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Neil Tennant: Obviously it was inspired by the fact that we’re supposed to be boring or something, and I thought what a good song title it would be. Then I remembered that when I was 18 or 19 all my friends in Newcastle had a party and the invitations quoted this famous Zelda Fitzgerald quote from the 1920s: “we were never bored, because we were never boring.” I spoke to a friend Dave Rimmer recently and told him about this song and he said “I’ve got the invitation in front of me”—it was quite a big do at the time, it was called “the Great Urban Dionysia Party.” The first verse is about finding the invitation: It then says “we were never feeling bored, because we were never being boring.” The second verse is about leaving Newcastle to go to college in London. And someone had said to us “the trouble with you lot is you’ll have experienced everything by the time you’re 18—you’ll have nothing left to experience.” And the third verse is me, now, just thinking where the people are who I was with then. So it’s quite a sad song, but quite jolly too. Literally 4. | ||
Neil Tennant: Being boring is about my friends, and how we used to go to parties and stuff. And we all used to want to be pop-stars or actors, or to do something that wasn’t going to be boring. We had this little quote on a party invitation by Zelda Fitzgerald, the wife of F.Scott Fitzergald, who was a writer, and she was talking about a woman in the 1920s, and she said “she was never bored, mainly because she was never being boring.”
Chris Lowe: When you release a record that is your favourite one and it performs the least well, it’s kind of unnerving really. The last one that did this was Love comes quickly, which is like our favourite record ever that we’ve made, and it kind of did really badly. The Word, Channel 4, 1990. | ||
Q Magazine: Would a later song like Being boring have been written the same way?
Neil Tennant:
Chris Lowe:
Neil Tennant: But the rest of the lyrics took forever to write. I had that, We were never being boring part and that was it. Then I got a vague tune for the opening line of the verse which is in C major—“When you’re young, you find inspiration in”—F major—”anyone who’s ever gone”. That’s a very Beatlesy progression. Then I remembered this invitation I got for a party in Newcastle which quoted “She was never bored because she was never boring.” So the first verse is about finding that party invitation. Then I had to try and complete the picture. It’s quite a long melody line in the verses as well, so that made it more difficult. And with the chorus, I knew what I wanted to say but it was hard to say it within such a tight, specific tune. But I sat there, I was in Munich, with a typewriter and tried to write the rest of it. That’s why you get, “Now I sit with different faces / In rented rooms / In foreign places.” Because that’s exactly what I was doing. Q Magazine, 1992. | ||
Chris Lowe: “Typical dead-pan vocals.” Actually, they’re not dead-pan at all. They’re kind of charged with tons of emotion. About the Pet Shop Boys, BBC Radio One. | ||
Neil Tennant: They’re good titles aren’t they? And there’s some good ones on the LP—How can you expect to be taken seriously? and Being boring which is all about not being boring although people are bound to make lots of jokes about that one. We’re asking for it really. Especially as it’s probably going to be the next single. So can I set the record straight—we’re not boring at all. Smash Hits, 1990. | ||
Neil Tennant: We don’t set out to be camp. I think we’ve done camp thing. For instance It’s a sin is pretty camp, isn’t it? I don’t think West End girls was very camp. I don’t think Being boring was very camp. Capital Q, 1994. | ||
Süddeutsche Zeiten: What happenend to this friend?
Neil Tennant: | ||
Oxford Union: What are the factor that make you release records? Is Being boring an exception being more personal?
Neil Tennant: Oxford Union, 1995. | ||
Oor Magazine: As the one who writes the lyrics, are you influenced by AIDS?
Neil Tennant: Oor Magazine, 1994. | ||
Neil Tennant: AIDS entered my life in 1986. A very good friend of mine, whom I grew up with in Newcastle, was diagnosed with AIDS in that year, and he died two and a half years later. The song It couldn’t happen here on Actually was specifically about the experience of finding out his diagnosis. Being boring on Behavior was about him dying. | ||
New Musical Express: It’s not the first time you’ve addressed AIDS in your songs.
Neil Tennant: It couldn’t happen here from Actually is about AIDS, and of course Being boring is after this friend of mine had died. Today I find myself knowing quite a few people who have AIDS, and I think it’s good to write about it. New Musical Express, 1993. | ||
Rob: A lot of people identified Very as an album about youth culture after AIDS.
Neil Tennant: | ||
Neil Tennant: Being boring, I think, is one of the best songs that we’ve written. For me it is a personal song because it’s about a friend of mine who died of AIDS, and so it’s about our lives when we teenagers and how we moved to London, and I suppose me becoming successful and him becoming ill. We did the video for that in America with Bruce Weber, who does all the Calvin Klein shots with Marky Mark. He had this idea of getting a house in Long Island and filling it with all of these beautiful models and just seeing what happened throughout the day. It’s great. I remember our American manager was on the plane with George Michael’s manager, and he said “George has just done this video. It’s got all the top models, and it’s cost a fortune,” and Arma (our American manager) said “Well that’s funny because the Pet Shop Boys have just done a video with all the top models, and they all did it for nothing!” (laughs). It’s a great video, though. It’s one of my favourite videos to date. (ironically) There’s your English eccentric... going back to your question about direct political writing, Shipbuilding was both a directly political song conceived around the idea of shipbuilding as a metaphor for the situation in general, and a powerful piece of art. But it was a personal comment on the issue, and a statement of anger. Likewise, my response to AIDS has been tempered by personal experience. So I’d write a song called Being boring, but I wouldn’t write a song called “Increase Funding For AIDS Research.” O Zone, BBC 2, 1993. | ||
Chris Heath: With of his lyrics do you like best?
Chris Lowe: Literally 8. | ||
Neil Tennant: This is our favourite song on our fourth LP, Behaviour. It wasn’t a big hit when released as a single in 1990 but, the following year, when we didn’t include it in our Performance tour, so many people complained that we eventually added it as an encore and it invariably got the best reception of the night. Discography booklet. | ||
Gary: Do you think you will ever again compose a song that will equal (or even surpass!) the epic proportions of Being boring?
Neil Tennant: Pet Shop Boys Online website, 12th December, 2000. | ||
Philippe: Hi boys, I would like to know which is your favorite PSB song, your favorite PSB album and the song you hate the most, but that we can find on an album?
Pet Shop Boys: Pet Shop Boys Online website, 1st June, 2001. | ||
Radiocentras: What’s your favourite PSB song?
Neil Tennant: Radiocentras, 4th June, 2001. | ||
Chris Lowe: We wrote it in Scotland. Neil bought a gitar.
Neil Tennant: I thought only we could write a song called Being boring. And then it gave me the idea of writing about this friend of mine from Newcastle who’d died and whose funeral was written about in Your funny uncle. It’s just about our lives together. He threw a party in Newcastle in 1972 where you had to dress in white, and it was called The Great Urban Dionysia, and it had a quotation on the invitation from 1922, from Zelda Fitzgerald, F. Scott Fitzgerald’s wife, which the phrase “being boring” had made me think of. The quote was: “...she covered her face with powder and paint because she didn’t need it and she refused to be bored chiefly because she wasn’t boring. She was conscious that the things she did were the things she had always wanted to do.” It just made me think about the way our lives had gone. It’s three verses, in three different decades. When we were recording it, we thought at one point of having musical references to the different decades, but in the end we didn’t. The first verse is set in the 1920s, when the woman writes the invitation, then we move forward to the hedonistic 1970s when I’m moving to London to seek my fame and fortune. Someone said to us, “the trouble with you lot is that you’ll have experienced everything by the time you’re 18—you’ll have nothing left to experience.” And then it moves to the start of the 1990s, when my friend has just died. It’s just the sadness of having a close friend die, because I always thought he’d be somewhere there with me. When we were teenagers we would always discuss that we weren’t going to settle for boring lives, we were always going to do something different. And then when it came down to it, I did become a pop star and at exactly that time he became very ill.
Chris Lowe:
Neil Tennant:
Chris Lowe:
Neil Tennant:
Chris Lowe:
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Chris Lowe: Behaviour / Further listening 1990-1991 booklet. | ||
Reuters: So, video is important for you?
Neil Tennant: (...)
Chris Lowe:
Neil Tennant:
Chris Lowe:
Neil Tennant: Interview transcribed from the book Pet Shop Boys versus America, 13th April, 1991. | ||
Chris Lowe: [commenting on 1997’s Stonewall concert] It was our greatest moment, our finest hour. | ||
Cruise Magazine caught with Neil in Miami in the midst of tour rehearsals and asked
him a few questions...
Cruise:
Neil Tennant:
Cruise:
Neil Tennant:
Cruise:
Neil Tennant: Cruise Magazine, May, 2002. | ||
Neil Tennant: It felt at the time—and it comes over in our book, Pet Shop Boys versus America—like the whole thing was a struggle. The [1991’s Performance] show was so complicated to put on, and Behaviour was’st selling particularly well, compared to Introspective before it, which is our best-selling album worldwide. So it was quite a tough period, and it’s only now you can look back and think, “oh it was great,” but at the time it didn’t feel like that. This is a classic Pet Shop Boys thing: the NME goes on about Behaviour being our best album, but as far as I can recall they didn’t fucking love it at the time. In pop music, you’re always compared with what’s happening now. Quite understandably, one of the complaints about the Pet Shop Boys is “why aren’t they doing what thingy is doing?” So in 1990, it was “why aren’t they doing dance music? Because the Happy Mondays are really popular and the whole Manchester thing is going on.” But when you remove Behaviour from that context it sounds fantastic.
Peter Van Doffs:
Neil Tennant:
[The article is accompanied by the photo captioned Record Collector, 2002 | ||
Matt Walker: But you’ve been guilty of putting a lot of effort into your videos in the past.
Neil Tennant: I’m not knocking the films and videos we’ve made—they’re gorgeous. I think we might work with Bruce Weber again, for example. It’s just how much they cost really. I mean, Bruce Weber doesn’t come cheap, but you get a beautiful end result, so... Footloose Magazine, April, 2002. | ||
Aussie Girl: I know you expect all your songs to chart well, but was there one song you were really surprised about how well it did and was there another song that you thought would do better than what it did?
Neil Tennant: Pet Shop Boys Online website, July 2003. | ||
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