Now Playing Tracks

  • Track Name

    Entry Way Song

  • Album

    A Collection of Singles and Compilation Tracks: 1996-2007 (Disk 2)

  • Artist

    Bright Eyes



If I remember correctly, Conor wrote this song for his father and it makes me smile thinking of him hearing it for the first time. Like, imagine if the little boy you raised wrote this for you.

you remember correctly.

and I KNOW I WOULD DIE! melt right into a puddle of AWEs 

(Source: oberstcult)

Conor Oberst talks about songwriting with Vanity Fair

  • (Selections - it's a long interview!)

  • VF:

    On Cassadaga you seemed to express a New Age-y openmindedness towards new spirituality and the occult, and this sort of falls in line with that.

  • CO:

    I’m fascinated with anything that people truly believe in, and I don’t really draw too much of a distinction between a belief like that or a belief in organized religion or any kind of philosophy. I guess I find it interesting—it’s maybe a fascination more than anything, with searching and being able to put our existence, as humans, into some kind of context.

  • VF:

    Can you release a new record without some fans assuming that you are sharing the state of your personal life?

  • CO:

    Pronouns really don’t matter in a song—I or he or she or even subscribing a lyric to an inanimate object. Especially with my earlier records, which were stylistically much more confessional, there’s a type of person who really wants to know what parts are true. I don’t know what that is in people. I try to write songs that are a little more open to interpretation these days, even though I know what the songs mean to me. I think more people project connections to their own life. Which is just as valuable as what I intended.

  • VF:

    Bright Eyes toured the swing states in 2004 on the Vote For Change tour, and your song “When the President Talks to God” got a lot of media attention. It can be argued that since Obama’s election, there have been fewer artists writing protest songs, but you’re not one of them (Bright Eyes’ “Coyote Song” was part of The Sound Strike campaign and artists boycott of Arizona following the controversial SB 1070 immigration law).

  • CO:

    I would never judge an artist for bringing that into their art or music or not. I think it’s up to each person’s choice, and what they feel compelled to do. It’s not something I go looking for, and not something I really enjoy doing, either, but those ideas find their way into songs and kind of become the topic in that way. With the 1070 stuff, I just felt really compelled to say something. It seemed so insane to me that this was even up for debate.

  • VF:

    How is a protest song created? Do you read something or hear something from another person and just pick up your guitar?

  • CO:

    It happens in different ways. “When the President Talks to God,” was deliberate. I was extremely angry after Bush got re-elected. The whole point was to have like a commercial more than it was a song—I don’t think it’s a particularly good song. But just to say something that needed to be said.

  • VF:

    A protest song is almost obliged to be better than other songs, or at least to generate a catharsis or inspire action. Is that a challenge? It almost has to be “Ohio,” or “Free Nelson Mandela,” to really work.

  • CO:

    Yeah, I don’t know. I try to make all my songs good. I don’t ever write one to finish one. A lot of protest songs end up that way, driven by some kind of emotional response.

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