Quotes of All Topics . Occasions . Authors
I think artists are going to express things from an emotional point of view, that's their job, to suggest and interpret, and report what they witness. That's their job as artists, you're looking for the rub, where's the rub, you're a storyteller, you're looking for the rub, not necessarily the solutions, or you're not necessarily educated, you're not the winner of a debate contest, a national debate contest, you're not necessarily a person who has a doctorate in anything.
I remember the day before my dad died, I was in a hospital room with him, and he had lived a long life. He was 94, and I helped him get up, and there were two windows separated by the partition. I took him to the first window, and he kind of found his way to the second window, and on the way there was a mirror, and he looked into it, and I saw through the corner of my eye, I remember the look on his face. What came over his face was "So I'm here. I've crossed that bridge."
I personally hated working out when I first started, but then I noticed it was the one thing I did for myself. It gave me more energy and made me feel more confident. I started rolling with it. I love going for jogs and walks in the morning with my cousin. Sometimes we do sunrise walks where we'll be up before the sun comes up and by the time it does we're up and going. It's really nice. I also started training MMA, mixed martial arts to keep it fun. It's stress relieving.
I've never recognized 'emo' as a genre of music. I always thought it was the most retarded term ever. I know there is this generic commonplace that every band that gets labeled with that term hates it. They feel scandalized by it. But honestly, I just thought that all the bands I played in were punk rock bands. The reason I think it's so stupid is that - what, like the Bad Brains weren't emotional? What - they were robots or something? It just doesn't make any sense to me.
The Fugazi Live Series site, when we realized the Internet, the way it works - the speeds and its development - made it possible to have one source of infinite copies, was incredible for us. Using tapes or CD's to make copies would have been so unwieldy. We have shows that have zero downloads, which makes me sad, but they're all freely available at any time. The most downloaded show was the one with the best audio quality, but I didn't think it was a very interesting show.
I work at a record label where I have archives. These things [memorabilia] occurred and are important to somebody, and they're important to me. I find the record industry largely repellent. This music, the Teen Idles, all of that stuff, is important to me. I don't have lawyers, an agent or a manager. However I find the music industry largely repellent. I just make records because that's what I love to do. So I think that era, those pieces of media, I keep in my collection.
I have often been doubted in music industry not because of my talent, but because I might not have been introduced to the game by major industry hype men, but I love being the underdog. I truly believe that god has put me here to say something and send a message to not only women but to all individuals like myself. I will not allow the politricks of the game to discourage me and keep me from the goal at hand. I will sing from my heart and leave the industry bullsh*t alone.
I never expected the movement against globalization and corporate rule to mushroom as quickly as it has, either. And right now the strongest electoral arm of that movement is the Green Party. I try to stress to people cynical about voting that the Greens are the most effective electoral arm of the so-called Spirit of Seattle, and it's great fun to cause trouble in the streets, but that's not going to accomplish much without insurrection in the voting booth at the same time.
I war running back to the house in Mayaguez with a melting ice cone we called a piraqua running sweet and sticky down my face and arms, the sun in my eyes, breaking through clouds and glinting off the rain-soaked pavement and dripping leaves. I was running with joy, an overwhelming joy that arose simply from gratitude for the fact of being alive. Along with the image, memory carried these words from a child's mind through time: I am blessed. In this life I am truly blessed.
I see that things are getting made a lot faster for less money and there are a lot less opportunity, I think, for actors. There's not a lot of work in the U.K. I mean, that's why everyone's moving to America because that's where the work seems to be. But it definitely feels like a lot more of a slog to get a gig these days. I suppose that's a lot to do with our current climate and financial messes. I certainly see that people seem to have to work harder with a lot less time.
Well, I've heard a lot of people, but I think I would say a Brazilian musician named Hermeto Pascoal was one of my biggest influences. Through the years he mastered the keyboards. He use to play the organ Hammond B3, flute, saxophone, percussion and guitar. He is one of the most complete musicians that I ever met. Not too long after we came to the United States, Airto Moreira introduced him to Miles Davis, who recorded three of Hermeto's compositions on his album "Live Evil.
As a human being with notoriety and a big mouth, I've felt most threatened during the first Bush Administration. Whenever there's a Bush in the White House, many people die, and the rest of us are threatened. I just didn't think it would happen quite so quickly. The so-called USA Patriot Act, and the announcement of trying people in military tribunals if Bush or Rumsfeld's or Ashcroft's people think they somehow qualify as terrorists, basically, this is McCarthyism run amok.
Usually, I think it's best to play the song for them once and have them mix it up on the spot, because when the logical mind gets too involved, I think it kills a lot of magic. I just think the subconscious mind is so much smarter, and unfortunately, people do not trust their subconscious. A lot of people just don't access to all of that, the secret genius that's inside of them. And it's so much easier to get it out of a musician if you don't give them a chance to overthink.
I started drinking in my late teen years and continued through college and into the early years of my career. I had a lot of missed opportunities because of not being able to handle my liquor, things like bad shows. But mostly what precipitated it was how it was contributing to my mental health breaking down. Alcohol and depression don't mix very well as I'm sure you know, it makes everything worse. I hit a point where I knew that if I kept drinking it wouldn't go very well.
When my band MU landed on Maui in 1973 we were greeted by a wonderful group of peace loving brothers & sisters who we immediately formed a bond with. We had two instant roadies, Spider & Richard, who helped with every move of our musical equipment. We settled into our house on the edge of the rainforest that eventually became a portable studio. We started rehearsing and booked the Lahaina Civic Auditorium for a full moon concert starring MU and a local band The Space Patrol.
My music represents walking on train tracks in the middle of the woods, somewhere in the middle of nowhere. You walk down the tracks and you're walking every two tracks, and you've got your headphones on, and on both sides you've got forest, and in your rear is this long line of train tracks that's weaving through the woods. It's a very cool place, to walk along the train tracks because of the rhythm of walking every few feet through the woods. It's a good place to go dream.
When I was young, my mother [folk singer Kate McGarrigle] brought home this recording of Verdi's Requiem and we listened to it from top to bottom. By the end of it, I was a completely different person. It was literally a requiem mass for my former self. I was about 12 or 13. The Requiem just totally hooked into what I was going through emotionally - discovering my sexuality right at the time when AIDS was devastating my community and dealing with intense parental situations.
Suddenly it makes sense again. In no haze of mindfulness, staring down at this snow-covered quilt of America, I am the stars exploding. Voice shot down to hell, half sick, half recovered, alive and well and ready. The unknown for now will remain as such and in this moment that feeling is not one of suspension. It is the hopeful unknown. Reaching into the future could only be good now as the past is wrapping itself in ribbons and pleasant packing paper, rarely to be revisited.
I don't like the sound of my own voice. And, for people I don't know, their impression of me is what they read on the internet, and they're so far off a lot of the time. I think people are intimidated by me, and I don't know why. Sometimes even my own bandmates can be intimidated, or irritated, by me. I come across as arrogant somehow. In reality, I've probably got the lowest self-esteem of anybody I know, which has really been rubbed in my face lately in personal situations.
I see myself as no color. I can play the role of a man. I can paint my face white if I want to and play the role of white. I can play a green, I can be a purple. I think I have that kind of frame and that kind of attitude where I can play an animal. If you think in color, then everyone around you is going to think in color and that puts limits on the way you think. I don't think like that. A lot of the roles that I'm doing are roles that a man or a person of any color can do.
Darkness cannot cast out darkness. You need a light for that. Fear cannot cast out fear. You're gonna need hope for that death warrants more death. But I believe life wants more life and I'm convinced that the greatest weapon we've got is LOVE! And maybe, in a world full of fighters, in a world imploding with hate, maybe to be a lover, you gotta be a fighter. Maybe that's the biggest fight, the only fight worth fighting, the fight you're gonna be in for the rest of your life.
As a songwriter, you're never off - for me, anyway. There's a certain mentality of people that decide, "Oh, we're going to try to write songs from this time of the day to this time of the day." Almost treat it like a real job. I can't do that. I've never been able to write songs like that. You never know when something creative is going to hit you, or emotion or whatever. You can take it, and turn it into something that makes somebody feel something. I love that about my job.
I ask to become a faery because I love a faery queen, and because she deserves to have someone who loves her for who she is, not what she is. She needs me. There are people-good people-I love and I'm a liability to them because I'm a mortal. I'm fragile. I'm fine. I am in this world. People I care about, the woman I love, friends in all three of the courts This is where I belong. I just need you to give me what it takes to stay with them and be strong enough not to fail them.
I consider being a performer work. I come from a theater family; I've been an actor all my life. I started acting when I was a kid, and I've earned a living as an artist all my life. It's my job in the sense that it's everything I am, the only thing I know how to do. I literally do not have qualifications to do anything else on this planet. Seriously, it's scary. [But] I don't consider it a job [because] it's my religion - it's my faith, it's my family, it's everything to me.
I realized that most white Americans knew very little about our history and our struggle, and were having difficulty understanding the basis for our agitation and our resistance and our complaints. I also discovered that while black Americans had a sense of the beauty and tragedy of the journey from the time of slavery until now, we were not rooted in the specifics. I thought one way to familiarize people with that history would be through the voices of the great folk artists.
My faith, I mean, that's such a personal aspect that a lot of times, of course it's going to come out through the song. But at the same time, I'm not a religious salesman. I feel like God doesn't really need a salesman, and what these songs are are simply my interactions with this life and learning. I guess the bottom line is the songs are really honest, you know what I mean. That faith is going to come through. If the listener is looking for it, that's definitely a part of it.
No one in this country need go hungry, and alleviating the problem is primarily a matter of readjusting our priorities. In both the government and the private sector, self-interest has displaced the ideal of community that made this country great. The old world view of "us, we, our" has been replaced by "I, me, mine." The reasons for this are manifold and complex, but at the end of the day, we need to remember that, if one of us is suffering needlessly, all of us are diminished.
In 1965, my father was just twirling the dial of the radio to find something that would make me go to sleep, and as soon as I heard rock and roll there was no stopping me. It was during the height of Beatlemania and the British invasion, but I gravitated toward the harder, heavier music going on then, you know, the early Rolling Stones, the good Rolling Stones, and Paul Revere and the Raiders, who don't get the credit they deserve for spearheading the American '60s garage sound.
I don't think I have rebelled against Latina culture. I have rebelled against those who try to make me warm tortillas for my brothers when they can warm them for themselves, I have rebelled against a patriarchal religion. I rebel against small mindedness in all ways and in every situation but those things are not an intrinsic part of Latina culture and I will fight tooth and nail against anyone who tries to make me feel like I'm less Xicana for not embracing the small-mindedness.
We found that if you played a bunch of punk singles in a row, people would dance like crazy and then get worn out and go somewhere else in the house. And if you played reggae all the time, people ended up leaning against the walls and nodding their head. But if you mixed it up, the floor got more and more packed, and the energy from the two types of music seemed to feed into each other, and the adrenaline from the punk, and the seductive sway of the reggae seemed to fit together.
People are afraid of themselves, of their own reality; their feelings most of all. People talk about how great love is, but that's bullshit. Love hurts. Feelings are disturbing. People are taught that pain is evil and dangerous. How can they deal with love if they're afraid to feel? Pain is meant to wake us up. People try to hide their pain. But they're wrong. Pain is something to carry, like a radio. You feel your strength in the experience of pain. It's all in how you carry it.
So Nemerov showed us this picture, which is of Apollo flaying Marcius. You don't think of Apollo as being the sort of person who would skin someone alive. But the story behind it was that there was this guy who was a really great musician, and all the women loved him, and people started saying he was the best musician in the world, so Apollo got jealous and he challenged this guy to a musical dual. They would each play a song and the muses would judge who was the better musician.
Ayahuasca is a brew that's made from the vine, which is the hallucinogenic element. And then there's also this leaf from a bush. And the vine is supposed to be the masculine and the bush is supposed to be the feminine, and this female shaman did a tea drinking ceremony with us, where we drank Wyoosa. And the intention was to go and find pieces of your soul that were missing and bring them back to your body so you could live more fully with yourself and it's called soul retrieval.
For the first time since I began acting, I feel that I've found my place in the world, that there's something out of my own culture which i can express and perhaps help others preserve..i have found out now that the African natives had a definite culture a long way beyond the culture of the Stone age...an integrated thing, which is still unspoiled by western influences...I think the Americans will be amazed to find how many of the modern dance steps are relics of African heritage.
It's easy to love the snow because at the end of every snowstorm it's as if the world has started over. There is no dirt, no footprints, just a layer of seamless, indiscriminate nature connecting everything to everything else. Isn't that the amazing thing about the natural world? You can tear it down, you can drill holes in it, you can ignore its power with all your might, but one morning you wake up and it has selflessly given despite all of our abuse. I think I'll make a snowman.
I think there are quite a few new Instro/Surf groups that are really great. The Mermen are good and there doing something different. The Space Cossacks, Penetrators, The Fathoms, I really like The Falcons from Canada, Mike Beddoes is a really fine guitar player. I like Nokie Edwards of The Ventures, who gave me a guitar lesson once when we were playing opposite them in 1962 at The Rose Garden Ballroom in Pismo Beach. That's were The Impacts started and got signed to Del Fi in 1962.
I come from a musical family. Mom was a piano teacher for a large portion of her life, and Dad is a saxophone hobbyist who grew up in England during the heyday of Tubby Hayes and Ronnie Scott. I started taking piano lessons from my Mom, but it's too easy to slack off with your parent, so she passed me on to a friend of hers, where I got more motivated to play music by playing pop hits and TV themes. I did some classical training, but I was always more into the really thematic stuff.
The white music was melodic and pretty, and you had beautiful women's voices like Gogi Grant and even the Andrews Sisters. Then I went directly to rhythm and blues, which had beautiful voices but not much melody in particular and pretty much the same chord pattern. I loved it, I was entrenched in it, but then folk music came in the middle of that for me, and made its own path. And it was part of the rebellion against bubblegum music, or music that is pretty but doesn't say anything.
I had a dream that Louis Armstrong was playing the 'Swept Away' melody. I have no idea where it came from. But Louis Armstrong was playing it and singing the song to me. I woke up-it's a borrowed melody no doubt-and wrote it down. If I hear a song and I choose not to put it down, that's me neglecting to accept that song. I think there's a very spiritual and godly-type ting that happens, and it happens to way more people than we know. It's just that very few of us choose to engage it.
A really large percentage of kids from Duke go to work on Wall Street, and they make a lot of money, but they're almost slaves to their jobs, working crazy hours. Their job totally dominates their lives, and most of them aren't happy. So many of my friends are going down that path. I even thought about it for a second, like "Should I be doing that?" But I just pursued my dreams instead, and I always tell people to do that. Now I make more money than they do, and I'm doing what I love.
If you can express something in the simplest way possible, I think there's something noble in that. It's easy to flesh stuff out and get all purple with it, being cryptic and wearing masks... I think it's a bit adolescent. I wanted to write in a way that was vulnerable. I wanted to have courage in stripping back the opaque stuff so it was just raw. I like lyrics that are a lifeline, that have a purpose to them and are not just meandering around in a masturbatory way. They cut the page.
There is something about participating; it is almost my religion. If the world is still here in 100 years, people will know the importance of participating, not just being spectators. Millions of small groups around the world, that don't necessarily all agree with one another, are made up of people who are not just sitting back waiting for someone to do things for them. No one can prove anything, but of course if I didn't believe it had some kind of power, I wouldn't be trying to do it.
We have heard projects with some of the writers, who we've been in business with for a long time at the studio, that we've heard as a studio - often, pitches that are still in their formation stage where we or the writers have wanted our input on developing them. We've probably heard more pitches with the network hat on. Certainly all of the outside pitches are that way, and many of the pitches that have been in great shape coming out of the studio we've heard from a network perspective.
I've always been curious about people's psychedelic experiences, and I kind of had this assumption that I was going to have some kind of crazy mindblowing psychedelia thing happening, but actually, it was very quiet, and I didn't have any hallucinations at all. Nothing changed, except that suddenly I could hear the voice of my conscience, which I didn't ever think of as being a real voice. And ever since having that experience, I've had that voice in my head and followed it occasionally.
What happened was I was a songwriter on Quincy Jones' publishing company, Qwest, for two and a half years before I gave him the song for Michael Jackson. He had a meeting with the songwriters. I think there were about six of us on the West Coast and we all had a meeting at his house where he sort of gave us an outline of what he wanted. To finish this BAD album Jones needed one more song to round out the album. I took notes and then I then took my notes to my writing partner Glen Ballard.
I think that to believe is to acknowledge that it's a choice in that present tense and that doubt is always an option. You’re not dealing with a fact like one plus one equals two—I’m gonna choose to believe that. It’s kind of one of those things where you are choosing to believe that someone loves you. That is always going to be your choice. So for me, I think that’s what makes the faith that I have volatile and explosive and dangerous and troubling. That’s what most of my songs are about.
In the United States, many people said you can't have folk music in the United States because you don't have any peasant class. But the funny thing was, there were literally thousands, tens of thousands, hundreds of thousands of people who loved old time fiddling, ballads, banjo tunes, blues played on the guitar, spirituals and gospel hymns. These songs and music didn't fit into any neat category of art music nor popular music nor jazz. So gradually they said well let's call it folk music.
So I asked him to play "Trav'lin' All Alone." That came closer than anything to the way I felt. And some part of it must have come across. The whole joint quieted down. If someone had dropped a pin, it would have sounded like a bomb. When I finished, everybody in the joint was crying in their beer, and I picked thirty-eight bucks up off the floor. . . . When I showed Mom the money for the rent and told her I had a regular job singing for eighteen dollars a week, she could hardly believe it.
A refugee is not just someone lacking in money and everything else. A refugee is vulnerable to the slightest touch: he has lost his country, his friends, his earthly belongings. He is a stranger, sick at heart. He is suspicious; he feels misunderstood. If people smile, he thinks they ridicule him; if they look serious, he thinks they don't like him. He is a full-grown tree in the dangerous process of being transplanted, with the chance of possibly not being able to take root in the new soil.
There are many people writing songs. That is absolutely wonderful. Who knows, there may be some kid in diapers and he or she might succeed in capturing in a few dozen words what great writers have spent years trying to say. Just the right word in the right place with the right melody behind it and the right rhythm. It might get around the world inch by inch, and people realize that this world is in danger, that we're in danger. That's the way "This Land Is Your Land" got to be so well known.