A Quote by Mark Ronson
I got into DJ'ing because I started to listen to New York radio a lot. Obviously, I knew the stuff everybody knew, like Beastie Boys and Public Enemy, but I heard "Who Got the Props" by Black Moon, and I went up to this kid in my school with the Walkman on and was like, "What is this? You must tell me how I can get this now." Because there was no Shazam or googling lyrics.
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Before I even knew what stand up was, I tried to make people laugh at school because that was how I made friends, so I think that's how I got drawn into comedy and obviously I was just some kid at school being silly, so the first time I saw a professional comedian and how smooth and funny the person was I totally got into standup and I would say obviously Richard Pryor was the guy. He's the greatest of all time and then George Carlin, Sam Kinison, Bill Cosby. It's so weird to bring up his name now but leaving out his off-stage antics... you could learn a lot from him.
The thought of people in this day and age sitting down to listen to a radio variety show on Saturday evening is rather implausible and was even more so in 1974 when we started “A Prairie Home Companion.” Thank goodness Minnesota Public Radio was too poor to afford good advice or the show never would've got on the air. We only did it because we knew it would be fun to do. It was a dumb idea. I wish I knew how to be that dumb again.
I threw my son, Brandon, a rave for his birthday and I fully set it up like a crazy rave with lights and sound, me and my partner DJ'd - I got Mix Master Mike from the Beastie Boys to come DJ for a bit.
Definitely, I got a reputation growing up playing on the guys' hockey teams. The guys knew how tough I was because I played with them. I got quite a good reputation for beating up boys going up through school.
What interested me the most was that when I [traveled to Europe] I knew what Joseph Beuys was doing, he knew what I was doing, and we both, we just started to talk. How did I know what Daniel Buren was doing, and to an extent, he knew exactly what I was doing? How did everybody know? It's an interesting thing. I'm still fascinated by it because, why is it now, with the Internet and everything else, you get whole groups of artists who have chosen to be regional? They really are only with the people they went to school with.
I've got all of the old school vinyls from the '70s - even further back, like the jazz music in the '40s, '50s, '60s. Then I've got all the '80s stuff underground, hip-hop when hip-hop really first started. The '90s stuff. All of the good stuff, because I'm really into music, and it helps me create new songs now.
In New York, I was excited about the music in New York because the only music that I was more or less involved with in the South was either country and western or hillbilly music as we used to call it when I was a kid and, ah, gospel. There was no, there was no in between. And when I got to New York all the other musics that's in the world just came into my head whether it was the classics, jazz, I never knew what jazz was about all, had heard anything about jazz.
I don't think I ever heard music playing when I was younger, other than the radio. My parents got me a Walkman and stuff like that, but I was always way more into listening to music than they were.
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.
I have three boys. And I wanted to make sure it connected with them and then those guys who grew up like me, in environments like me.And then I knew something about science that your New York Times reader would be interested in. So I was thinking about it in multiple ways: I'll connect with the people who grew up like me first, and then the New York Times reader will be interested in the science because it's so good and they want to be "in the know."
still, what could i say? that i didn't just feel depressed - instead, it was like the depression was the core of me, of every part of me, from my mind to my bones? that if he got blue, i got black? that i hated those pills so much, because i knew how much i relied on them to live?
My brother was in high school and he had a garage band going, but no one would sing. They were covering a Hatebreed song at the time and I knew the words for it. My brother knew I knew the words, so he came inside the house and he's like 'Hey Mitch, come out here and sing'. I did it and after that I started a band with my older brother. That's how I got started.
Being in New York, a lot of people I knew were top-notch copy editors or photo retouchers, so I had a good community around me that knew how to do the specialized stuff.
I wasn't the kind of kid like Spielberg or Lucas who knew to go to film school. I didn't know at 12 what I was going to do; it took me until I was about 23. I studied journalism in college, but after school, I got a job in public television and I never worked as a journalist for one moment.
On occasion, it's rough for me to sleep because I have a lot of things on my mind, so I'll need to get a little more sleep sometimes. I'm up late because I've got a lot of energy and a lot of things on my mind all the time, and I'm up early 'cause I've got things to do, so that's the only thing. That's how I like it; I like to be busy.
I knew that to find and to feel Yoav again would be terribly painful, because of what had become of him, and because of what I knew he could ignite in me, a vitality that was excruciating because like a flare it lit up the emptiness inside me and exposed what I always secretly knew about myself: how much time I'd spent being only partly alive, and how easily I'd accepted a lesser life.
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