"House" Ten Year Anniversary
Watching Money Ball for the third time on the flight home from South America, I couldn't help reflecting on the similarities of the Oakland A's, Billy Bean and my band The Rapture. We succeeded in everything I ever wanted back in 2002 but like Bean, I didn't realize it. Because "House of Jealous Lovers" didn't get played on the radio and sell millions of records I thought I had failed. I started listening to people around me who told me that it wasn't enough and I slowly pushed away the people who believed in me outside of the band.
That song changed the game, we were the first band of our generation to write a really killer song that incorporated something that you could DJ in a club full stop with a punk vibe. People ask me about that all the time in interviews and I have been brushing it off for years, but I think it's finally time for me to claim it, to be myself, fearlessly. Ten years ago, I accomplished everything I ever wanted in music. To make a mark, to be part of the awesome chain of music history, however small. Like Moneyball, people came along and sold a lot of records and made lot's of songs that got played on the radio with that idea that we pioneered, and are still doing it. But we were there first, and that's enough, finally.
I have been blessed to make enough money to help raise my son, and still do the job I know and love and stay married to a beautiful woman who is my best friend. Many of the people who I started playing music with don't even do it anymore at all in any form, or certainly are not getting to travel the world and play for many people all the time. I never wanted to make a shit ton of money or be super famous, that's not the point. To love what you do, and have a chance to do it everyday, that is success.
Back in the day, Vito, Mattie and I wrote a song down at Tasty Fish Studios a rehearsal space in the Lower East side, and James Murphey and Tim Goldsworthy did a hell of a job producing it into something that worked. Jonathan Galkin quit his much more high paying job as a corporate dude, to do something he loved (managing the label), James and Tim got Metro Area to remix the sucker because that would give it some legitimacy on the b-side, and DFA was born, in a little studio on West 13th St, where Civilles and Coles made music ten years before that, in a building owned by Tyler Broadie who used to tour with us.
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