Zitat des Tages von Mike D:
Most interviewers basically just want us to rephrase the bio. You already know us - why do you need to interview us?
I was a nerdy punk-rock kid.
Arrogance generally is a bad thing, but with a band, somehow you have to have this gang mentality or this certain degree of arrogance to push forward an idea that's new enough that people aren't comfortable with it at first.
New York isn't segregated the way many American cities are, where there are specific ethnic neighborhoods that don't necessarily co-exist, or they co-exist but in a much separate sense.
Things change. I used to have a real resistance to it and hold on to things, but let things happen and go with it, and you will actually go through it, and it's a lot less stressful.
We make all the decisions on our records... We have complete veto power.
Hopefully everybody in the audience thinks, 'That's cool. I could do that.' I don't like the thought that they say, 'I saw the Beastie Boys last night, and they're mega-stars.' I'm a lot happier when the kids who come backstage or to the hotel try to give us tapes of what they've done instead of just getting an autograph.
Music is more available than ever. It's up to people to figure out. Ultimately, it's up to the business to figure out what the business is, monetizing that.
We have not been able to tour since MCA, Adam Yauch, died.
My parents were very, very good about not separating us as kids from their adult friends. So on any given night, we'd have, like, this kind of freak show - artists and art dealers coming over. And these are the people I feel like I learned from.
We're downtown New Yorkers and had very close proximity to the events of September 11th. Like everybody on the island of Manhattan, we were impacted by it in so many ways in terms of what we saw, what we felt, what our daily experience became in the wake of it.
For 'Paul's Boutique,' we had a lot more money and a lot more time. It was definitely more on our own terms.
Food was always a focus for us, lyrically.
To me, the whole thing with the roots of rap music was when the DJ had to supply all the music for the group with two turntables. And the whole criteria of what that DJ would use had nothing to do with what type of band made a record.
At the time, I was living pretty close to Ground Zero. I had to grab some necessary equipment, put it in my backpack, and flee the immediate proximity on my bike.
I do really enjoy Jay McInerney's wine writing. He's a good writer. He brings his fiction-writing skillset. He's not afraid to put wine in kind of a racy context and speak very candidly about it.
Japan is brilliant for vinyl. There's all this rare stuff that I've been looking two years for, and you walk into a store, and you find it straight away.
Every vote matters.
I'm really kind of a little bit romantic for the lost era. There's a lot of us that are - kind like James Murphy, same thing - we feel like it's this magic era that happened before us. And it wasn't even necessarily disco.
I kind of idolized older punk-rock and hip-hop bands, and I was, like, 15 when I started the Beastie Boys. And what business did we having doing that at that age?
I have an equal amount of patience as my grade-school children, which is not great.
Leaving Def Jam was kind of a blessing in disguise because we can make whatever record we want.
If people pay money to see you, they have to cheer. They can't boo, or else they're chumping themselves.
I'm always careful to even guess, at any juncture, about things before we do them.
I don't like the George Costanza-style wallet.
Dub has been a big influence in terms of production. It's inspired so many people and so much music - in terms of music where mixing desk was the instrument. Central to that is the echo chamber, and I think there's a little bit of a romantic thing there.
Having to wake up at seven and go take the subway every morning, having to get over there with all these commuters and see every possible face of humanity and realizing that you're just the same as these other people is actually an amazingly positive thing.
Denver and Boulder are good record-buying cities. I don't know why.
When you get to a point where you're not beholden to a record company, then it's up to you to say, 'OK, enough knob-turning. We're done.'
The amazing thing about music is that however many thousands of records I've got now, I know that there are still thousands more that I haven't even begun to discover.
London cabs always dis me. I purposefully give them a good tip because I'm trying to straighten up the image where they don't want to pick up some shady-looking, bummy kid like myself. I'm trying to teach them that if you pick up the bummy-looking kid, you still get tipped, man. But they still jerk me around.
We are exercising our constitutional right to be fresh.
We have rocked the ozone radically, man. They could probably fix the ozone if everybody stopped what they were doing and they put some cement up there.
What was interesting about grunge was that it was this death sentence to the rock that had preceded it, which was hair metal.
I wanted to create this dialogue between music and visual art and vice versa. No matter what part of the spectrum they fill, whether it's visual, music, or whatever, artists are interested in other art forms. Your brain is already kind of firing in that way.
I grew up with a clock radio next to my bed.