A Quote by Cassandra Peterson

One of the things that's kind of persistent is that I am the model on the cover of Tom Waits' album, Small Change. — © Cassandra Peterson
One of the things that's kind of persistent is that I am the model on the cover of Tom Waits' album, Small Change.
I would just think that I would remember modeling for the cover of an album with Tom Waits, who I've always loved.
I heard Tom Waits in this kinky shop on Belmont Street in Chicago. Considering the way I was raised, they were such obscure voices, but their music saved my life - I didn't know who I was before I heard Bob Dylan and Tom Waits.
I got to watch my heroes meet him and saw how they reacted, whether it was Joe Strummer or Tom Waits. It was peculiar. I'm so stoked to meet Tom Waits, and he's so nervous to meet my dad. It's a head spin.
The first time I heard Tom Waits, it was like everything just flipped. It was just this fascination with him. My cousin showed me 'Small Change,' and I just couldn't get over that this was a white guy singing.
I'd love to do a song with Tom Waits. Around when I was like 17 or 18, my buddy, D-Money, put me on the Tom Waits and I literally at that point got every one of his albums and kind of studied his music. I like that he provides an entire world for the listener. He's hopefully someone that I could vibe with down the line. I'm not sure how it would sound or even how it could work, but he's always been a huge influence.
Leonard Cohen can give you "Leonard Cohen" - the self-deprecating wit, the slow, considered speech, the perfectly-honed anecdote - Tom Waits is far more comfortable giving a journalist "Tom Waits" the character, whose conversation is really a series of strange tales, learned or ad-libbed.
I’ve never met anyone who made it with a chick because they owned a Tom Waits album. I’ve got all three, and it’s never helped me.
I never got a chance to do Tom Waits or PJ Harvey kind of stuff in the Gaslight Anthem.
Occasionally, I'll want to cover something that's outside of my audiences' tastes or interests. Every week or so I have to try and cover at least one or two of those things to keep my sanity. If you're only reviewing what is in the top album spots on Apple Music every week, you can get kind of jaded.
I have a piano in my kitchen. I read a great biography about Tom Waits that said that he had a piano in his kitchen; he had a grand piano in his kitchen. And I thought, 'Well, if Tom Waits has one, then I must.'
I know it sounds weird, but the kind of music I write isn't the kind of music that I listen to, which is quite underground, left-of-centre stuff like PJ Harvey and Tom Waits.
I can count on one hand the people who are legendary in my book, and Tom Waits is certainly right at the top. It's funny, though: When I tell people that I like Tom's music, it surprises them.
You just have to be persistent. I think that's one of the biggest things about the model industry and this career is being persistent and believing in yourself and also being ready when the timing is right. So much of it is about timing and luck, so to be ready when you get the opportunity.
I think record cover sleeves really led towards, but at the same time the album as we know it didn't come into being until mainly after the Second World War because record labels realized they'd be able to make a lot more money putting all the singles of an artist onto one album and selling the whole album as a kind of a concept.
I wasn't put on the cover of Sports Illustrated as a plus-size model, I was put on the cover of Sports Illustrated as a model, as a rookie, as Ashley Graham. This is exactly where we're headed, and yes, there are so many more things we need to do in the curve/plus-size industry.
You never change things by fighting the existing reality. To change something, build a new model that makes the existing model obsolete.
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