"We try some really interesting things besides being outright commercial"
About this Quote
There is a quiet defensiveness baked into Bruce Johnston's line, the kind that only shows up when an artist knows the accusation is already in the room. "We try" does a lot of work: it's modest, non-combative, and carefully noncommittal, as if he's negotiating with an invisible jury of critics who hear "pop" and immediately reach for "product". The phrase "really interesting things" is deliberately vague, a soft-focus claim of experimentation that can cover anything from harmonic risk to studio trickery to simply deviating from the expected hit formula. He doesn't specify because specificity invites cross-examination.
The real tell is "besides being outright commercial". Johnston doesn't deny commerciality; he reframes it as a spectrum. "Outright" suggests there's a respectable, indirect version of making money: the kind where art leads and commerce follows, or at least where the machinery isn't too loud. It's the language of a musician from a band era where chart success was both the goal and the stigma, especially for acts who were massively popular and therefore perpetually suspected of being manufactured.
Contextually, it reads like a Beach Boys-adjacent posture: the tug-of-war between lush craft and marketplace demands, between the studio as a playground and the radio as a gatekeeper. The intent isn't to claim purity; it's to claim complexity. Johnston is asking to be judged not just by sales, but by the moments where the work slips its leash.
The real tell is "besides being outright commercial". Johnston doesn't deny commerciality; he reframes it as a spectrum. "Outright" suggests there's a respectable, indirect version of making money: the kind where art leads and commerce follows, or at least where the machinery isn't too loud. It's the language of a musician from a band era where chart success was both the goal and the stigma, especially for acts who were massively popular and therefore perpetually suspected of being manufactured.
Contextually, it reads like a Beach Boys-adjacent posture: the tug-of-war between lush craft and marketplace demands, between the studio as a playground and the radio as a gatekeeper. The intent isn't to claim purity; it's to claim complexity. Johnston is asking to be judged not just by sales, but by the moments where the work slips its leash.
Quote Details
| Topic | Music |
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