Being a musician is a noble profession.— Paul Weller
The most empowering Paul Weller quotes that will be huge advantage for your personal development
Everyone gets frustrated and aggressive, and I'd sooner take my aggression out on a guitar than on a person.
I'm still a mod, I'll always be a mod, you can bury me a mod.
No man should have cowboys boots in his wardrobe.
That's fair enough, isn't it? Unless you're a cowboy, of course.
You have to keep challenging yourself.
I've always tried to do that, and I'm not saying I've always been successful. Maybe I've rewritten the same song; it's inevitable, but I've always been mindful of taking the writing somewhere else. You can't stick in your little comfort zone.
Sometimes you're ahead of the game and sometimes people don't get it and that's just one of those things you have to accept and carry on.
I think anybody goes through a crisis of confidence from time to time.
You have to kind of doubt yourself, sometimes. It's the way forward.
The Jam were a good band, however I feel that the Style Council were better.
A lot of people I know will disagree with me. Some things we did with The Style Council were misinterpreted or over their heads.
You can't live a lie. You have to follow your heart.
Why not go down the pub? A guy once came up to me at a gig and asked me if I had MySpace. I said, 'This is my space, and you're invading it.'
People say you make your best work when in despair, but I think happiness is a good place to write from.
I look for that stimulation constantly.
I'm looking for inspiration and stimulation. Not bored with what we've done.
I suppose it's nice to have some surprise in life and to surprise yourself in life and see what else you can do.
I play out my role, I've even been out walking -They tell me that it helps, but I know when I'm beaten.
I think part of what we do is there is a bit of dandy influence, always, or a little sprinkle of it. Not literal Savile Row dandy, but there's a bit of sartorial dandiness in everything that we do - every collection that we do.
There's always something in most world folk musics that always seems connected;
whether it's a bagpipe or a tambura, there's always some sort of drone instrument, and there's always percussion.
I think the world is really small today, and fashion, from that end of it, it's instantaneous everywhere.
Today, we're even into the whole sweat thing.
They'll wear a [suit] jacket like this, but they'll wear it with sweat pants and sneakers. But I do think there is every generation - and it won't be as big as it was when you and I were those ages - but every generation all of a sudden experiences that they want to dress up.
I'm always looking forward to what I'm doing now, and what's ahead.
In the past we used to come over to see what was going on in London or Paris or Milan or wherever - it's pretty much the same stuff everywhere [now], and people are wearing the same things, because it's all instantaneous with the Internet.
The first thing I bought that was really stylish was in 1969 when I was eleven.
I saved up for a black, grey and white tie-dye grandad vest. It was too big - they weren't catering for kids my age - and hung off me, but I loved it.
My own personal theory is that all popular music, in whatever form it is, to me, it all comes from Africa. Whether it's filtered through America or whatever - African-American. But I still think there's something in that roots music that's very, very African, and I think that's what unites people.
I don't like the royal family, I don't like the establishment, I don't like the civil service.
There's such a wealth of great music, clothes or whatever.
There is so much great stuff out there, that why would you not still be interested if you've grown up in that kind of culture?
I think people are just really disappointed, disappointed with Blair as well, who's just like Bush's lapdog. I think everyone's just disillusioned with politics in our country, and it must be the same in your country.
I really enjoy playing America. I like the audiences there. It's the home of a lot of music I grew up with.
You do your runway show, and it's all over the Internet before I see anything on there.
When I listen to a record, or when I'm making a record, I listen to everything.
I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble.
In the early-'60s, when you look at that period of time - up to the mod time - when everybody was wearing skinnier suits and skinny lapels and skinny ties - that came out of the States, and that was quite cool.
When I got into the Beatles, I must have only been about six or seven but old enough to take notice. We used to have an old radiogram which, for readers of a certain age, was like a big cabinet thing with a record player inside it.
I never, ever wanted to be the Rolling Stones.
Bless their hearts, but I dont necessarily want to go on doing the same old thing for the next 10, 20 years... I could see how easy it is to get into that rut, the whole touring mindset.
I'd like to think I've left something in the world.
Without in any way trying to be morbid, but life is very short, and I'd like to think I'd leave some body of work that would inspire other musicians long after I've gone.
I get bored quickly. I kind of take my hat off to bands who have been around for a long time and still do the same thing, because it's hard to keep a band together for decades. But I couldn't do that. I couldn't play the same songs night after night or just trade on my past glories, because it wouldn't interest me as a person.
I saw an interview with Keith Richards.
He said, 'How else could a kid in Dartford suddenly connect with and understand what Muddy Waters is singing?' There's a cultural difference, but there's just something in that music that subconsciously or internally you just understand; it just makes sense.
In all honesty, I don't know what one song can change.
I'm not big on rap, to be honest. I just don't get it. It's angry people shouting. I like a song, melodies, people singing.
I've always liked my clothes, even before I could properly afford them.
Clothes for me were never a cloak, a cover. They were how I chose to express myself.
I could write songs about politics, but I'm conscious of not writing songs that sound the same as the ones I wrote 30 years ago.
When you look at so much of what we all love, there's either soul-based to it, or it's the blues. It's really the beginnings of any kind of music. It really is; it all starts there. Because after that, it's music of the moment.
I get labelled as just being about one thing, but there's lots of layers to what I do.
The '40s were quite austere and super glamorous.
In my world [of fashion] there's more things that kind of affect it.
There's the retailers we do business with, our own stores, my merchandising team... Everybody has opinions, and so you definitely have to filter through a lot.
Young people can listen to music at any moment in the day or night.
Which is great, but I think it kind of devalues it as well. They don't feel the need to own it. They certainly don't feel the need to pay for it. I'd have to save up for weeks to buy an album when I was a kid, and that made it even more great for me when I finally got that thing in my hand.
I only put an album out every two or three years.
I just pretty much love from 1966 to 1972, that's my time.
I think everything that needs to be said was said within that time. That's just a subjective thing, as well.
I'm fine with being thought of as a guitar player, and if I can get any recognition or respect for doing that, that's a pretty good thing for me.
The whole thing with eastern music and instruments, I love all that stuff.
If we get through for two minutes only it will be a start!
I wanted to make a record that sounded like a continous piece
It's a global fashion thing; because of the Internet it has gotten really small. It's cluttered, but it's gotten small.