"I'd just play 'til my hands fell off. My parents would yell at me to stop because they couldn't stand the noise any more! I was terrible! It must have been hard for them to listen to me as a beginning drummer"
About this Quote
Pure obsession, told as a domestic noise complaint. Randy Castillo frames his origin story in the least heroic way possible: not destiny, not prodigy, just a kid hammering away until the body gives out and the household revolts. That opening image - "play 'til my hands fell off" - is rock mythology stripped of its glamour. It signals compulsion, the kind that doesn’t wait for permission or talent to arrive. The irony is that the drive comes first; skill is almost incidental.
The parents’ yelling does double duty. On the surface it’s comic relief, a familiar scene of working-class sanity versus adolescent volume. Underneath, it’s an early portrait of what making loud music costs: it alienates the people closest to you before it ever impresses strangers. "They couldn't stand the noise any more" isn’t just about decibels; it’s about endurance, patience, and the awkward intimacy of hearing someone practice their way through being bad.
Castillo’s blunt self-assessment - "I was terrible!" - is the quiet flex. Musicians usually launder their beginnings into evidence of innate gift. He leans into cringe, which makes the commitment feel real. The last line, sympathizing with his parents, retrofits the story with adulthood: he’s not romanticizing nuisance; he’s acknowledging it. In a genre that sells rebellion, this is rebellion with consequences, and it’s the most believable kind of authenticity - the unpretty part you can’t edit out.
The parents’ yelling does double duty. On the surface it’s comic relief, a familiar scene of working-class sanity versus adolescent volume. Underneath, it’s an early portrait of what making loud music costs: it alienates the people closest to you before it ever impresses strangers. "They couldn't stand the noise any more" isn’t just about decibels; it’s about endurance, patience, and the awkward intimacy of hearing someone practice their way through being bad.
Castillo’s blunt self-assessment - "I was terrible!" - is the quiet flex. Musicians usually launder their beginnings into evidence of innate gift. He leans into cringe, which makes the commitment feel real. The last line, sympathizing with his parents, retrofits the story with adulthood: he’s not romanticizing nuisance; he’s acknowledging it. In a genre that sells rebellion, this is rebellion with consequences, and it’s the most believable kind of authenticity - the unpretty part you can’t edit out.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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