A Quote by Wes Montgomery
I never practice my guitar. From time to time I just open the case & throw in a piece of raw meat.
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I'm close to being a vegan, but I'm not one, technically. I don't eat eggs, or nearly any dairy - no cheese or milk. I do eat honey, and a piece of milk chocolate here and there. It's never really been that hard for me. I've never had any desire to eat meat. In fact, when I was a kid I would have a really difficult time eating meat at all. It had to be the perfect bite, with no fat or gristle or bone or anything like that. I don't judge people who eat meat - that's not for me to say - but the whole thing just sort of bums me out.
Dry-aging happens when meat has been left to hang out in a temperature- and moisture-controlled environment. Over time, the meat's natural enzymes begin to break down the connective tissue and rid the meat of moisture, which results in a rich, nutty, and tender piece of beef.
A gut-string classical Spanish guitar, a sweet, lovely little lady. The smell of it. Even now, to open a guitar case, when it's an old wooden guitar, I could crawl in and close the lid.
SuperMemo is based on the insight that there is an ideal moment to practice what you've learned. Practice too soon and you waste your time. Practice too late and you've forgotten the material and have to relearn it. The right time to practice is just at the moment you're about to forget.
My room is never clean. I play 'Guitar Hero' all the time and throw things around my room.
I usually eat four or five raw carrots with my meat, and that is all. I must be part rabbit; I never get bored with raw carrots
If you think humans are meat-eaters then try eating the animal raw like every other meat-eater on the planet. If something is not palatable in its raw state then you probably shouldn't be eating it.
My dad is obsessed with music, so I was raised around this guitar player that really wanted me to be a guitar player. One of my earliest memories is him kind of forcing a guitar on all my brothers and me. You know, "You have to practice three hours a day!" I hated guitar at the time. I kind of picked up trumpet to spite him.
I perform in art time and in real time, and you can't tell the difference - no one knows how to separate a real act from an art act in my work. When I lived on the street for a year, people only knew that I was homeless. They didn't know that I was an artist doing a piece. I have to use real time in my work. I do, however, have to find a subtle way of documenting real time, in order for people to have a response. That means punching into a work clock every hour in the case of one piece.
Steakhouses serve these big steaks. The first piece is hot, and the last piece is cold. The way I like to eat is to try three or four cuts of meat. People should actually be eating less meat, and the meat they eat should be special.
I think I've been incredibly raw my whole career. A lot of people spend a lot of time trying to look cool and spend time being guarded and putting up walls. I just never had the time. It seems more honest to say, 'Hey, this is who I am.'
Theater is about interpretation and what an actor and what a director brings to a piece too. I'm open to it every time I work with a director and a group of actors. I have to be open to that interpretation. I'm not one of those hysterical playwrights that come and say, "This is not what I intended to do." It's one rendition of the piece.
It's never really been that hard for me. I've never had any desire to eat meat. In fact, when I was a kid I would have a really difficult time eating meat at all.
Even now, at 82 years old, if I don't learn something every day, you know what I think? It's a day lost. Now, I don't practice every day. I just take the guitar, swear at it. But I should be swearing at myself. But I fool with music. I'm doing something musically all the time. And my ears are wide open for anything I can hear.
My dad started teaching me how to play guitar when I was 13 years old. When he'd go to work, he'd map out guitar cords on a piece of notebook paper. I'd sit down and look at it every day and practice while he was gone.
The right kind of practice is not a matter of hours. Practice should represent the utmost concentration of brain. It is better to play with concentration for two hours than to practice eight without. I should say that four hours would be a good maximum practice time-I never ask more of my pupils-and that during each minute of the time the brain be as active as the fingers.
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