A Quote by Bel Powley

I don't feel like I properly started acting until I did my first play, 'Tusk, Tusk.' — © Bel Powley
I don't feel like I properly started acting until I did my first play, 'Tusk, Tusk.'
I didn't feel the tusk go through me. But I did feel this sort of freight elevator coming down, popping the chicken bones, you know. It blinded me. Everything was black. It was bright noon day sun. You mustn't get walked on by elephants.
Ghostface, catch the blast of a hype verse, My glock bursts, leave in a hearse, I did worse. I come rough, tough like an elephant tusk, Ya head rush, fly like Egyptian musk.
Recording 'Tusk' was quite absurd. The studio contract rider for refreshments was like a telephone directory.
The tusk is a very tactile shape, looks great among the other charms and is a cool piece that I like.
I always made the joke that I would have loved to have been a fly on the wall when Warner Brothers first put 'Tusk' on and listened to it in their boardroom as a follow-up to 'Rumours.'
I always grew up around acting. I did commercials as a kid and all that kind of stuff and my oldest brother did theatre in High School. It's funny, when I was 15 I had a friend of mine who dragged me away to a camp at Boston University. It was the first time truthfully that acting didn't feel presentational; it felt very personal. I didn't just feel like I was singing and dancing for my friends in High School. It felt like I was doing a scene and all of a sudden I started to feeling something - I started to feel emotional.
'Tusk' was clearly a line in the sand that I drew.
If everybody wanted to follow the left side of the pallet like I had on 'Tusk,' there would have been no need for me to do solo work.
I dropped out in middle school. I dropped out in, towards the beginning of the ninth grade. And then I started studying -I started taking acting classes at a, well first I was like in a community theater at that time in Torrance, California, so I finished up like my season with that community theater just acting in, you know, acting in a small part on this play or a big part on that play or a stage manager or assistant stage manager in another play.
For me, none of the albums after 'Tusk' quite had it. I think we lost something after that.
There's a certain kind of idealism attached to 'Tusk' as a subtext to the music, and I think people now can respond not only to how colorful and experimental it is, but also why it was made.
My favorite record of all time is Fleetwood Mac's Tusk. It's made up of a bunch of songs that don't really sound the same, but they all go really well together.
One of the deepest impulses in man is the impulse to record, - to scratch a drawing on a tusk or keep a diary, to collect sagas and heap cairns. This instinct as to the enduring value of the past is, one might say, the very basis of civilization.
There have been several occasions during the course of Fleetwood Mac over the years where we've had to undermine whatever the business axioms might be to sort of keep aspiring as an artist in the long term, and the 'Tusk' album was one of those times.
The most disappointing thing to me after 'Tusk' was the politics in the band. They said, 'We're not going to do that again.' I felt dead in the water from that. On 'Mirage,' I was treading water, saying, 'Okay, whatever,' and taking a passive role.
Armies and former soldiers are working in the field to help protect elephants. Some have suggested staining the ivory; cameras and trackers have even been embedded within the tusk; others have arranged for tusks to be removed pre-emptively by conservationists.
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