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Manic subsidal
02-25-2005, 08:24 PM
There's a lot of cool offspring interviews out there. I've read a lot of things I've never known before about them. So if you have any interviews, post them here! Here's some -

The Offspring: Ixnay Sayers


When these Orange County indie punks cut their thirs recond in 1994, they were so sure it would be a hit they bet each other how many copies it would sell. One of them impudently predicted 180,000. The album "Smash" sold 9 million copies. Watch caught up with Noodles-guitarist for the group that Spin magazine called the most successful independent band of all time-and discussed why singing to a major label hasn't by any means taken The Offspring out of his step...

"CORPORATE BANDS RULE!"

Watch: Give us your official statement on the label switch.

Noodles: Sure, We haven't changed at all. We were happy on Epitaph, but Bret (Gurewitz, the owner) was looking to sell part of it. If we were going to end up somewhere else, we wanted control. Corporations start somewhere; Brett really did want to do things differently, but ultimately he was playing that corporate game, too.

Watch: So if you guys play the Billboard Music Awards again, is Dexter gonna wear a T-shirt that says "Corporate Rock Kills Bands Dead"?

Noodles: (Laughs) Now that phrase is: "Corporate Bands Rule"!

Watch: You've also switched producers, yet "Ixnay" sounds very much like "Smash."

Noodles: Good! Dave (Jerden)'s specialty is bringing out what's happening with an individual band. The records he's produced are those band's records, not his (ex: Jane's Addiction). That's exactly what we wanted.

Watch: Not to take you guys too seriously, but is (opening track) "Disclaimer" a resonse to right wing flack flingers?

Noodles: Definitely, but in a fun way. We've only really been sued or anything! (Laughs)

Watch: And lawsuits are no laughing matter in the U.S. of A.

Noodles: Americans are so sue-happy! I used to work in a school district where parents would send kids to school in flip flops. The kid would trip on the jungle gym and BOOM! They'd sue! Before they'd even take the kid to the doctor, they'd come over and take pictures of the playground to send off to their lawyer!

Watch: Not the same playground that appears in "I Choose" I hope.

Noodles: Yeah, "life can be a playground..." That song's based on Zen koan. (A short story with a spiritual lesson.) The traveler in a strange land gets besieged by a tiger, falls off a cliff, grabs a real thin vine, looks down, and sees a lion below him! Then two mice some up and start chewing on the vine! He looks over, and right next to him there's a grape plant. He reaches out and takes a grape...and it's just wonderful.

Watch: Bittersweet!

Noodles: That's and oversimplification. It sounds dumb, but it's beautiful. If you can suffer through bad stuff and still find something worthwhile, you're all right. Because life isn't a playground.

Watch: If life is a bowl of grapes, why am I hanging off a cliff?

Noodles: Well, it's Dexter's song. That's just my guess.

Watch: That's one tough epitaph.

Noodles: Ouch! Yeah, famous last words.



By Matt Gee, from Watch

Manic subsidal
02-25-2005, 08:25 PM
Offspring Born To Rock




It wasn't long ago that The Offspring were going nowhere in particular.

Now, the neo-punkers have gone Hollywood.

The band, who play Varsity Arena tonight, contribute a cover of The Damned's Smash It Up to the upcoming Batman Forever movie.

One year ago the group began their rise to fame on the strength of the punk-like Come Out And Play, when L.A.'s influential K-ROQ played the song 52 times in one week.

So, consider their version of Smash It Up an homage of sorts.

"That song was really poppy, the way The Damned did it," says Offspring guitarist Noodles. "I think we've given it a little more of a punch," he adds.

It was prototype British punk bands like The Damned who represented a common link between almost-radio-friendly pop music and the hardcore punk that dominated U.S. underground rock in the early to mid '80s.

"That was when everyone was saying that punk was very seriously dead," Noodles says, laughing. "It was actually branching out into a lot of different areas, even though some of them were horrible. A lot of people fell back into rock 'n' roll standards like heavy metal."

Still, The Offspring have spent the last year on the vanguard as punk-inspired rock and pop continues to defend its corner of the mainstream music market.

Says Noodles: "At first it was just kinda scary, all this rise in radio play and sales. It was like, `Whoa, dad, this isn't supposed to happen.' It freaked us all out.

"But we don't really think about it now."

After this tour, The Offspring are taking a well-earned break from the grind.

"Our singer's gonna go get married," Noodles explains. "I've got a daughter, and I wanna take her out camping. She's only five, so no road trips.

"I'm ready to just kick it, and leave the rock 'n' roll lifestyle behind for a while."



By Kieran Grant, from Toronto Sun - June 5, 1995

Manic subsidal
02-25-2005, 08:26 PM
Still Bubbling Up

Punk rock band doesn't seek to reach the masses with its musical message




Back when The Offspring and Green Day were moving a few million units apiece, there were those who believed that a new generation of punk had arrived to recapture the soul of the mainstream American mall rat.

So long Hootie, 'Ello Manic Panic day-glo hair dye.

Three years later, it certainly doesn't feel like we're in the midst of a punk revolution. Green Day's last one tanked.

The only sign of punk on the Top 40 album chart this week is Smash Mouth (and they're not exactly the Clash of the '90s, are they, love?)

So what of the latest release from The Offspring, the brilliantly titled, agressivly jackhammered, "Ixnay on the Hombre?" It's still on the charts after 33 weeks, but at No. 175, it isn't exactly giving the Spice Girls a run for the money.

And that's OK with Noodles, the band's guitarist, who says he never bought into the notion of bringing the masses around to punk or vice versa, in the first place.

"I think the difference is the Hottie and the Blowfish fans are all Hootie and the Blowfish fans and all punk rock fans are punk rock fan," he says, "And I don't think there's a whole lot of common ground there."

And yet, in a way, the flirtation the music enjoyed with the mainstream was, after all these years, inevitable.

"Punk rock is something that's been a force bubbling up in the underground for 20 years or so," he says. "Back in the '70s when rock was just stagnant and horrid it was all about REO Speedwagon, Journey and Styx and all this crappy arena rock with nothing real to it, punk rock came in and kinda picked up the original spirit of rock 'n' roll."

Formed in the Southern California surf-punk scene of the '80s, The Offspring followed Green Day into the hearts of the heartland teen in 1994 on the strength of a chart-topping Modern Rock radio smash from "Smash" called "Come Out and Play (You Gotta Keep 'Em Seperated)."

It touched off a backlash before they'd even left their independent home on Epitaph for the green-backed pastures of major label life on Columbia Records.

The cries of sell-out, he says, "all happened as soon as we got a song on the radio."

And it only got worse when the video hit.

"It didn't make any sense to me," says Noodles. "When Maximum RocknRoll initially reviewed the record 'Smash,' they gave it a great review. And then a couple months later, we started selling copies, got on MTV and all the sudden, the record sucked. So I don't know. The last laugh, I think, was ours."

With a laugh, though perhaps not the last one, Noodles recalls how kids would turn up at the shows just to protest, "kids who had never heard of us before or the bands we were touring with."

At one show - he thinks it was Pittsburgh - he and the gus in the band started talking and found that the protestors didn't know much about punk.

"We asked them, what did they think of the Adolescents and TSOL and all these bands that got us inspired to start doing this stuff, and they had never heard of them," he says. "They knew GBH and they knew the Exploited and four or five bands of that ilk and that was about it."

Its easy for Noodles to see why the kids are protective, though.

"When I was young, I guess it gave me something to feel connected to," he says. "And I think when punks see other people listening to what they initially thought was their music - when all the sudden the captain of the football team is listening to a punk band - they feel their world is threatened. I don't know. I didn't feel that way. I felt like, you know, I've been listening to this music for 15-odd years. It's about time this stuff is getting played on the radio."

The Offspring dealt with the backlash as best they could.

"It sucked, you know, but we tried to do things the way we felt they should be done," he says. "We stuck with Epitaph for as long as we could. We went out and did tours the way we thought we should do them. We took bands we liked, that deserved a break. We kept ticket prices down. We allways played all-ages shows."

And now that they've signed to a major, he's found that they may have even greater artistic control.

"I think that record companies are starting to understand that they don't know the music as well as the people who are out there making it, the ones who are out there in the trenches," he says. "so they left us alone."

They delivered a finished product, "from the forst note played to the color on the artwork," and Columbia put it out.

They even let Dexter Holland, the band's lead singer, direct the latest video.

And what could be more punk than that?



By Ed Masley, from Pittsburgh Post-Gazette - October 6, 1997

Manic subsidal
02-25-2005, 08:27 PM
A 'Smash'ing Success

Southern California's the Offspring will be playing at Super Toad in Des Moines tonight




Before the overnight success of "Smash," the Offspring was a typical punk band.

Its members (vocalist/guitarist Dexter Holland, guitarist Kevin Wasserman a.k.a. Noodles, drummer Ron Welty and bassist Greg Kriesel) held blue-collar jobs to help pay the bills between gigs, which were relatively few and far apart.

Its following was limited to the Southern California scene from which it was spawned (No Doubt, Sublime and Social Distortion are all from this scene). CD sales barely registered in the thousands and the band's first release, "Ignition," wasn't even available across the nation.

Then the band exploded when the "Smash" single "Come Out and Play (You Gotta Keep 'Em Separated)" hit the airwaves. CD sales approached 8.5 million worldwide and Offspring cemented its place in the music world as the next big band.

However, Kriesel still doesn't see it that way.

"We see the sales and the massive media attention to our departure from [former label] Epitaph and it is still incredible," Kriesel said. "When it happens to you, it's a little different than hearing about another band's success. But we still don't see ourselves as the next big thing."

The pathway to success has not been an easy one for the Offspring, which was together almost 10 years before the release of "Smash." Early tours were often plagued by van difficulties including numerous blown engines and transmission problems and nearly freezing to death on a Midwestern winter tour.

There is also the ongoing debate over whether the band is a sell-out because it moved to a major recording label, Columbia, and is selling millions of CDs. Punk purists contend that those two things are more than enough reason to label the band sell-outs and ignore its music.

"It's fine by me if the so-called punk purists think we are sell-outs," Kriesel explained. "I don't know if we were ever pure punk to begin with. We still play hard music the way we want to do it. We are still doing what we've been doing for the last 10 years.

"There are people who liked our music before we started selling millions of CDs," he added. "Now they don't like us anymore. Why? Because we are selling lots of CDs? It seems ridiculous to me."

Kriesel believes the group's record-label switch has been getting unnecessary bad press. He points out that a lot of musicians and bands switch record labels and aren't dehumanized because of it.

He also doesn't believe that just because his group sold more CDs on an independent label than anyone else in music history, his group should be forced to remain on the label.

"There's not many differences between the labels," Kriesel said. "When we left Epitaph, we were allowed to ask for a lot of creative control. That is something that we couldn't have at Epitaph."

The group's problems with Epitaph began when the label's founder, Brett Gurewitz, began talking with major label representatives about selling Epitaph. The group became concerned that it would be lost in the shuffle or be controlled by people it had no contact with.

The final straw was the contract Epitaph offered the group. The contract would not allow the Offspring to do cover versions of anybody's songs, play in any side projects or use its own cover art in the way the band wanted.

So the band decided to prevent a bad situation by signing with Columbia Records for less money. Since then, it has released "Ixnay on the Hombre" which was just as successful as "Smash" and yielded three hit singles -- "All I Want," "I Choose" and "Meaning of Life."

"Despite our success, things are just the same as they always were," Kriesel said. "Our day-to-day operations are the same. We hang with the same people, we still have the same friends. The only thing that has changed is that we no longer have to work at real jobs."

The Offspring has also been busy assisting with social problems. The group has appeared on two Music For Our Mother Ocean compilations, which helped to raise money for the Surfrider Foundation to combat water pollution.

The group has also assisted former Dead Kennedy Jello Biafra in the formation of the F.S.U. (standing for Fuck Shit Up or Freedom Starts Underground, depending on whether you ask Holland or Biafra respectively) Organization.

The F.S.U. provides support for social services and assistance to the needy. It also helps in the stand for basic human rights and environmental protection.

So far, proceeds from the group's concerts have benefited the Los Angeles AIDS Project, the Poor People's United Fund, the Trees Foundation, the Surfrider Foundation and Amnesty International.



By Ben Jones, Daily Staff writer

NMHFBD
02-26-2005, 10:34 AM
Dexter Interview With Pimp E-Zine

Q: Starting out, what bands influenced your music the most?
HOLLAND: When we started out, I was really into a lot of the Orange County punk bands of the time like The Adolescents, The Vandals, Social Distortion. I like the Dead Kennedys a lot, too. Those are the bands that pretty much inspired me to start a band.

Q: Early on, did you do more covers, or write original material?
HOLLAND: We never seriously did covers. We might learn an Adolescent's or Dead Kennedy's song or something like that. You know, you go to these bars and you see these cover bands. I always thought that was like the gayest thing. I couldn't imagine myself in there playing fuckin' Metallica covers. I was always way more interested in writing our own stuff even if it was terrible. We really concentrated on just doing our own stuff.

Q: Back then, did you expect to be where you are today?
HOLLAND:Never. I was kinda doing that on the side. I didn't really expect the band thing to pan out as to making a living off of it. It was fun and I didn't want to give it up. We were kinda doing it for fun. When we went to Epitaph and actually saw people making a living off of it, we thought maybe we could do as good as NOFX one day.

Q: Can you compare the SMASH and Ixnay tours?
HOLLAND: Well, it was different and it differed from city to city. You know, we could have a great show in LA and then have a lame show in Kentucky. We had good shows in Austin but Houston and Dallas kinda sucked for us. We try to book the right sized venues. I'd much rather play a little place that sells out than play a big place that's only half full. As long as it was full, that's what makes it cool. The SMASH thing was a pretty amazing thing and there were a lot of people into it and that was great. The Ixnay record didn't do as well and I didn't expect it to.

Q: What do you have to say about those who say Ixnay was overproduced?
HOLLAND: Well....whatever. I don't know. I wanted to make a really good sounding record and we've always done our best. You can make a hard record, it doesn't have to be slick but it can still sound good. I never wanted to have a real underproduced record. Whether people say it was overproduced or not, it was what we were going for. I think that a lot of the slack that we had gotten as a band had happened before Ixnay came out. All the people that were calling us sellouts stopped being fans of ours way back during SMASH. So overall, the people that were still there that were receptive towards us as a band, I think the record went over well.

Q: What can be expected on the new album?
HOLLAND: Something in between SMASH and Ixnay. I'm gonna listen back to both records and try to listen to the songs that I think worked and sounded the best and pick the ones out of that.

Q: What do you think of all this "SELLOUT" bull shit? A band has one hit single and they're labeled as "sellouts."
HOLLAND: I think that's ridiculous. I can't think of one band that doesn't want to further themselves except for maybe Fugazi or something. They're probably the only ones. Basically, they're trying to get their music out to people. If a radio station decides to pick up on it, it's really not their fault. The thing that bugs me is, especially about punk, is that it's supposed to be about not conforming and doing your own thing and doing whatever you feel like and not liking or disliking something just because someone else thought something. So a lot of these people don't like a song once it gets on the radio and the reason they don't like it is because "people" like it. Or especially other people that they think are dorks. It's like, "Oh I can't like it now because all the trendy peoplelike it. All the jocks and the cheerleaders like it so now I hate this band." It's dumb. That wasn't what it was supposed to be about.

Q: What's your take on the new-wave ska "boom?"
HOLLAND: I don't know. It's kind of almost weird that it got so popular all of the sudden now. It's perceived as kind of this new thing but it isn't new at all. The Specials and all that stuff was way back in the 80s even with bands like Operation Ivy. That records's like nine years old. We did a ska song on SMASH back in '94 and we thought everyone was gonna be like, "Oh, they're doing the ska thing like everybody else." We thought it was getting overblown even then. Then all of the sudden it really exploded with bands like No Doubt and Reel Big Fish and Save Ferris. It's a different style and people are kind of really diggin' it. It's not my favorite kind of music I guess.

Q: Why did you cut your braids?
HOLLAND: I just did it at that time cause no one else was doing it. It really stood out to people as a different thing I guess. Then I started seeing kids at the concerts doing it more and more. Then they got younger and younger. Now you see this kid in Hanson, the drummer, he's got them. Once it goes that far, then it's time to get a new hairstyle.

Q: What is the greatest adversity you have ever overcome?
HOLLAND: Oh boy. (Laughs). I have a tough time with questions like these. Those questions start to sound like really inspirational like, "Did I ever tell you that you're my hero?" I don't know. Not that we're a great band now, but we were pretty bad when we started and we did get better. It wasn't like we could just pick up guitars and just start playing. I mean it was almost ten years before SMASH, the first one that did really well. We stuck with it though, and that's what it's all about, sticking with what you like.

Q: What was the worst show you have ever played?
HOLLAND: One time we played in New Jersey with a local band. They insisted on playing before us and we wanted them to play after us cause we were the ones from out of town. The place was packed and when they got done, everyone left. I counted the people in the room and there were six. We played for six people.

Q: Do crowdsurfers piss you off?
HOLLAND: Oh, not even. I want people to go off at the shows. I think that's the dumbest thing when you get a bunch of kids at a show and then you preach at them to behave during the show. Well, what the fuck? If they wanted to behave, they'd go to school.

Q: Can we expect you all to come back to Austin?
I'm sure we will. I don't know when. The last thing was that weird MTV thing.

Q: How did you like that?
It was all right. We had to go on pretty early and it was kind of a weird atmosphere. It would have been better at night.

Q: Finally, are you a punk?
HOLLAND: (Laughs). If I said yes, then everyone would say that I'm full of shit. It depends on how you define "punk." I mean jeez, look at every fucking Maximum Rock and Roll for the last ten years and all they do in the letters section is argue about what's punk and what's not. I love it for the energy in the music and usually the message in the music. That's what we try to capture, the energy and hopefully some kind of message through the music. And to me, I consider that punk rock and that's the kind of stuff we try to make. Whether or not you consider me punk, probably not according to most people's definition of punk.

(C) 1998 PIMP Zine

Titus
02-26-2005, 07:45 PM
Fonte: Revista Show Bizz
Ano: 1999
Entrevistado: Dexter Holland
Assunto: CD Americana

ShowBizz: Vocês acabaram de fazer uma turnê triunfal pela Europa. Onde foi mais emocionante tocar?
Dexter: Adoramos a Europa Oriental. Polônia, Praga (na República Tcheca), nesses lugares a platéia realmente alucina. Só perde para o pessoal da América do Sul. Nunca vi nada ao que a molecada faz aí (o Offspring fez grandes shows no brasil em 1997). Sério, não estou dizendo isso porque a entrevista é para uma revista brasileira. Nós realmente adoramos tocar para um público ensandecido e vamos voltar este ano (99).

Quando?
Acho que em setembro, por aí. Nós vamos parar a excursão agora e recomeçamos depois. Primeiro mais shows pelos Estados Unidos, depois Austrália. Com certeza baixamos aí de novo.

Como está a turnê pelos Estados Unidos?
Fizemos agora (fim de março) dois shows com o Everlast (rapper branco, ex-House Of Pain). Não, ele não cantou com a gente "Pretty Fly (For a White Guy)". A gente nem se falou (risos). Mas estamos viajando direto com uma banda da Austrália, The Living End.
Como foi tocar "Pretty Fly(For a White Guy)" ao vivo com Vanilla Ice, num show em L.A.?
Muito divertido. Vanilla é um cara tranqüilo, não vestiu a carapuça da letra e também não se leva a sério - pelo menos não leva a sério seu passado. Topou na hora nosso convite. Entrou cantando "ice, ice baby" (refrão de seu único hit) bem no meio da música. O novo CD dele é bem diferente, sombrio até. Você não vai acreditar quando ouvir.

O que você acha de "Pretty Fly" ser a música mais pirateada da internet?
Como você sabe disso?

Saiu na Rolling Stone.
Não sei como é possível medir esse tipo de dado. Mas é legal.

Você não acha que isso pode estar prejudicando as vendas dos discos do Offspring?
Pode até estar, mas me sinto feliz porque as pessoas estão interessadas na nossa música. Ah, quer saber? Eu acho ótimo. Já vendemos muito, mais do que esperávamos, e não seria eu quem iria exercitar a ganância nesse negócio.

Você disse, na época de Ixnay on The Hombre (1997), que o Offspring preferia não aparecer muito na TV, recusando convites para não se expor muito. Você acha que existe algo como "sucesso em excesso"? Que nível seria esse?
(Risos) Aquele em que estamos agora. Já vendemos discos demais. Aliás, eu gostaria de fazer um apelo: por favor, não comprem mais nossos discos. Vamos parar com isso já! Não queremos mais vender. Quem comprou há pouco tempo ainda pode trocar...(risos)

Sério. Vocês estão ficando cada vez mais conhecidos...
Sim, estamos aparecendo muito mais na televisão, até num filme estrelamos (Idle Hands). Participamos de alguns talk shows, vimos que as coisas podem ser feitas sem que a gente perca o controle e pague mico... Fazer sucesso não tira pedaço de ninguém. Tenho certeza que a maioria das bandas gostaria de estar onde estamos. Díficil é tocar para trinta pessoas durante anos e anos, como nós fizemos.

Vocês apareceram em programas trash, como os de Jerry Springer (O Ratinho de lá) e Ricki Lake (atriz gordinha que comanda um show de baixarias), que influenciaram as letras de Americana?
Ricki nos convidou para seu programa.

E vocês toparam?
Não. Mas eu acho que aceitaria ir no Jerry Springer. É um programa detestável, só que eu indesculpavelmente assisto de vez em quando. Poderia ser divertido. Aliás, está passando agora, a TV aqui está ligada sem som.

Em 1994, o Offspring vendeu milhões e tocou pelo mundo inteiro sem jamais mencionar as tais "Pressões do sucesso", conflitos de consciência ou culpa. Não foi assim nem com o Nirvana nem com o Pearl Jam...
Ah, mas você não pode nos comparar com eles (sem ironia). Esses caras são mitos. Nós podemos ter vendido todos esses milhões, mas o que foi consumido foi apenas nosso disco, nossa música. Nesses casos e em outros semelhantes, a imagem dos caras, a personalidade deles, tudo foi engolido e vendido. Não foi o mesmo processo, para nós foi muito mais fácil. Voltamos para casa e fizemos Inxay On The Hombre...

Quando vocês estavam gravando Americana, com canções de apelo popular, como "Pretty Fly (For A White Guy)" e "Why Don't You Get A Job?", sentiram que poderiam voltar a estourar nas proporções anteriores?
(Risos) Acho que ninguém imaginava que fosse acontecer de novo. mas, claro, entramos no estúdio decididos a gravar as melhores canções que tínhamos, da melhor forma, sem deixar de criar. A coisa precisa ter graça pra nós, antes de qualquer coisa.

Titus
02-26-2005, 07:46 PM
Você tem sido apontado como um bom compositor pop. Como integrante de um grupo sempre ligado ao punk rock, considera isso um elogio ou um...
(Interrompendo) Um insulto! (risos) Não, não. Estou brincando. Qualquer coisa pessoa normal gosta de ouvir coisas assim. Mas a palavra pop ainda hoje tem uma carga negativa. Ela foi usada para diminuir o trabalho dos Beatles nos anos 60 e hoje, pelo menos nos EUA, é associada a grupos como o N'Sync, fica uma coisa meio "gay"(risos).

"Why Don't You Get A Job?" rendeu comparações com os Beatles, por causa da sua semelhança melódica com "Ob-la-di, Ob-la-da"...
Isso é legal, mas é só um aspecto da música. A gente usou vários elementos, steel drums (aqueles latões usados na música de Trinidad Tobago e de outras ilhas do Caribe), flauta, metais, bateria eletrônica...

Por falar nisso, foi mandado para as rádios americanas voltadas para música negra um remix rhythm &blues de "Pretty Fly (For A White Guy)". Ele fez sucesso?
Para dizer a verdade, nem sei direito. Acho que não. Isso não foi idéia nossa, a gravadora propôs e nós achamos que seria uma boa idéia, mais como uma provocação. Aí arranjamos dois caras, acho que mexicanos, para trabalhar na faixa. Sabe como é, esse negócio de botar um DJ para mexer na sua música costuma dar em coisas muito esquisitas e pouco legais.

Você acha que os sons eletrônicos e os Djs vão mesmo ditar o futuro da música?
(Risos) Não. Sempre vai haver gente fazendo música com guitarras, violão, instrumentos de verdade. A música eletrônica é o futuro - da música eletrônica.

No começo da carreira, você costumava compor músicas políticas em cima de temas específicos, como "Tehran" (de 1989, um ano depois que os EUA abateram por engano um avião comercial iraniano com mais de 290 passageiros). Algum assunto da política mundial o inspiraria ultimamente?
Bem, eu poderia fazer uma música sobre... Não, eu nem precisaria fazer. É só trocar "Tehran" por "Kosovo". (Cantando) "Ko-so-vo, Ko-so-vo, Ko-so-vo". Ou essa ou "Bagdad". A verdade é que provavelmente daqui a dez anos ninguém vai se lembrar de Kosovo e a música perde o sentido. E hoje minhas letras são mais comentários sociais.

Os Beastie Boys, que você costuma mencionar como um de seus grupos favoritos, mudaram as letras de algumas músicas mais antigas, revisando-as em versões politicamente corretas. O que você acha disso?
Bom, eu não posso falar por eles. Mas se tem uma coisa que não faríamos é mudar o que dizemos nas múscias, por mais antigas e embaraçosas que possam parecer. E politicamente correto, concordamos todos, é algo que o Offspring jamais vai ser, odeio isso. Sem ofensa aos Beastie Boys (risos). Eu gosto deles e de muita coisa hip-hop.

O Offspring andou sendo saudado nos Estados Unidos e na Europa por ter trazido de volta o rock ao topo das paradas de sucesso. O que você acha disso?
Bom, eu não gosto muito dessa história, não. Mas maior besteira ainda é achar que o rock está ameaçado de extinção, que vai acabar ou está esgotado, morto, reduzido a um pequeno gueto. O rock'n'roll existe há mais de quarenta anos...Pode não ser sempre o gênero mais popular, pode vender menos, ser considerado menos "in", mas vai continuar subindo e descendo, sempre ali... O hip-hop realmente hoje é muito forte nos Estados Unidos, mas existem muitas bandas de rock boas e populares. Eu sou fã de Foo Fighters, Rob Zombie e Korn. Essas falsas polêmicas, categorizações, isso é papo pra vender revista, ganhar audiência, isso tudo é merda estratégica para alguém ganhar dinheiro.

Se o Offspring fosse colocado como banda que está levando punk a alturas inéditas, faria diferença para você?
Não queremos ser vinculados a nenhuma bandeira, seja do rock'n'roll ou do punk rock. Longe de mim querer fazer a cabeça das pessoas. O legal do sucesso de Americana é conseguir mostrar para um público maior um tipo de música diferente.

Independentemente de gêneros ou rótulos, vocês vieram com músicas inteligentes e irônicas e ocuparam um espaço que vinha sendo dominado por pop pré-fabricado e rappers glamourizando a violência...
Muito obrigado pelo "inteligentes". É isso aí (risos). Não precisa mais nem fazer a pergunta (risos).

(Risos) Você disse há alguns anos que, se tivesse que trabalhar num emprego convencional durante muito tempo, iria acabar se matando.
(Risos) É verdade, eu não me conformaria passando anos num emprego das 9 às 5. Mas não é bem assim, foi só força de expressão. iria ser bem ruim, mas eu jamais me suicidaria.

O que você acha de bandas punk como o Eve6, que assinam bons contratos com gravadoras quando seus integrantes ainda estão no ginásio?
Essas coisas são subjetivas, mas não dá pra comparar com outras gerações que passaram pelos perrengues que a gente conhece. É diferente, não pode ser verdadeiro do mesmo jeito.

No diário da turnê que está na Internet, Noodles recomenda bastante a fita demo da banda Go, em que Brett (Gurewitz, ex-guitarrista do Bad Religion, dono da Epitaph e ex-inimigo da banda) toca...
Ah, sim, você quer dizer a banda de Jack Grisham (ex-TSOL, banda pioneira do punk californiano). Olha, para mim isso é história antiga, são águas passadas. Se ele tem algum problema com a gente, não importa. Somos felizes hoje, esquecemos tudo e queremos que Brett também seja feliz.

Como andam as relações de vocês com o brasileiro Morris Albert, autor de "Feelings"?
Ele processou a gente. Ou melhor, ele pediu uma grana, tivemos de fazer um acordo com ele.

Quanto ele pediu?
Oh, deus! Não sei dizer... Sei que era uma grana violenta. Ele já iria receber pela regravação, mas quis complicar. Prefiro nem me envolver, para não desenvolver sentimentos de ódio por Morris Albert (risos).

Existe alguma chance de essa versão ganhar um videoclipe?
Puxa, eu adoraria, mas acho que só se for um vídeo caseiro (risos). Um clipe oficial é impossível. Essa música jamais seria escolhida para single. Os radialistas daqui não têm capacidade para entender a ironia, nunca tocariam uma música com tanto "ódio" na letra. Mesmo sendo um "ódio" com "Feelings" (sentimentos).

Você tem 32 anos e é pai de família, Como você compensa a ausência durante as turnês?
Sempre esquematizamos tudo no sentido de não passar mais de três semanas longe de casa. Às vezes a coisa passa um pouco disso, mas procuro ter uma convivência intensa e valorizar os momentos com minha filha de 12 anos.

E qual é o tipo de música que ela gosta de ouvir?
(Risos) Backstreet Boys. Parece piada, mas não é.

É por isso que você odeia tanto os Backstreet Boys (nos shows, Dexter costuma insuflar platérias proclamando seu desapreço pelo grupo)?
(Risos) Eu tenho de ouvir essas coisas em casa (risos). Mas na verdade eu não odeio os Backstreet Boys. Eles são bonitinhos.

Como foi a sessão de fotos na Trafalgar Square, em Londres (feita originalmente para o jornal Melody Maker)? É verdade que os pombos fizeram cocô em um integrante da banda?
(Risos) Sim, a vítima foi o Ron (Welty, baterista). Foi engraçado, mas estava muito frio e eu não gosto muito de sessões de fotos.

Mas você fez um ensaio há pouco tempo para a capa da revista americana Spin. Com produção de moda, cabelo e tudo...
Cabelo, não! Eu só taquei um pouco de gel. Aliás, eu não gostei nada do fundo rosa que colocaram atrás de mim... A cor foi mudada depois e já me sacanearam muito por causa disso (risos).


Portuguese plz ^^

Tired_Of_You
02-26-2005, 08:11 PM
I think it'd be better if the interviews were in English, no?

Titus
02-26-2005, 08:12 PM
Ye i know, but i had this old one, i guess the brazilian would like

Titus
02-26-2005, 08:12 PM
Ye i know, but i had this old one, i guess the brazilian would like

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