Quotes of All Topics . Occasions . Authors
I wanted to remember the original energy; strip away all the glamour and limousines and tons of drugs. I wanted to get back to the revolutionary ideas, merging poetry and rhythm and rock and roll.
What is the impulse that drove to direct? To me, it seems so immense. Just having a rock 'n' roll band, or to go from the solitude of writing and to having to collaborate, is almost schizophrenic.
I was always trying to pick guys up. I'd ask guys out and stuff like that. I had no pride. I was the biggest lurch at dances, waiting for the ladies' choice. I'd lunge at my prey like a baby wolf.
I believe myself to be an artist. That was my calling, to do my work, and what's most important to me is to do the best work I possibly can. And that is what means the most, that is what will endure.
I know that some people have different personas for the different things they do, and I'm not criticizing that - maybe it's a good thing - but I'm the same old person, so I take everything in stride.
I didn't have any career design. I was not thinking about publishing or doing a record. I was just working. I was evolving. I wanted to really comprehend what I was doing before stepping too far out.
My parents had three kids right after the Second World War, and we were all sort of sickly. Then I had a fourth sibling, with very serious asthma. The medical bills... So my parents always struggled.
Everybody's got to reclaim these thingspoetry, rock'n'roll, political activismand it's got to be done over and over again. It's like eating: you can't say,'Oh, I ate yesterday'.You have to eat again.
I like making records right now 'cause I can express myself that way in a very immediate, physical sense. You can always write a book, but you can't always do a rock 'n' roll record that's gonna work.
We needed time to figure out what all of this meant, how we were going to come to terms and redefine what our love was called. I learned from him that often contradiction is the clearest way to truth.
My daughter is one of my greatest inspirations. She's an environmentalist, she plays piano, she's raising money for the earthquake victims in Nepal. Every day she surprises me and teaches me something.
We learned we wanted too much. We could only give from the perspective of who we were and what we had. Apart, we were able to see with even greater clarity that we didn’t want to be without each other.
Since I was a child, I hated having to deal with my hair. I hated having to change my clothes. As a kid, I had a sailor shirt and the same old corduroy pants, and that's what I wanted to wear everyday.
I'm more concerned with the work people do than their gender. When I was younger, I was pretty judgmental. Things had to be a certain way. Now I just want to see the work. It doesn't matter who does it.
I can't bear working with a click track, we're not click track people. But for "Mercy Is ..." we all got in one mind because the song is delicate; it's not a song that showcases a vocal or some virtuoso.
I don't consider writing a quiet, closet act. I consider it a real physical act. When I'm home writing on the typewriter, I go crazy. I move like a monkey. I've wet myself, I've come in my pants writing.
Technology is 50% of rock 'n' roll - the magic, the art, the performance. If you don't have good technicians and a strong road crew who are devoted and believe in you and protect you, you're totally naked.
I believe we all have a unique journey, whether its a journey of pure energy, if there's any intelligence within the journey. But I think each of us have our own way of dissipating or entering a new field.
Robert Mapplethorpe, I met in 1967. He was a student at Pratt, though even as a student a fully formed artist. We went through many things in our life together. He became my loved one, then my best friend.
Ms. It sounds like a sick bumblebee, it sounds frigid. I mean, who the hell would ever want to stick his hand up the dress of somebody who goes around calling herself something like Ms.? It's all so stupid.
Just because I've extricated myself from religion doesn't mean I'm not interested in the scriptures. I look at the Bible as itself. It's a holy book, it has incredible literature in it and beautiful poetry.
In the period where I had to live the life of a citizen - a life where, like everybody else, I did tons of laundry and cleaned toilet bowls, changed hundreds of diapers and nursed children - I learned a lot.
I use drugs to work. I never use them to escape or for pleasure. When you turn to drugs, all you're doing is turning inside, anyway. I only use drugs for construction. It's like one of my architectural tools.
What is the soul? What color is it? I suspected my soul, being mischievous, might slip away while I was dreaming and fail to return. I did my best not to fall asleep, to keep it inside of me where it belonged.
Since childhood, it was my dream to go where all the poets and artists had been. Rimbaud, Artaud, Brancusi, Camus, Picasso, Bresson, Goddard, Jeanne Moreau, Juliette Greco, everybody - Paris for me was a Mecca.
In any performance, you're on stage for two hours, and there's 40 seconds or maybe a whole five minutes where you feel like the whole universe is in place, and you've gone even beyond the universe that you know.
I daydream a lot - that's how I get my ideas. If I'm sitting in a café, I'm not on my phone because I want to hear my mind. I think that those periods of small solitude that we are really losing are so important.
I had this idea that the coolest thing that could happen to you was talking with God. My father was always talking about God, and I idolized my father, so I'd spend hours trying to have mental telepathy with God.
I'm always writing. And, I mean, I always counsel people when they call me a musician: I really do not have the skills of a musician. I really don't think like a musician, though I love music and I perform and sing.
Patti, did art get us?' I looked away, not really wanting to think about it. 'I don't know, Robert. I don't know.' Perhaps it did, but no one could regret that. Only a fool would regret being had by art; or a saint.
Most women writers don't interest me because they're hung up with being a woman, they're hung up with being Jewish, they're hung up with being somebody or other. Rather than just going, just spurting, just creating.
My mother and father had so many ups and downs and stayed with each other and helped each other. My mother took in ironing and she was a waitress. My father was working in the factory and he did people's tax returns.
I come from a working-class family, and I've been working since I was 13, from babysitting to blueberry picking to factory work to bookstore work. And of course, being a mother and homemaker, the hardest work of all.
When I stopped performing for 16 years and lived in Michigan and was married and raising my children, I wrote about four or five books. I haven't published them. I just haven't gotten around to it for several reasons.
We're a culture more than ever that wants proof of everything, we want things fast, and someone sends you an email, you want to answer in five minutes. We have to allow ourselves nothingness, in our relationships too.
I think we have a creative impulse where suffering can magnify our work, but so can joy. You can be in love and write the greatest love song ever. Sometimes I think too much suffering makes it difficult to do one's work.
The issue of gender was never my biggest concern; my biggest concern was doing good work. When the feminist movement really got going, I wasn't an active part of it because I was more concerned with my own mental pursuits.
I like revisiting my early work, and people like to hear it. I don't make people suffer through any experimentation or new material. When I go see an artist, I want to hear the songs that drew me to them, so I do the same.
When I perform, I always opt for communication with God, and in pursuit of communicating with God, you can enter some very dangerous territory. I also have come to realize that total communication with God is physical death.
I have disciplined myself when I'm working. When I discovered art, I realized that one could keep that search going within creation. But I also realize that in order to create the art, you have to stay, you can't go too far.
By the time I was 10 or 11, I was completely demoralized. I thought, "I'm done. I'm never going to be a missionary," because my indiscretion column, whether it was little lies or stealing a Chunky bar, kept me from sainthood.
Why do people want to know exactly who I am? Am I a poet? Am I this or that? I've always made people wary. First they called me a rock poet. Then I was a poet that dabbled in rock. Then I was a rock person who dabbled in art.
I've said this over and over, but I'll say it a million more times - I'm concerned more about the death of a bee than I am about terrorism. Because we're losing hives and bees by the millions because of such strong pesticides.
I voted for Obama. I was very happy when he won. But Obama hasn't really been able to effectively do anything that has made me... He hasn't helped the environment. He didn't close Guantanamo Bay. He went deeper into Afghanistan.
My parents were very humanistic, but where we lived was not the cultural center of the world. Hardly. So I came to New York for two reasons: to find my own kin and also to get a job. And that's what I came to New York for in '67.
In 1974, when I started working with the material that became Horses, a lot of our great voices had died. We'd lost Jimi Hendrix and Jim Morrison and Janis Joplin, and people like Robert Kennedy, Martin Luther King and Malcolm X.
I've always looked the same. Since I was a child, I hated having to deal with my hair. I hated having to change my clothes. As a kid, I had a sailor shirt and the same old corduroy pants, and that's what I wanted to wear everyday.
I was so involved in my boy-rhythms that I never came to grips with the fact that I was a girl. I was twelve years old when my mother took me inside and said, "You can't be outside wrestling without a T-shirt on." It was a trauma.
In 1974, when I started working with the material that became 'Horses,' a lot of our great voices had died. We'd lost Jimi Hendrix and Jim Morrison and Janis Joplin, and people like Robert Kennedy, Martin Luther King and Malcolm X.
I was always a tomboy as a kid. I always had boyfriends. I was just a regular girl growing up in the late '50s and early '60s, but I was never really attracted to what the girls were attracted to: makeup, my appearance, homemaking.