A Quote by Bill Moyers

Unless you're willing to fight and refight the same battles until you go blue in the face, drive the people you work with nuts going over every detail to make certain you've got it right, and then take hit after unfair hit accusing you of bias, there's no use even trying. You have to love it, and I do. You just hope it strikes a spark somewhere in the critical mass of public opinion and helps some people to resist further the seductions of political and corporate advertising.
I'm learning how to work my voice. I got some songs that you probably wouldn't even know it's me singing on there. I will sit there and take 20 takes until I hit that note right. It's different on stage - you've got to hit the notes that one time.
Usually I'll drive to certain locations over and over again, over a course of months really. And then it might just be I hit it at the right time, and the right light. And then I might go to that location over and over again, and then what happens in that lag time where - the image sort of locks in - all of a sudden I see it in my mind's eye.
When you get hit, you hit back, you've got to do it. You don't just say "I didn't get hit, oh I didn't get hit." When you get hit, we are destroying our country with these sick people [from mass media] back there, and they know it better than anybody in this arena.
Someone came up to me and told me that [his opponent's] knee was hurt, and he said to me, attack his knee, I'm like, 'Yeah right, I'm not going out to attack this guy's knee.' It just doesn't … it's not realistic to go after his injury, unless they got a cut the same week, then it's like, yeah, hit him in the eye, because the [expletive] is going to re-open and now you wouldn't fight on the cut. Maybe on a cut you want to take advantage of it, that makes sense.
I realize that my opinion is my opinion, not everybody has to believe it and I never tried to shove anything down anyone's throat, but I was willing to take that to the trenches if you know what I mean. I took that opinion to the wall, often in public, often had to... I often had to fight in public with the very same people who I was trying to convince to play my records!
It's true, I do sometimes suspend myself over the canvas, but mostly I work at a table when I'm making a painting. When I use 'The Rig,' my feet are firmly anchored. I lower myself horizontally just long enough to make a brush stroke - a matter of seconds - and then I'm upright again. My assistant then erases the painting quickly with a squeegee and I go for it again... until I get it right. It's like trying to hit a home run.
People are going to think and take things how they're going to take it, and I have no control over that, so it's kind of like biding time until you get your feedback. So, it's like, once the public can consume what you're putting out there, then you know. Then you know hit, miss, in between.
The most important thing for me is that I continue trying to hit the levels I've hit before and go even further.
I used to get made fun of in the minor leagues. I'd be 0 for 2, and then in my last at-bat I'd hit a chopper that wouldn't even reach the shortstop, and I'd get a hit out of it. The guys would be all over me, but a hit's a hit. I'll take 3,000 of 'em.
Because of the grass and open face, I take one more club for shots from the rough, unless the ball is sitting on top of dry grass. Then, I use more loft and swing softer, trying to hit it about 70 percent to avoid a flyer over the green.
I'd take about 40 thousand CDs, and then take about three full vans of people to hit every hood, every mall, and every club. Just hit one city to the next.
If I have a hit, then I hope the people who like the hit song go out and buy my album so they can hear it all.
It kind of hit me at some point during the process that most people in the film business - not just the executives, the people who make them, too - tend to come from pretty upper-class backgrounds. If they go work a job, it's to have that experience, that sort of thing. After they graduate college, they have time to go visit Europe and take some time off and get their heads together. That kind of thing, I sure didn't have.
I'm not trying to chase a radio hit, but at a certain time, you can't make the same album over and over.
It's been my experience in politics that you can try and plan it out: 'I'm going to hit the three ball which will hit the eight ball.' You've just got to go run and try to do everything right. And then have a little luck.
Advertising and the free society are closely connected. Advertising helps to make a free society remain so by increasing competition, and by helping to maintain the freedom of the mass media themselves. The free society is one where advertising and advertising agencies are likely to be in considerable demand, though it is true that even in a totally centralist society there would still be a need for organisations and people to have access to mass communication media.
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