Guitar Player Magazine interview with Billie Joe

[pacejunkie punk]

Guitar Player Magazine has an interview with Billie but I only can find this Italian translation right now. Does anyone have the scans or original English?

Sorry I can’t get the link from the Italian Facebook page to paste here for some reason but it’s here:

https://m.facebook.com/GreenDayItalianRageAndLove/

 

[The Grohl]

Is this from the latest issue? The one where he's against a black background? 

If so my copy should be coming tomorrow, so I can post scans then

 

[Squashie]

This is the facebook translation of their post. I don't know why the questions are not translating to english.... I tried putting the questions into google translate and it still left them in Italian.

🔴 BILLIE JOE ARMSTRONG: “OUTSIDE OUR COMFORT AREA, THINGS GET MORE INTERESTING NEW INTERVIEW - GUITAR PLAYR MAGAZINE 🔴
Green Day has always been, first of all, a punk rock band. It would seem an obvious thing to say. But it has also always been clear that the East Bay trio in California has never easily adapted to the boundaries of the genre. Consider the successful 1997 ballad (become a hymn for high school dances) "Good Riddance (Time of Your Life)" or the 2004 rock-political-conceptual album American Idiot. Or finally, remember 2010, when that Grammy Award-winning multi platinum-certified record became a full-fledged Broadway musical. Obviously, singer and guitarist Billie Joe Armstrong, bassist Mike Dirnt and drummer Tré Cool recently demonstrated with 2016 Revolution Radio that they are still able to churn out fast hymns, within three minutes with just three chords and unbridled energy and emotions. But none of those who have followed Green Day in all these years would have expected the band to stay within those borders for long. As Armstrong says, "I think for Green Day, the only thing that sets us apart is that we experience more than most punk rock bands." As for the most recent Green Day experiment, we are talking about Father All Mother ******* (Reprise), the 13th studio album with the audacious name of the equally brave band. While the album (10 songs in less than 28 minutes) is chock full of sharp riffs, fast rhythms, catchy melodies and flawless arrangements that have long characterized Billie Joe and Co's work, this time there is it is also something new. To get started, just listen to Armstrong's falsetto voice on the garage rock piece, "Father of All ...". There is also the laconic hip-hop jam blues "Junkies on a High", the sample by Joan Jett, in "Oh Yeah!", The piece that closes the album Graffitia "reminiscent of 'Mony Mony', the motown- soul groover of Meet Me on the Roof "and the early rock and roll / R & B of" Stab You In The Heart ". It's a broad mix of sounds and styles, and the result is perhaps one of the most adventurous and downright fun collections of music that Green Day has ever recorded. As for the impetus behind the band's most recent musical adventures? "I just like to mix things up," Armstrong says simply. "Guitar Player Magazine to discuss the making of the album, including inspiration for its new sounds, the equipment it used in the studio and the topics that inspired some of its new lyrics - not to mention the title of that album that attracts attention. He spoke of the upcoming Hella Mega Tour , which will see the stadiums trodden by Green Days in the United States and Europe together with Fall Out Boy and Weezer. And he reflected on another great moment between the Green Day concerts: the now legendary Woodstock of '94 that turned into a giant mud battle between Green Day and their audience, culminating in something close to a riot that led the trio, in the course of an evening, to become superstars. If there is something that connects the two events and summarizes Green Day's career in general, it could be just this: "When we are out of our comfort zone," says Armstrong, "it seems that things get more interesting."

𝐋𝐞 𝐜𝐚𝐧𝐳𝐨𝐧𝐢 𝐝𝐞𝐢 𝐆𝐫𝐞𝐞𝐧 𝐃𝐚𝐲 𝐬𝐨𝐧𝐨 𝐬𝐭𝐚𝐭𝐞 𝐠𝐞𝐧𝐞𝐫𝐚𝐥𝐦𝐞𝐧𝐭𝐞 𝐢𝐧𝐜𝐞𝐧𝐭𝐫𝐚𝐭𝐞 𝐬𝐮𝐢 𝐫𝐢𝐟𝐟 𝐝𝐢 𝐜𝐡𝐢𝐭𝐚𝐫𝐫𝐚. 𝐌𝐚 𝐠𝐫𝐚𝐧 𝐩𝐚𝐫𝐭𝐞 𝐝𝐞𝐥 𝐧𝐮𝐨𝐯𝐨 𝐦𝐚𝐭𝐞𝐫𝐢𝐚𝐥𝐞 𝐬𝐞𝐦𝐛𝐫𝐚 𝐛𝐚𝐬𝐚𝐭𝐨 𝐬𝐮 𝐫𝐢𝐭𝐦𝐢 𝐞 𝐠𝐫𝐨𝐨𝐯𝐞 𝐞 𝐜𝐨𝐧𝐭𝐢𝐞𝐧𝐞 𝐬𝐮𝐨𝐧𝐢 𝐧𝐨𝐧 𝐭𝐢𝐩𝐢𝐜𝐚𝐦𝐞𝐧𝐭𝐞 𝐚𝐬𝐬𝐨𝐜𝐢𝐚𝐭𝐢 𝐚𝐥 𝐩𝐮𝐧𝐤 𝐞 𝐚𝐥 𝐫𝐨𝐜𝐤, 𝐢𝐧𝐜𝐥𝐮𝐬𝐢 𝐌𝐨𝐭𝐨𝐰𝐧 𝐞 𝐬𝐨𝐮𝐥.
BILLIE: Yes, that's true. One thing I wanted to do this time was to create more space between the voice and the rhythm than I'd ever done before. So I think there has been a conscious effort to emphasize drums and vocals and leave only that space in between. And musically, I wanted to retrace the history of rock and roll. I mean, I have a fairly broad knowledge of rock and roll music, and there is so much that I like it. So a song like "Stab You in the Heart" looks very Little Richard, and also similar to something like "I'm Down" by the Beatles, which is obviously like a Little Richard thing.

𝐐𝐮𝐞𝐥𝐥𝐚 𝐜𝐚𝐧𝐳𝐨𝐧𝐞 𝐦𝐢 𝐡𝐚 𝐚𝐧𝐜𝐡𝐞 𝐫𝐢𝐜𝐨𝐫𝐝𝐚𝐭𝐨 "𝐇𝐢𝐩𝐩𝐲 𝐇𝐢𝐩𝐩𝐲 𝐒𝐡𝐚𝐤𝐞".
BILLIE: The Swinging Blue Jeans! I love that kind of scruffy music, garage rock. It's like [the garage-rock band from the 60s] Sonics. Just old school rock and roll. And Motown's influence really came for songs like "Meet Me On the Roof", where I also played with my voice. I really wanted to sing louder and do many more types of blues melodies.

𝐐𝐮𝐞𝐬𝐭𝐨 𝐟𝐚 𝐞𝐦𝐞𝐫𝐠𝐞𝐫𝐞 𝐮𝐧 𝐚𝐥𝐭𝐫𝐨 𝐩𝐮𝐧𝐭𝐨 𝐢𝐦𝐩𝐨𝐫𝐭𝐚𝐧𝐭𝐞 𝐩𝐞𝐫 𝐪𝐮𝐚𝐧𝐭𝐨 𝐫𝐢𝐠𝐮𝐚𝐫𝐝𝐚 𝐥𝐚 𝐦𝐮𝐬𝐢𝐜𝐚 𝐢𝐧 𝐪𝐮𝐞𝐬𝐭𝐨 𝐝𝐢𝐬𝐜𝐨: 𝐥𝐚 𝐭𝐮𝐚 𝐯𝐨𝐜𝐞. 𝐐𝐮𝐞𝐬𝐭𝐚 𝐯𝐨𝐥𝐭𝐚 𝐬𝐞𝐦𝐛𝐫𝐚 𝐚𝐯𝐞𝐫𝐞 𝐩𝐢𝐮̀ 𝐜𝐨𝐧𝐭𝐞𝐧𝐮𝐭𝐢 𝐦𝐞𝐥𝐨𝐝𝐢𝐜𝐢 𝐝𝐞𝐥𝐥𝐞 𝐜𝐚𝐧𝐳𝐨𝐧𝐢 𝐞𝐝 𝐞̀ 𝐜𝐡𝐢𝐚𝐫𝐨 𝐜𝐡𝐞 𝐭𝐢 𝐬𝐞𝐢 𝐝𝐚𝐯𝐯𝐞𝐫𝐨 𝐬𝐩𝐢𝐧𝐭𝐨 𝐜𝐨𝐦𝐞 𝐜𝐚𝐧𝐭𝐚𝐧𝐭𝐞. 𝐋𝐚 𝐭𝐢𝐭𝐥𝐞-𝐭𝐫𝐚𝐜𝐤 𝐝𝐨𝐯𝐞 𝐜𝐚𝐧𝐭𝐢 𝐩𝐫𝐢𝐧𝐜𝐢𝐩𝐚𝐥𝐦𝐞𝐧𝐭𝐞 𝐢𝐧 𝐟𝐚𝐥𝐬𝐞𝐭𝐭𝐨, 𝐞̀ 𝐮𝐧 𝐞𝐬𝐞𝐦𝐩𝐢𝐨 𝐜𝐡𝐢𝐚𝐫𝐨. 𝐓𝐢 𝐬𝐞𝐢 𝐬𝐞𝐧𝐭𝐢𝐭𝐨 𝐟𝐮𝐨𝐫𝐢 𝐝𝐚𝐥𝐥𝐚 𝐭𝐮𝐚 𝐳𝐨𝐧𝐚 𝐝𝐢 𝐜𝐨𝐦𝐟𝐨𝐫𝐭?
BILLIE: Oh yes. I remember doing the demo of "Father of All ..." and I was listening to Prince a little bit and considering the fact that he had a fantastic falsetto. His first pair of records is all in falsetto. So I wanted to try. And remember, just when we were getting ready to do the voice, I said, "Hey, I'm going to try something different here, so please try not to laugh at me!" Then I made the falsetto and I was like, "Dude, it's so different. But also so Green Day"

𝐐𝐮𝐚𝐧𝐝𝐨 𝐥𝐨 𝐬𝐮𝐨𝐧𝐢 𝐝𝐚𝐥 𝐯𝐢𝐯𝐨, 𝐧𝐨𝐧 𝐬𝐮𝐨𝐧𝐢 𝐥𝐚 𝐜𝐡𝐢𝐭𝐚𝐫𝐫𝐚. 𝐍𝐨𝐧 𝐡𝐚𝐢 𝐧𝐞𝐦𝐦𝐞𝐧𝐨 𝐢𝐧 𝐦𝐚𝐧𝐨 𝐮𝐧𝐚 𝐜𝐡𝐢𝐭𝐚𝐫𝐫𝐚. 𝐄̀ 𝐜𝐨𝐦𝐞 𝐬𝐞 𝐟𝐨𝐬𝐬𝐢 𝐬𝐮𝐥 𝐩𝐚𝐥𝐜𝐨 𝐬𝐞𝐧𝐳𝐚 𝐥𝐚 𝐭𝐮𝐚 𝐜𝐨𝐫𝐚𝐳𝐳𝐚
BILLIE: Yes. But when we started this record, I knew I wanted to mix things up. And this gave me the opportunity to try and show a different side of us. I could just go deep and do a song like "Junkies on a High", where I'm literally joking with a sort of hip-hop / trap rhythm, but adding this blues melody.

𝐐𝐮𝐞𝐥𝐥𝐚 𝐜𝐚𝐧𝐳𝐨𝐧𝐞 𝐞 "𝐎𝐡 𝐘𝐞𝐚𝐡!" 𝐬𝐨𝐧𝐨 𝐝𝐮𝐞 𝐝𝐢 𝐪𝐮𝐞𝐥𝐥𝐞 𝐜𝐡𝐞 𝐜𝐨𝐧𝐭𝐞𝐧𝐠𝐨𝐧𝐨 𝐞𝐥𝐞𝐦𝐞𝐧𝐭𝐢 𝐝𝐞𝐥 𝐩𝐨𝐩 𝐦𝐨𝐝𝐞𝐫𝐧𝐨, 𝐬𝐢𝐚 𝐢𝐧 𝐭𝐞𝐫𝐦𝐢𝐧𝐢 𝐝𝐢 𝐭𝐫𝐮𝐜𝐜𝐨 𝐦𝐮𝐬𝐢𝐜𝐚𝐥𝐞 𝐜𝐡𝐞 𝐝𝐢 𝐪𝐮𝐚𝐥𝐢𝐭𝐚̀ 𝐝𝐢 𝐩𝐫𝐨𝐝𝐮𝐳𝐢𝐨𝐧𝐞. 𝐂𝐢 𝐬𝐨𝐧𝐨 𝐫𝐢𝐭𝐦𝐢 𝐡𝐢𝐩-𝐡𝐨𝐩 𝐧𝐞𝐥 𝐩𝐫𝐢𝐦𝐨 𝐞 𝐜𝐚𝐦𝐩𝐢𝐨𝐧𝐢, 𝐮𝐧 𝐠𝐫𝐚𝐧𝐝𝐞 𝐫𝐢𝐭𝐨𝐫𝐧𝐞𝐥𝐥𝐨 𝐞 𝐯𝐨𝐜𝐢 𝐦𝐨𝐝𝐢𝐟𝐢𝐜𝐚𝐭𝐞 𝐧𝐞𝐥𝐥𝐚 𝐬𝐞𝐜𝐨𝐧𝐝𝐚. 𝐍𝐨𝐧 𝐬𝐞𝐢 𝐜𝐨𝐬𝐢̀ 𝐭𝐚𝐧𝐭𝐨 𝐮𝐧 𝐩𝐮𝐫𝐢𝐬𝐭𝐚 𝐩𝐮𝐧𝐤 𝐜𝐡𝐞 𝐬𝐢 𝐜𝐡𝐢𝐮𝐝𝐞 𝐚 𝐪𝐮𝐚𝐥𝐬𝐢𝐚𝐬𝐢 𝐚𝐥𝐭𝐫𝐨 𝐭𝐢𝐩𝐨 𝐝𝐢 𝐢𝐝𝐞𝐞
BILLIE: Well, what I'm referring to is the germ of an idea. I am referring to being a kid in a basement or garage, who simply makes music. And I think when you see a lot of what the younger generations are doing, whether it's SoundCloud or someone like Post Malone, basically the kids are sitting at a computer and messing around with a rhythm and putting on this kind of hip melodies. hop. I can refer to that. And so with something like "Oh Yeah!" I was like "Well, if I was going to try something like that, what kind of things would make sense for Green Day?" So I used Joan Jett's version of "Do You Wanna Touch Me". "And I was like," It's fantastic! That's how I would sample something. "Because it's glam rock and punk, right? And then I wrote the melody, just to see what would happen. And three beers later, here is the result !.

𝐄̀ 𝐭𝐮𝐭𝐭𝐨 𝐜𝐢𝐨̀ 𝐜𝐡𝐞 𝐬𝐞𝐫𝐯𝐞, 𝐞𝐡?
BILLIE: [laughs] Yes!

𝐏𝐞𝐫 𝐪𝐮𝐚𝐧𝐭𝐨 𝐫𝐢𝐠𝐮𝐚𝐫𝐝𝐚 𝐠𝐥𝐢 𝐚𝐫𝐫𝐚𝐧𝐠𝐢𝐚𝐦𝐞𝐧𝐭𝐢, 𝐬𝐚𝐩𝐞𝐯𝐢 𝐝𝐚𝐥 𝐩𝐫𝐢𝐧𝐜𝐢𝐩𝐢𝐨 𝐜𝐡𝐞 𝐯𝐨𝐥𝐞𝐯𝐢 𝐦𝐚𝐧𝐭𝐞𝐧𝐞𝐫𝐞 𝐪𝐮𝐞𝐬𝐭𝐞 𝐜𝐚𝐧𝐳𝐨𝐧𝐢 𝐛𝐫𝐞𝐯𝐢? 𝐀𝐥𝐜𝐮𝐧𝐢 𝐧𝐨𝐧 𝐚𝐫𝐫𝐢𝐯𝐚𝐧𝐨 𝐧𝐞𝐦𝐦𝐞𝐧𝐨 𝐚 𝐝𝐮𝐞 𝐦𝐢𝐧𝐮𝐭𝐢.
BILLIE: I think it was just a matter of "Okay, I think that's enough". [Laughs] With some of these songs, I did demos that were less than two minutes long, and then we started thinking about something like, "How can we stretch them?" And the answer was: “Let's not stretch them. If they seem okay, then leave them as they are. " And that's how we ended up recording them. It's a back-to-basic, the Ramones, a type of rock and roll that doesn't require too much attention.

𝐐𝐮𝐞𝐬𝐭𝐚 𝐯𝐨𝐥𝐭𝐚 𝐚𝐯𝐞𝐭𝐞 𝐥𝐚𝐯𝐨𝐫𝐚𝐭𝐨 𝐜𝐨𝐧 𝐁𝐮𝐭𝐜𝐡 𝐖𝐚𝐥𝐤𝐞𝐫, 𝐜𝐡𝐞 𝐡𝐚 𝐚𝐧𝐜𝐡𝐞 𝐩𝐫𝐨𝐝𝐨𝐭𝐭𝐨 𝐅𝐚𝐥𝐥 𝐎𝐮𝐭 𝐁𝐨𝐲 𝐞 𝐖𝐞𝐞𝐳𝐞𝐫, 𝐩𝐞𝐫 𝐧𝐨𝐧 𝐩𝐚𝐫𝐥𝐚𝐫𝐞 𝐝𝐢 𝐓𝐚𝐲𝐥𝐨𝐫 𝐒𝐰𝐢𝐟𝐭, 𝐊𝐚𝐭𝐲 𝐏𝐞𝐫𝐫𝐲 𝐞 𝐏𝐢𝐧𝐤, 𝐭𝐫𝐚 𝐠𝐥𝐢 𝐚𝐥𝐭𝐫𝐢. 𝐏𝐞𝐫𝐜𝐡𝐞?
BILLIE: I was really open to someone who came and brought a new perspective, because in the end, in the past, I produced almost everything. Even someone like [the Dookie producer] Rob Cavallo was more like a coach. But with Butch, he almost became like a member of the band. And we felt good from the beginning. He has such crazy and surprising rock and roll energy. I think one of the big productions he made on the record is in the song "Graffitia" which was just a song with three chords and my voice at the beginning. But I did a demo and sent it to him, and I said, "Go ahead and play it a little." And added that introduction that looks like Tommy James and the Shondells. And I was like "Friend, it's fantastic!". Because I love that kind of 60s pop bubblegum.

𝐂𝐡𝐞 𝐬𝐭𝐫𝐮𝐦𝐞𝐧𝐭𝐚𝐳𝐢𝐨𝐧𝐞 𝐡𝐚𝐢 𝐮𝐬𝐚𝐭𝐨 𝐩𝐞𝐫 𝐪𝐮𝐞𝐬𝐭𝐨 𝐝𝐢𝐬𝐜𝐨?
BILLIE: Much of what I used was whatever was around, which is totally new to me. And for the most part, it's like saying my old Les Paul Junior and a Divided by 13 amp set with dirty channel. For the pedals, I had a Klon, and then my son has a Whammy Pedal that gives you strange effects on the octaves and makes everything seem crazy. He uses it in his band, so I was like "Hey, Jakob, can I borrow your pedal?" And he said, "Yes, take it." And I used it for the solo of "Take the Money and Crawl," which sounds like something loud and out of phase. In general, solos this time are not really melodic things, but more simply me making noise. Like the solo of "Father of All ..." - I feel that nobody has time to listen to a guitar solo anymore. So I wanted to go back to Dookie and Insomniac's Green Days, where it was almost like anti-solo. "

𝐌𝐮𝐬𝐢𝐜𝐚𝐥𝐦𝐞𝐧𝐭𝐞, 𝐪𝐮𝐞𝐬𝐭𝐞 𝐜𝐚𝐧𝐳𝐨𝐧𝐢 𝐬𝐨𝐧𝐨 𝐚𝐛𝐛𝐚𝐬𝐭𝐚𝐧𝐳𝐚 𝐛𝐫𝐢𝐥𝐥𝐚𝐧𝐭𝐢 𝐞 𝐚𝐥𝐥𝐞𝐠𝐫𝐞. 𝐌𝐚 𝐢 𝐭𝐞𝐬𝐭𝐢 𝐭𝐞𝐧𝐝𝐨𝐧𝐨 𝐚𝐝 𝐚𝐯𝐞𝐫𝐞 𝐮𝐧𝐚 𝐩𝐢𝐞𝐠𝐚 𝐩𝐢𝐮̀ 𝐨𝐬𝐜𝐮𝐫𝐚: 𝐢 𝐛𝐚𝐦𝐛𝐢𝐧𝐢 𝐜𝐨𝐧 𝐳𝐚𝐢𝐧𝐢 𝐚𝐧𝐭𝐢𝐩𝐫𝐨𝐢𝐞𝐭𝐭𝐢𝐥𝐞 𝐢𝐧 "𝐎𝐡 𝐘𝐞𝐚𝐡!," 𝐢 𝐥𝐞𝐭𝐭𝐢 𝐬𝐩𝐨𝐫𝐜𝐡𝐢 𝐝𝐢 𝐬𝐚𝐧𝐠𝐮𝐞 𝐞 𝐝𝐞𝐧𝐚𝐫𝐨 𝐢𝐧 "𝐅𝐚𝐭𝐡𝐞𝐫 𝐨𝐟 𝐀𝐥𝐥 ..." 𝐒𝐭𝐚𝐢 𝐚𝐟𝐟𝐫𝐨𝐧𝐭𝐚𝐧𝐝𝐨 𝐦𝐚𝐥𝐢 𝐜𝐮𝐥𝐭𝐮𝐫𝐚𝐥𝐢 𝐞 𝐬𝐨𝐜𝐢𝐚𝐥𝐢 𝐦𝐚 𝐬𝐞𝐧𝐳𝐚 𝐞𝐬𝐬𝐞𝐫𝐞 𝐚𝐩𝐞𝐫𝐭𝐚𝐦𝐞𝐧𝐭𝐞 𝐩𝐨𝐥𝐢𝐭𝐢𝐜𝐨 .
BILLIE: Well, making a song about Trump - it's just too obvious. And compared to songs like "American Idiot" or "Holiday", then we were at war for fictitious reasons and those were a kind of battle cry. But now our culture is so toxic that it's as if singing about Trump would make it even more toxic. So I think, instead, the lyrics are about trying to get a crack. A song like "Graffitia", for example, is a song about young black boys who are killed in the cities. And then there is another side of the factories in the Rust Belt that are closing down and these small towns that are losing their identity. It is about trying to understand what is going on in this country and the fact that we are in the middle of a sort of cultural civil war.

𝐋𝐞 𝐜𝐨𝐬𝐞 𝐬𝐞𝐦𝐛𝐫𝐚𝐧𝐨 𝐩𝐢𝐮𝐭𝐭𝐨𝐬𝐭𝐨 𝐭𝐞𝐫𝐫𝐢𝐛𝐢𝐥𝐢
BILLIE: Yes, yes. It's like, I had to be right, you know? We are going towards a devolution. We will return to walking like monkeys in 10 years if we keep this pace. So it's a really scary moment. But at the same time, I can't help but see that there is a lot more excitement about trying to bring about change, whether it's the issue of climate change or having real equality. It is not just a slogan and it will happen thanks to young people.

𝐏𝐚𝐫𝐥𝐚𝐧𝐝𝐨 𝐝𝐢 𝐠𝐢𝐨𝐯𝐚𝐧𝐢, 𝐢 𝐆𝐫𝐞𝐞𝐧 𝐃𝐚𝐲 𝐝𝐞𝐯𝐨𝐧𝐨 𝐞𝐬𝐬𝐞𝐫𝐞 𝐮𝐧𝐚 𝐝𝐞𝐥𝐥𝐞 𝐩𝐨𝐜𝐡𝐞 𝐫𝐨𝐜𝐤 𝐛𝐚𝐧𝐝 𝐢𝐧 𝐪𝐮𝐞𝐬𝐭𝐢 𝐭𝐞𝐦𝐩𝐢 𝐜𝐡𝐞 𝐩𝐨𝐬𝐬𝐨𝐧𝐨 𝐩𝐫𝐞𝐬𝐞𝐧𝐭𝐚𝐫𝐬𝐢 𝐚𝐝 𝐮𝐧𝐨 𝐬𝐩𝐞𝐭𝐭𝐚𝐜𝐨𝐥𝐨 𝐨 𝐟𝐞𝐬𝐭𝐢𝐯𝐚𝐥 𝐩𝐫𝐞𝐦𝐢𝐚𝐭𝐨 𝐞 𝐬𝐮𝐨𝐧𝐚𝐫𝐞 𝐚 𝐟𝐢𝐚𝐧𝐜𝐨 𝐝𝐢 𝐚𝐫𝐭𝐢𝐬𝐭𝐢 𝐩𝐨𝐩 𝐞 𝐝𝐢 𝐟𝐫𝐨𝐧𝐭𝐞 𝐚𝐝 𝐮𝐧 𝐩𝐮𝐛𝐛𝐥𝐢𝐜𝐨 𝐜𝐡𝐞, 𝐢𝐧 𝐦𝐞𝐝𝐢𝐚, 𝐟𝐨𝐫𝐬𝐞 𝐞𝐫𝐚 𝐧𝐞𝐦𝐦𝐞𝐧𝐨 𝐧𝐚𝐭𝐨 𝐪𝐮𝐚𝐧𝐝𝐨 𝐮𝐬𝐜𝐢̀ 𝐃𝐨𝐨𝐤𝐢𝐞, 𝐞 𝐫𝐢𝐮𝐬𝐜𝐢𝐭𝐞 𝐜𝐨𝐦𝐮𝐧𝐪𝐮𝐞 𝐬𝐭𝐚𝐛𝐢𝐥𝐢𝐫𝐞 𝐮𝐧𝐚 𝐜𝐨𝐧𝐧𝐞𝐬𝐬𝐢𝐨𝐧𝐞 𝐬𝐢𝐠𝐧𝐢𝐟𝐢𝐜𝐚𝐭𝐢𝐯𝐚. 𝐒𝐞𝐦𝐛𝐫𝐚 𝐪𝐮𝐚𝐬𝐢 𝐭𝐢 𝐩𝐢𝐚𝐜𝐜𝐢𝐚 𝐜𝐨𝐠𝐥𝐢𝐞𝐫𝐞 𝐥𝐞 𝐬𝐟𝐢𝐝𝐞 𝐞 𝐦𝐞𝐭𝐭𝐞𝐫𝐭𝐢 𝐢𝐧 𝐪𝐮𝐞𝐬𝐭𝐢 𝐚𝐦𝐛𝐢𝐞𝐧𝐭𝐢 𝐧𝐨𝐧 𝐫𝐨𝐜𝐤.
BILLIE: Yes, that's true. I always feel like a stranger in those things, but I think Green Day will always be some kind of class clown in whatever they do. We are the kids who will detonate firecrackers at the talent show. And so those things are fun because we're not trying to be like anyone else and we're not trying to be modern. I mean, for God's sake, we still play wooden instruments, you know? [laughs] Now it's almost strange for boys. So I don't know why these guys still like it. I think it's just that they see it as "real".

𝐏𝐞𝐫 𝐪𝐮𝐚𝐧𝐭𝐨 𝐫𝐢𝐠𝐮𝐚𝐫𝐝𝐚 𝐢 𝐫𝐚𝐠𝐚𝐳𝐳𝐢 𝐜𝐡𝐞 𝐮𝐬𝐚𝐧𝐨 𝐪𝐮𝐞𝐬𝐭𝐢 𝐩𝐞𝐭𝐚𝐫𝐝𝐢, 𝐥'𝐚𝐧𝐧𝐨 𝐬𝐜𝐨𝐫𝐬𝐨 𝐩𝐞𝐫 𝐢𝐥 𝐑𝐞𝐜𝐨𝐫𝐝 𝐒𝐭𝐨𝐫𝐞 𝐃𝐚𝐲 𝐚𝐯𝐞𝐭𝐞 𝐩𝐮𝐛𝐛𝐥𝐢𝐜𝐚𝐭𝐨 𝐮𝐧𝐚 𝐯𝐞𝐫𝐬𝐢𝐨𝐧𝐞 𝐢𝐧 𝐯𝐢𝐧𝐢𝐥𝐞 𝐝𝐞𝐥 𝐯𝐨𝐬𝐭𝐫𝐨 𝐬𝐞𝐭 𝐚 𝐖𝐨𝐨𝐝𝐬𝐭𝐨𝐜𝐤 '𝟗𝟒 𝐩𝐞𝐫 𝐜𝐨𝐦𝐦𝐞𝐦𝐨𝐫𝐚𝐫𝐞 𝐢𝐥 𝟐𝟓 ° 𝐚𝐧𝐧𝐢𝐯𝐞𝐫𝐬𝐚𝐫𝐢𝐨 𝐝𝐞𝐥 𝐟𝐞𝐬𝐭𝐢𝐯𝐚𝐥. 𝐐𝐮𝐞𝐥𝐥𝐨 𝐬𝐩𝐞𝐭𝐭𝐚𝐜𝐨𝐥𝐨, 𝐜𝐡𝐞 𝐬𝐢 𝐞̀ 𝐜𝐨𝐧𝐜𝐥𝐮𝐬𝐨 𝐜𝐨𝐧 𝐮𝐧𝐚 𝐛𝐚𝐭𝐭𝐚𝐠𝐥𝐢𝐚 𝐝𝐢 𝐟𝐚𝐧𝐠𝐨 𝐭𝐫𝐚 𝐭𝐞 𝐞 𝐥𝐚 𝐟𝐨𝐥𝐥𝐚, 𝐬𝐞𝐦𝐛𝐫𝐚 𝐚𝐯𝐞𝐫 𝐚𝐥𝐢𝐦𝐞𝐧𝐭𝐚𝐭𝐨 𝐥𝐚 𝐯𝐨𝐬𝐭𝐫𝐚 𝐚𝐬𝐜𝐞𝐬𝐚 𝐚𝐥𝐥𝐚 𝐟𝐚𝐦𝐚 𝐝𝐮𝐫𝐚𝐧𝐭𝐞 𝐢𝐥 𝐩𝐞𝐫𝐢𝐨𝐝𝐨 𝐝𝐢 𝐃𝐨𝐨𝐤𝐢𝐞. 𝐏𝐞𝐧𝐬𝐢 𝐜𝐡𝐞 𝐪𝐮𝐞𝐥 𝐦𝐨𝐦𝐞𝐧𝐭𝐨 𝐚𝐛𝐛𝐢𝐚 𝐚𝐥𝐭𝐞𝐫𝐚𝐭𝐨 𝐥𝐚 𝐭𝐫𝐚𝐢𝐞𝐭𝐭𝐨𝐫𝐢𝐚 𝐝𝐞𝐥𝐥𝐚 𝐛𝐚𝐧𝐝?
BILLIE: When I think about it now, absolutely. But at that time, I mean, I think the first thing we were thinking about was Woodstock, it looks so ... stupid! Like, why would they do another Woodstock? So we went up there and we were like, well, let's have fun, it's ourselves. And it was a strange show because we started playing, and I think we started on a rather fiery way. But then there was a kind of drop in energy somewhere. So it went from good to 'Oh shit ... we might sound bad'. Then they started throwing a couple of mud balls at us and basically what you saw was a couple of naughty kids on stage having fun with the people in the audience. Because we were the same age as people in the crowd. But the the impact that followed was insane. I remember that we were the opening band of the Lollapalooza tour that year, and the other bands that were there were Smashing Pumpkins, Beastie Boys, A Tribe Called Quest, the Breeders, L7 ... And suddenly, all of them arrived first to come and see us play. It was a really exciting and a bit crazy time.

𝐄𝐫𝐨 𝐭𝐫𝐚 𝐢𝐥 𝐩𝐮𝐛𝐛𝐥𝐢𝐜𝐨 𝐩𝐞𝐫 𝐥𝐨 𝐬𝐩𝐞𝐭𝐭𝐚𝐜𝐨𝐥𝐨 𝐝𝐢 𝐖𝐨𝐨𝐝𝐬𝐭𝐨𝐜𝐤 𝐞 𝐮𝐧𝐚 𝐜𝐨𝐬𝐚 𝐜𝐡𝐞 𝐫𝐢𝐜𝐨𝐫𝐝𝐨 𝐝𝐞𝐥𝐥𝐚 𝐥𝐨𝐭𝐭𝐚 𝐚𝐥 𝐟𝐚𝐧𝐠𝐨 - 𝐞 𝐪𝐮𝐚𝐥𝐜𝐨𝐬𝐚 𝐚 𝐜𝐮𝐢 𝐩𝐞𝐧𝐬𝐨 𝐚𝐧𝐜𝐨𝐫𝐚 𝐪𝐮𝐚𝐧𝐝𝐨 𝐠𝐮𝐚𝐫𝐝𝐨 𝐢 𝐯𝐢𝐝𝐞𝐨 𝐬𝐮 𝐘𝐨𝐮𝐓𝐮𝐛𝐞 - 𝐞̀ 𝐜𝐡𝐞 𝐞̀ 𝐝𝐢𝐟𝐟𝐢𝐜𝐢𝐥𝐞 𝐝𝐢𝐫𝐞 𝐬𝐞 𝐭𝐢 𝐬𝐭𝐚𝐯𝐢 𝐝𝐢𝐯𝐞𝐫𝐭𝐞𝐧𝐝𝐨 𝐨 𝐬𝐞 𝐞𝐫𝐢 𝐢𝐧𝐜𝐚𝐳𝐳𝐚𝐭𝐨. 𝐅𝐨𝐫𝐬𝐞 𝐞𝐫𝐚 𝐮𝐧𝐚 𝐜𝐨𝐦𝐛𝐢𝐧𝐚𝐳𝐢𝐨𝐧𝐞 𝐝𝐞𝐥𝐥𝐞 𝐝𝐮𝐞 𝐜𝐨𝐬𝐞.
BILLIE: Probably a combination of the two. I don't really remember being angry. I really don't remember having fun. There was only mud. And nobody was really taking advantage of the fact that there was mud, except for the people who were in the crowd. But I think a lot of people in the audience were a little unhappy, because everyone was covered in shit and slept in tents and spent five dollars on water in 1994. So I don't know. If you can't beat them, join them!

𝐁𝐞𝐧𝐞, 𝐞𝐜𝐜𝐨𝐜𝐢 𝐩𝐢𝐮̀ 𝐨 𝐦𝐞𝐧𝐨 𝐮𝐧 𝐪𝐮𝐚𝐫𝐭𝐨 𝐝𝐢 𝐬𝐞𝐜𝐨𝐥𝐨 𝐩𝐢𝐮̀ 𝐭𝐚𝐫𝐝𝐢 𝐞 𝐩𝐚𝐬𝐬𝐞𝐫𝐚𝐢 𝐪𝐮𝐞𝐬𝐭𝐚 𝐞𝐬𝐭𝐚𝐭𝐞 𝐚 𝐜𝐚𝐥𝐜𝐚𝐫𝐞 𝐠𝐥𝐢 𝐬𝐭𝐚𝐝𝐢. 𝐋𝐞 𝐩𝐞𝐫𝐬𝐨𝐧𝐞 𝐩𝐚𝐫𝐥𝐚𝐧𝐨 𝐜𝐨𝐬𝐭𝐚𝐧𝐭𝐞𝐦𝐞𝐧𝐭𝐞 𝐝𝐢 𝐦𝐨𝐫𝐭𝐞 𝐝𝐞𝐥 𝐫𝐨𝐜𝐤. 𝐏𝐞𝐧𝐬𝐢 𝐜𝐡𝐞 𝐬𝐢𝐚 𝐢𝐦𝐩𝐨𝐫𝐭𝐚𝐧𝐭𝐞 𝐬𝐮𝐨𝐧𝐚𝐫𝐞 𝐪𝐮𝐞𝐬𝐭𝐚 𝐦𝐮𝐬𝐢𝐜𝐚 𝐢𝐧 𝐥𝐮𝐨𝐠𝐡𝐢 𝐝𝐢 𝐪𝐮𝐞𝐥𝐥𝐞 𝐝𝐢𝐦𝐞𝐧𝐬𝐢𝐨𝐧𝐢 𝐧𝐞𝐥 𝟐𝟎𝟐𝟎?
BILLIE: Well, rock and roll is huge, you know? Rock bands are giants. It's just that mainstream media, or pop media, or whatever you want to call it, refuse to recognize it. They refuse to talk about it. And I don't really know why. Maybe it's just because it's not Taylor Swift or Ariana Grande. I have nothing against stuff like that, but it's as if you had these huge festivals taking place across America and across Europe, Australia and Japan, and it's mostly rock bands that attract. So it drives me crazy when people say rock is dead, because it's like saying, "No, it's not. You just don't talk about it." everyone is trying to write the best song of the year. Don't try to write the best song of the year! With this album, I wanted to write the worst song of the year. [Laughs]

𝐏𝐞𝐫 𝐪𝐮𝐚𝐧𝐭𝐨 𝐫𝐢𝐠𝐮𝐚𝐫𝐝𝐚 𝐥𝐞 𝐩𝐚𝐫𝐨𝐥𝐞 𝐝𝐢𝐞𝐭𝐫𝐨 𝐪𝐮𝐞𝐬𝐭𝐞 𝐧𝐮𝐨𝐯𝐞 𝐜𝐚𝐧𝐳𝐨𝐧𝐢, 𝐝𝐚 𝐝𝐨𝐯𝐞 𝐧𝐚𝐬𝐜𝐞 𝐢𝐥 𝐭𝐢𝐭𝐨𝐥𝐨 𝐝𝐞𝐥𝐥'𝐚𝐥𝐛𝐮𝐦?
BILLIE: I guess it's a bit of a joke with poetry or using the English language against itself, distorting everything. And of course you can think, for example, of Trump, when referring to such a title. But there's also this latest kind of crazy feeling gangster about it, where you're like, "Well, I've been in this game for 30 years and I'm not going to go anywhere." It also looks like that. So calling the album Father of All Mother ******* - it just takes the term and makes it even worse than it already was.

 

 

It's in english in the actual publication, so hopefully someone can post good quality scans soon.

[pacejunkie punk]

Thank you @DadBod and @kaylubd ! This should hold me over until the scans get posted.

[WorryRock02]

Scans just uploaded (redeable) 

 

[stories and songs]

“do a song like "Junkies on a High", where I'm literally joking with a sort of hip-hop / trap rhythm, but adding this blues melody.”

This isn’t how I’d describe this song, but ok. 

I know many noted how it’s very similar to BOBD, but I’m thinking now that this wasn’t intentional. 😕

[pacejunkie punk]

Talking about the writing of Oh Yeah: “And three beers later that’s what you end up with”

So now beer is apparently a measure of time 🤦‍♀️

[Beerjeezus]

That's one flexible measure

[stories and songs]

12 minutes ago, pacejunkie punk said:

Talking about the writing of Oh Yeah: “And three beers later that’s what you end up with”

So now beer is apparently a measure of time 🤦‍♀️

Tbh it shows. I can’t get myself to like that song. It doesn’t go anywhere!

[Guest]

So here he is saying he used trap rhythm in a song, but then they advertised it as "no trap beats." 🤨

[Beerjeezus]

Maybe next thing we discover will be that Billie is in fact Swedish

[Little Boy Named Booze]

Maybe after 5 bags of cocaine he ended up with SYITH

[Lenny]

4 hours ago, stories and songs said:

“do a song like "Junkies on a High", where I'm literally joking with a sort of hip-hop / trap rhythm, but adding this blues melody.”

This isn’t how I’d describe this song, but ok. 

I know many noted how it’s very similar to BOBD, but I’m thinking now that this wasn’t intentional. 😕

Same progression in a different key 

4 hours ago, pacejunkie punk said:

Talking about the writing of Oh Yeah: “And three beers later that’s what you end up with”

So now beer is apparently a measure of time 🤦‍♀️

Wow he wrote that fast

[Beerjeezus]

4 minutes ago, Sheenius said:

Wow he wrote that fast

He said 21CB took him 5 minutes, so this either didn't go so fast or he downed the beers,

[DookieLukie]

11 minutes ago, Little Boy Named Airplane said:

Maybe after 5 bags of cocaine he ended up with SYITH

What's SYITH?

[Beerjeezus]

3 minutes ago, DookieLukie said:

What's SYITH?

Stab You In The Heart

[Little Boy Named Booze]

Yeah it wasn't funny because I said Billie Joe and Cocaine in the same sentence.

[localinsomniac]

2 hours ago, Little Boy Named Airplane said:

Maybe after 5 bags of cocaine he ended up with SYITH

After 5 bags of coke he might NEED someone to stab him in the heart.

[DookieLukie]

4 hours ago, stories and songs said:

“do a song like "Junkies on a High", where I'm literally joking with a sort of hip-hop / trap rhythm, but adding this blues melody.”

This isn’t how I’d describe this song, but ok. 

I know many noted how it’s very similar to BOBD, but I’m thinking now that this wasn’t intentional. 😕

It has a similar chord structure, but tons of songs have that structure.

[The Grohl]

Not sure if it's still needed, but here are my scans  

https://imgur.com/a/1ilq0MW

[Jimmy Strummer]

"Rock bands are giants. It's just the mainstream media [...] they refuse to look at it. They refuse to talk about it. And I don't really know why. Maybe it's just because it's not Taylor Swift or Ariana Grande. I don't have anything against that stuff"

See, BuzzFeed?! Billie doesn't hate Ariana Grande and didn't mean to "drag" her -- it's just his opinion!

[Rumpelstiltskin2000]