measure of a pop musician's accomplishment, just as the completed film is the final measure of a film artist's accomplishments.
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.
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