Tina Weymouth Quotes (41 Quotes)

    We wore our safety pins on the inside of our clothes.

    Sometimes, you have to go through a phase whether you like it or not.

    We always thought the Tom Tom Club could change to anything, but it acquired this image, which was cartoon animation and this real light-hearted dance music.

    Five players got warmed up before we went on stage with Talking Heads and it really worked very well. But they are dramatically different.

    Make it, not make it? What's the difference? Music is a language, it's a dance of life, and it can be a part of your life without being something that earns.

    It's hard to be perfect, It really is. I keep learning things after I've already bungled it.

    I wasn't playing a role. The band members were not playing a role, we were there strictly to be part of something larger than ourselves.

    I think the idea of having the show divided into two parts was that Tom Tom Club opened for Talking Heads in Europe, and it was the best we'd ever had as an opening act.

    Even the Beatles found it hard to escape their image; they were trapped by it.

    We're not getting paid. We have these great musicians with us and it gives us a real charge. And the audience gives us a charge, because they keep it interesting all the time.

    When we were making Speaking in Tongues and Remain in Light, we were jamming. From that we were taking the best bits and then recording and improvising on top of those.

    Talking Heads was our identity it was who we were. Tom Tom Club was an outlet that we created, so that we wouldn't step on Talking Heads.

    It happens to people, no matter how hard you try to keep that beginner's sound, you cannot hang onto it. There's still a few squawks in there.

    Talking Heads, for me and Chris, was a very personal thing that we shared with a lot of people. In a way, I'm glad it's over, because it allows us to move beyond the restrictions that followed.

    I have respect for those who make money at art and do it well and smartly, because that commercial aspect keeps the world going and running, in a sense.

    Kevin Ayers who was part of the first incarnation of the Soft Machine, who always opened for Jimi Hendrix. They were Jimi's favorite band.

    David is purely a conceptual artist. He didn't play any instruments or paint or anything. We were painters.

    I would really love to work with Paul McCartney. Isn't that arrogant?

    When Talking Heads started, we called ourselves Thinking Man's Dance Music.

    We don't always know what we're doing. We often just get excited, put something down, and say, 'Oh, neat'.

    Richard Lloyd of Television is one of my favorite guitarists. His mentor was Jimi Hendrix when he was just 14. Jimi was always pounding everything he knew into that kid.

    We have done counseling to learn that there are times you just don't bring work home. There has to be a moment when you decompress.

    Sometimes you don't want to be a slapstick clown in order to convey a funny perception of the world.

    There's a tolerance and this is a really big thing when it comes to really increasing the whole sense of getting something done and boosting the economy. Obviously not everything is going to be a bonanza, some things are going to be awful, but wouldn't it be great if we had a fantastic window dresser to do something with those windows on Fairfield green and those Victoria's Secret windows. I love girls in bras in panties, but these are just mannequins. Wouldn't it be great if some local artists got together and said, Hey, Victoria's Secret, let's do something' We need that.

    Many Japanese painters and calligraphers would change their names intentionally to keep their relationship to the art always fresh. This way, others' expectations can be avoided.

    I like the idea of Wild Infancy, of people who have a deprived background, of starting out wild.

    We don't really have more than acouple of solos. It's just the way our music is put together.

    It's a cruel, heartless world out there in commercial rock 'n' roll, and when you take as much time off as we did, eight years, booking agents don't know if you'll draw.

    It's just such a pleasure to bring a talent you respect to the world.

    We were playing in front of 1,000 Hollywood people and they were all the friends of the business. Hollywood is a very weird place.

    If you have this passion for music, you don't stop doing it - it chooses you and doesn't release you.

    Tom Tom Club has a whole different attitude and approach, not just musically but in performance. Some people said they liked it.

    Art is not predictable. Art is not golf, as great as that may be. There are 360 degrees of choice to make.

    We always wanted more than one level. We never want to be obtuse or put things in code. We've always wanted to communicate and be accessible.

    We groove off of everything, any sort of live show. The inner dialogue you're having with yourself, between you and the music, is for me the search for God.

    You learn just as much from your failures. Sometimes you love your failures even more.

    We had our unhappy moments but they got channelled into the kind of sadness that was necessary for singing a song about going nowhere. So it worked out very well I think.

    I don't want to wreck my voice. I love to concentrate on playing the bass and keeping it very rock-solid. If I were singing, I would have blown out my voice.

    I wasn't originally a bass player. I just found out I was needed, because everyone wants to play guitar.

    I play bass. I don't have to go out there and screech.

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