– We just started getting
into playing punk rock, if you will, because we just identified with it, and we liked it. It wasn’t about having a mohawk, or it wasn’t about having
spiked belts, or whatever. It’s just about being an individual, and, just being yourself. And so, we just, kind of, stuck by that. There was no proof you could
become famous off of doing it, or being huge. We just kept doing what we did, because we enjoyed it, and we liked what it represented and we wanted to be a part of that. I am not going to become a mud hippie! I don’t care what you say! (crowd cheering) I don’t care what you do! I don’t want to be a mud hippie! – Me and Mike [Dirnt], let’s see. We knew each other, we met each other in fifth grade, and he was just the most wiry, insane kid I have ever
seen, I swear to God. The first time my sister ever met Mike, he was- He came to my house, and he was just like (mumbles) just this ball of nerves, really scrawny, shorter than me real little guy. Just this little blond haired, looked like he was one of those
guys from “Bad News Bears”, or something.
(laughs) Just, kind of, you know,
real wiry all the time. And he– He comes over to my house, and I’m like, “Hi, mom. This is Mike. Blah blah blah.” My sister– I was just standing there in the kitchen for some reason, and then, Mike comes screaming, running as fast as he
can through the kitchen. And my sister had a knife,
like coming after him. Like this. I couldn’t– This is the first day they met, you know. I gotta be in a band with this guy. – We met Tré [Cool] on the way
back down from Arcata. We dropped our old
drummer off for college, and he was hitchhiking on
the way back when we met him. He just happened to be
a really good drummer. He had some bongos. He looked really crazy, and we
started hanging out with him. Next thing you know, he’s our drummer. – As far as Green Day, we started out on a label
called Look Out Records. And– Very tiny, independent label. It was based out of
Laytonville, California, then went to Berkeley, California. And we released a seven inch
called ‘One Thousand Hours,’ and then, we released an
LP called ’39/Smooth.’ Then, we released another
EP called ‘Slappy,’ and then, we really sold out. And then, came out with a
CD with all three on it. – This “Basket Case”…
who is the basket case? Are you all basket cases,
or what’s up with that? – No. – It’s actually supposed
to say “Biscuit Case.” That was a misprint,
it was “Biscuit Case.” – Oh, it’s biscuit– – We have a real problem
with eating, ya know. – Biscuits.
– We’re like biscuit shy. – And then, I want to ask a question. Why ‘Dookie’? Explain ‘Dookie.’ – That comes out of your arse. – It’s an arse thing. – Can we keep this clean, fellas? – I mean, I knew I wanted to play music, and I knew that if I directed
my energies the right way and we’re smart, then we’d
be able to live off it. Even if it meant, getting, passing a hat around when
we’re in Boulder, Colorado, And, just to get to the next gig. That’s basically all we wanted. No contracts, no riders,
or anything like that. Little different now. – “Anywhere and everywhere” was the motto. We just went. We played everywhere you
can possibly imagine. From existentialist churches, to banks, to bathrooms, to rooftops, to the middle of the street, to people’s kitchens to, I mean, lots of places. You do whatever you can. – We were influenced the opposite of what influences usually are. We’re influenced on what we hated. Like Hall and Oates… All this, Cyndi Lauper, all this ’80s crap. – [Interviewer] Yeah,
just didn’t wanna be– – All, like, the mainstream ’80s crap. The whole Martha Quinn era. – The thing is, a lot of people think
this is our second record, and this is our fourth, and we treat it like our fourth record. We’re not gonna pretend to, I don’t wanna– – It’s like, oh ‘Dookie’
was our first record. Okay, now we’re really playing ball. – Yeah, I mean, this is our fourth album. We’ve been doing this since 1988. We went in, recorded ‘Dookie,’ went
immediately out on the road. Went out on the road for
10 months or something. Came back, started working
on the songs for ‘Insomniac.’ Recorded the songs for ‘Insomniac,’ and immediately hit the road. So, it’s just like boom, boom,
boom, boom, boom, boom, boom. The last one, it’s a really aggressive record, but it’s also, we were in a very vulnerable
time in our lives, because everything that
happened with ‘Dookie,’ and we just, sort of, wanted
to stop that record in a way. Like, putting out
something else really fast. I mean, that’s not how
the record was written, or why it was written at all, but it was somewhere in
the back of our minds. It was like, let’s just get something out, so we can go on. The thing the last record
allowed us to do was, it was like a foundation for us. To where after that, we
could go anywhere we want. – [Interviewer] I remember
when I first talked to you guys when you were mixing the record, and “Good Riddance” was a song
that meant a lot to you then, as I’m sure it still does. Is it gratifying that people have seemed to have gotten into that song, in particular? – Yeah, I mean, yeah it’s– It doesn’t really matter what song it is. I think there’s a lot of
people that heard that song, and didn’t even know it
was Green Day, you know? I’ve actually talked to people that said, “Man, I’ve heard that song, I didn’t even know it
was you guys, because–” You know, it’s a song that’s, sort of, a lot more vulnerable than what
we’ve ever done in the past. We’ve been making
records since we were 16, so, I mean– We definitely try to just depict whatever time that we’re in
through music and lyrics. – It’d be pretty dumb to try
to pretend we’re 19 forever. – Yeah, we’re not gonna
try to write ‘Basket Case,’ 12 times in a row for one record. In that sense, yeah, I
guess we probably are more of a grown up band. ‘American Idiot’ is just about, just sort of, the confusion
in what’s going on today. Whether it’s, the non-reality of
reality television meets, what you see on CNN, and what kind of fear is being, imposed on what, like, me as
a watcher of all this stuff. And just feeling completely confused, and not really– It’s an opinion of lack
of having an opinion, and just feeling completely alienated and confused. – Politics always reflect music
in some way, shape or form. Whether it was in the 60s, or now, or, whatever you have. – One thing, besides the politics, that’s on this record, is defined at, human relationships between, friends and loved ones, family. What is really going on in the video for “Wake Me Up When September
Ends” is that sense of loss of, in a relationship where
people are being torn apart, and the song is about
my father passing away when I was 10 years old. It was the first time I’ve ever written about something like that, so I think that’s the main thing that ties the song into the video. There’s that sense of loss from natural or unnatural causes. We, kind of had this idea of putting out record after record. We wanna, kind of do it
as like the old days, like The Beatles did it, or, just trying to be
prolific as much as possible. For us, it was just– I wouldn’t say it was a mistake, but I think at this point in our career if we were supposed to
do something like that, I think I wouldn’t wanna put
out something half-baked. You can’t predict
success, you have no idea. I think, for us, we play
the records in its entirety. We played at the Fox Theater in Oakland, and we play, like, the DNA lounge, and we play the whole
record from front to back. And I think in doing that, to me, feels like we’re taking control of our career in the way that it’s presented. There’s gonna be people 10 years from now, they’re gonna say,
“Hey, I was at that show when you guys did ’21st
Century Breakdown.'” – What is it that keep you
guys inspired and motivated like that? – I think just mixing things
up for us all the time, and always, kind of, taking risks and going into
the unknown a little bit, and I don’t know. We’ve had a lot of happy accidents. The fact that our record’s
becoming a musical, that’s such a rare thing
for any band to have. But I think by design
the record was, soft of, meant to be like that. I don’t think there’s
ever been a bigger high, in the 21 years that we’ve
been a band together. You make this crazy
record that’s political, and it’s a rock opera,
and it’s brought to-, It’s flesh and blood, you know? People actually acting it out on stage. Well for us, it was always, kind of, a slow evolution through time. After our first records on Lookout! from ‘Dookie,’ and then
all the way through to ’21st Century Breakdown,’ it was just, taking the right kind of risks, but not trying to do something that’s– where you’re pushing too hard to try to evolve into something that you’re not. If you don’t want us, don’t take us. I don’t give a damn. We’re gonna stick to who we
are and what we believe in. And, I think that we’re gonna– We jumped on this ship a long time ago, and damnit we’re gonna go down with it.

Author Since: Mar 11, 2019

  1. Tell me Timothee Chalamet and Lucas Hedges and Skyler Gisondo wouldn't be perfect for Billie Joe and Mike and Tre in a biopic??

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