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Nightly you retrace your steps again to return to the scene of the crime. It's uncanny how you hover in the air of the wreckage that you left behind.

Aimee Mann

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Aimee Mann
Age: 64
Born: 1960
Born: August 9
Actor
Composer
Film Actor
Guitarist
Musician
Recording Artist
Singer
Singer-Songwriter
Television Actor
Richmond
Virginia
Air
Scene
Crime
Behinds
Retrace
Return
Hover
Behind
Nightly
Steps
Wreckage
Left
Uncanny

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I thought everything was interesting. I wanted to go scuba diving and I wanted to learn how to surf. Because I grew up in the 60s girls were not allowed to do anything. As I've gotten older and realized that women can do things like that I thought, 'Why not? Now's the time.'
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You drew a bird that was here, a kind of sweet chanticleer. But with a terrible fear that the cage couldn't tame
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I think, to be happy is to be interested and engaged.
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It's not easy in this phosphorescent gloom telling waking dreams apart anyhow.
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If your standards are low, you're going to stop pretty early on in the process.
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When things are really great, it just means everything's in it's place.
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At a major label you can start to feel that you're working for them, and that any work you do, you're never going to see any benefit.
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What's interesting to me is drama and conflict. Things aren't interesting without conflict and resolution of conflict - or striving towards a resolutions of conflict.
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For me, there's a fine line between telling a story that's fictional with lots of details and then removing yourself too much from it, so it's bloodless, a little too fictional.
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Better take the keys and drive forever. Staying won't put these futures back together. All the perfect drugs and superheroes wouldn't be enough to bring me back to zero.
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One of the things I've really gotten past in the last couple of years is the idea of being made uncomfortable by the way things appear, rather than how things are. Clearly in this business you have to contend with a lot of that.
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It's more important for me to have a good record with good music and be part of a movie that's good and where the music is used in a really great way. That's the important thing. The other stuff you want to say about it, I don't care.
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The knock-out punch is always the one you never see coming.
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Everyone's just extracting meaning and feeling and emotion from almost every aspect of music, and I think that for me, it's a huge antidote to that to have a concept album.
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I probably would've kept slogging on that same chord change, because there's a tendency to have that happen. You get into the cadence in your mind, and it's hard to make the kind of left turn that you probably need to keep it really interesting.
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I might be stupid to think love is love, but I do.
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I don't believe in asking people to spend $15 on something they've never heard before. That's just unreasonable.
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It's in the dictionary. And when I find what it is, I'll write it down in case it comes up again, I'll be certain to avoid it.
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I'm selling more records on my own than I did on major labels.
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I have a 6-year-old, and his thing is to turn on Radio Disney in the car, and I get such an allergic reaction to listening to that music and the context into which it falls. I'm really working on him about that.
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