A Quote by J. D. Souther
I was never much of a club guy. Even when I was in New York in the early eighties, I never was once in Studio 54. It was too noisy. My version of those years mostly took place at my house.
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New York had a big influence on me growing up, and I was really part of the club scene - the Mudd Club and Studio 54. When you're living in New York, you are just bombarded with style, trying to figure out how to be cool and how to feel relaxed at the same time.
My father ran a famous L.A. nightclub complete with roller-rink - Flippers - in the early Eighties which was the West Coast's answer to Studio 54.
I feel the change. I feel the relationship with New York changing. It's a personal relationship you have with the city when you move there. I definitely romanticize the early 2000s. As much as I prefer the city then as opposed to now, I'm sure if I were 23 and I moved to the New York of right now, I could have the same exact experience. I don't really hate the cleaning up of New York, even though it's not my preferred version of New York.
I'm the most Colombian of the Colombians, even though I've lived 47 years outside of Colombia. I've lived 13 years in New York, and I never did a painting about New York. I've lived in France more than 30 years, and I've never painted Paris.
The worst bar fights I ever saw were in London. I saw a guy break a pint glass in another guy's face in a club in the Eighties. It was a gay club, too.
I love the New York that was. The end for me was Studio 54. I don't go out at night anymore.
Studio 54 was the place you could never get into. Of course, the place you can't get into is the place everyone is trying to get into.
There used to be a club in new york called Bradley's - I've never been there, it closed in the 80's - but I used to study with Junior Mance, and he would tell me about Bradley's. It was a very important place for a generation of jazz musicians in New York. It was really all about pianists there.
I never took reds or Quaaludes to balance out the coke. So when it got to be four in the morning and the gram was three quarters gone, I'd start wishing it was nine o'clock and hoping the guy got up early. But, of course, he didn't sleep either, so there was no sweat. During all those years, I was always looking forward to the next snort or the next guy I could score from.
Woody Allen stayed so good because he never left New York. Howard Stern stayed so good because he never left New York - Mel Brooks when he just got out of New York was doing 'Blazing Saddles;' when he left New York he started doing stuff like 'Robin Hood Men In Tights' - he was in L.A. too long. He lost the edge.
'Beyond the Lights' took incredible fight to get made. Four years of writing and two years of overcoming 'no.' Every studio balked. Twice. But I kept fighting. What gave me the courage was 'Love & Basketball.' Every studio turned down that film, too. But I never gave up because I believed in it with my whole heart and soul.
I lived in New York for 10 years, I loved it, I never second-guessed it. There were definitely times when I thought, "I will never leave this place." And I kind of got into that center-of-the-universe mindset.
It's hard to shape glass. It took me years of practice, and as a result, I've never gotten bored with it. It's difficult. Every time I come into the studio, I've got some sort of new challenge. And something that I would like to learn how to do better, and the material never disappoints me.
When I first moved to New York, I wanted to be a dancer. I danced professionally for years, living a hand-to-mouth existence. I never tapped into nightlife; all I knew was dancers. We went to bed early and got up early and went to free concerts at the Lincoln Center and Shakespeare in the Park.
New York was a fantastic place to disappear because no one cares who you are. No one bothers you. In my ten years living there I was never once asked for an autograph or stopped on the street. It was an absolute joy. I gave myself time and space to get to know myself more.
Home. It's such a simple word, one I never knew would come to mean as much to me as it has. It once was my dad's house, then my uncle's farm. Mostly it's meant wherever Charlie and I were together. Now, though, it's you. It's your letters, your words. They're the place I go to with my fears, where I find comfort, where I feel safe.
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