A Quote by Brian Viglione
For us the Dresden Dolls were porcelain dolls that were made in that city at the time, that is what they were to us, and also a reference in Slaughterhouse 5 by Kurt Vonnegut, and in a song by The Fall.
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When I first came up in the wrestling business, there was a movie called 'The California Dolls' about a female tag team - girls who are struggling trying to make it in the wrestling world. I started out in a tag team, and my name was Britani Knight, and my dad named us after The California Dolls. We were called The Norfolk Dolls.
With two older brothers, I was a tomboy in one sense, but on the other hand I really loved dolls. My brothers weren't very happy when I nicked their Action Men to play with my dolls and they were appalled when I made them kiss my Barbies.
I had many dolls. And you know how I played with them? By performing insurrections, assemblies, scenes of arrest. My dolls were almost never babies to be nursed but men and women who attacked barracks and ended up in prison.
My parents were worried about me, certainly when I became so deeply interested in music and people like the New York Dolls who, at the time, were very peculiar indeed.
My theory is that Kurt had a lot of residual pain from his childhood. And when you pile that on top of his experience in World War II - he was in Dresden when it was bombed and saw a city annihilated. When you combine those two things, my impression of Kurt Vonnegut at 84 was that he was a very pained and haunted man.
If sex were all, then every trembling hand
Could make us squeak, like dolls, the wished-for words.
Dolls fire our collective imagination, for better and - too often - for worse. From life-size dolls the same height as the little girls who carry them, to dolls whose long hair can 'grow' longer, to Barbie and her fashionable sisters, dolls do double duty as child's play and the focus of adult art and adult fear.
The Dolls were the forefathers of glam. You never knew if they were going to kiss you or punch you. More than likely, they'd do both.
To me in my childhood, elves and fairies of all sorts were very real things, and my dolls were as really children as I was myself a child.
Because the priest must have like every dog his day
Or keep us all awake with baying at the moon,
We and our dolls being but the world were best away.
We felt like the Taliban saw us as little dolls to control, telling us what to do and how to dress. I thought if God wanted us to be like that He wouldn't have made us all different.
Many of us are returning from a long journey during which we were forced to search for things that were of no interest to us. Now we realize that they were false. But this return cannot be made without pain, because we have been away for a long time and feel that we are strangers in out own land. It will take some time to find the friends who also left, and the places where our roots and treasures lie. But this will happen.
The Seventies were just an interesting time for us because we were building the brand of the name but also varying the style of the music on each of the albums we did. Very creative time of us.
We were friends with Jonathan Demme. We were all down on the West Side of New York, and I think I met Kurt Vonnegut through Edith Demme. And then I was lucky to do Who Am I This Time? 1982, which was an adaptation of his short story that Jonathan Demme directed with Chris Walken and I, and that really cemented the friendship.
Where are you taking us?" Nico said. "You should be honored, my boy. You will have the opportunity to join a great army! Just like that silly game you play with cards and dolls." "They're not dolls! They're figurines! And you can take your great army and—
I went through a big Kurt Vonnegut phase. But the writers who made me decide at a very early age that this is probably something I wanted to do were Stephen King and Douglas Adams, when I was probably, like, ten years old.
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