A Quote by Bill Cosby

Listen to John Coltrane enough and after two bars, just two bars at any place, and you know that's him. We all have signature things that happen to be similar that you can predict and you try to stay away from that except the rhythms: those pauses, they're part of my signature, the part where I know when I say nothing, I already painted enough, led enough and I don't even have to say anything. But those pauses don't belong to me. Jack Benny was one of the first guys in comedy to make the anticipation so great that during the pause people start to laugh before the execution.
For those who say you're thinking too big... be smart enough not to listen. For those who say the odds are too small ... be dumb enough to give it a shot. And for those who ask, how can you do that?... look them in the eyes and say, I'll figure it out.
Even the way Mamet describes silences within his plays is different. There are pauses; there are pauses within parentheses; there are pauses before dialogue; there are pauses in the spaces between the dialogue - there's this extraordinary vocabulary of silence which is all there on the page, mapped out.
I maintain that no movie can be funny enough. I mean even the most serious, even the most intense movie and I know enough about life to know in those dark moments inevitably someone will say something funny and I will be part of the whole experience.
Before I got to Juilliard I remember that I had learned the first few bars to all the Sachse etudes in several different keys because I knew what was coming. So in the first year he was throwing these Sachse etudes at me and I would knock off the first eight bars and fly right through it. He would say, 'Alright, that's good enough.' But, in my third year, he said 'Get out the Sachse book.' I couldn't understand why. So I pull it out and he said, 'Here, start in the middle.' I was in trouble! He said, 'Hey Balm, I took you for a guy who knows how to transpose-you're nothing but a bugler!'
My point is that the great challenge of an artist is to balance those two things: to be strong enough to have your own personal vision that you will put on the page or the canvas or the screen, no matter what people say, but it requires a radical sensitivity. You have to be completely open to what the world is telling you, to what your audience tells you. And balancing those two things is nearly impossible.
That's when I finally got it. I finally understood. It wasn't the thought that counted. It was the actual execution that mattered, the showing up for somebody. The intent behind it wasn't enough. Not for me. Not anymore. It wasn't enough to know that deep down, he loved me. You had to actually say it to somebody, show them you cared. And he just didn't. Not enough.
There's the part of me that's the organizer, part of me that's the artist, part of me that's the person who, even with those two things, wants to figure out what my place in the world is. How to engage with it and whether my life has any meaning.
I didn't understand key signatures or anything, you know. I'd say silly things at the top of a trumpet part like, 'Note, when you play B naturals, make the B naturals a half step lower because they sound funny if they're B naturals.' And some guy said: 'Idiot, just put a flat on the third line and it's a key signature, you know?'
When I worked with Chevy Chase, Michael Ritchie would say, "Just ad lib and try to break me up. Just insult me. Anything." When we were doing his close-up, or when my back was to the camera, I would come up with jokes or quips or anything, to get a real reaction out of him. He was smart enough to know that was gold. So it was great fun working with him and Michael, and getting to see how the two worked together. I think Fletch and Clark Griswold were Chevy's two best roles. He's so incredibly talented and still vastly underused.
In fashion, there's a lack of strong male images. And there's a huge lack of strong African American images. I noticed over the past thirteen years, Ralph and those guys have used guys that looked similar to me. And I was happy for those guys, but eventually I said, 'Enough is enough, I'm just going to go in and take my job back.'
When I was studying comedy in Chicago, it wasn't long after 9/11. There were a lot Middle Eastern comedians who were doing bits about hailing cabs and being terrorists. So the first two years, I didn't do any of that because I wanted to separate myself from those guys. But race is a big part of who I am, and it should be a big part of my comedy.
After all those years as a woman hearing 'not thin enough, not pretty enough, not smart enough, not this enough, not that enough,' almost overnight I woke up one morning and thought, 'I'm enough.'
I think every single one of us can think back on the key individuals in our lives who really made a difference, and also maybe some of those who sent us astray. There are those are the teachers who are brave enough to buck the system, and obviously not in such a way that jeopardizes their jobs, but brave enough to say, "I know I have to accomplish that, but I want to know how I'm going to help this child get there differently. I want to know what makes this child tick, and I want to help him get there from a place of curiosity, rather than from a place where I impose my ideas on him."
It's fairness to say those who work hard, get up in the morning, cut their cloth - in other words 'we can only afford to have one or two children because we don't earn enough'. They pay their taxes and they want to know that the same kind of decision-making is taking place for those on benefits.
Those secrets are things that most people don't learn, because they are not enthusiastic enough, or bright enough, or patient enough, or funny enough; or still enough.
There are two ways you encounter things in the world that are different. One is everything that comes in reinforces what you already believe and everything that you know. The other thing is that you stay flexible enough or curious enough and maybe unsure of yourself enough, or may be you are more sure of yourself - I don't know which it is - that the new things that come in keep reforming your world view.
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