A Quote by Chris de Burgh
You get tarred with the brush of 'Lady in Red.' I play Russia or China or places all over the world. They don't even speak English but they know the words. You get a big song like that, and people love it or hate it. And if they don't like it, they don't like anything at all by the artist.
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People like Dick Gregory, Paul Robeson, Harry Belafonte and Nina Simone show me what the definition of an artist is - it isn't just to make art but to speak truth to what's happening, speak beauty into the world, speak love into the world and also... get involved.
You know, there are times when you play a song over and over and over and you get a little tired of it and you let it sit for a while. It's like, you may love eating sushi, but if you eat it every single day, you're going to get a little tired of it.
You know, Russia brings it on. People don't want to be Russia hawk. People would like - that's what the president always says: We would like to get along with Russia. But what Russia is doing makes it really hard.
I love seeing original cartoons. You get to see the artist's corrections, like erasures or Wite-Out or patches, and you get to see the artist's line in better detail, and what kind of ink they use - whether they like a cold black or a warm black, and what kind of paper they like, how big or small they like to draw - art nerd stuff like that.
I ain't got no problem in Boston, I especially like the attention. I know that I'm one of the top guys in this game and all the attention is on me, I got a lot of people on my shoulder but I'm human. I like to go. I like to have fun. I like to do this and that but I gotta represent Boston and the Red Sox in every way that I do outside this game. ... Like I said I get paid to play baseball no [matter] where I go to play I still gotta go and perform even if I like it or not.
When I was twenty I was in love with words, a wordsmith. I didn't know enough to know when people were letting words get in their way. Now I like the words to disappear, like a transparent curtain.
I don't get particularly precious about things like this, though. Like the record company said, "We need a radio edit that delivers the hook" - I don't even know what they consider the hook in that song ["Oh No"] - "that delivers the hook sooner." So I'm like, "Okay. I see that." And they were all walking on eggshells, like is this going to be sacrilegious to me or something, to mess with this art I've created? And I'm like, "Great. I get to tinker with it, I get to mess with my song some more."
I go through the text making sure I haven't used any big words. If I find any fancy adjectives have crept in, I replace them with small words like 'nice' and 'big'. I've liked these words ever since I was told not to use them in English class at school. After that, I check that the sentences are short so as people won't get confused and I shorten all the chapters so they won't get bored. I can't read anything complicated these days, my attention span is too short. Everyone else probably feels the same.
When you're DJing, there are songs I love to play, but I know people are going to walk off. It doesn't matter what I like. You have to be able to play the popular song and slip in one of yours, in such a way that they don't notice it. You've got them in such a roll that you get them back into what they think they like.
I don't follow anything blindly. I have to know the entire thing, if I have to get in to it. It might sound funny to you, but it's like using English language. I use an English word only when I know its meaning and understand its connotation. You won't hear me say, 'What's up, dude' or anything like that just for the heck of it.
In 1879 the Bengali scholar S.M. Tagore compiled a more extensive list of ruby colors from the Purana sacred texts: ‘like the China rose, like blood, like the seeds of the pomegranate, like red lead, like the red lotus, like saffron, like the resin of certain trees, like the eyes of the Greek partridge or the Indian crane…and like the interior of the half-blown water lily.’ With so many gorgeous descriptive possibilities it is curious that in English the two ancient names for rubies have come to sound incredibly ugly.
I learned to stop being English about things like love. If you make a film in England about love, it's hugely complicated. It's all about saying what the weather is like, and you're secretly telling someone you love them. You know what the English are like; they're very repressed people. You don't get that in India. India is incredibly un-cynical about love. It's a not a complicated thing. It's me, you, love. Let's go.
You look at something like Russia, or you look at something like China, where you actually allow free markets to go in. And you haven't seen the change that we, in the western world, would probably like. You still have a bit of a dictatorship - some people would say more than a bit of a dictatorship - in Russia and in China.
It is nice to have the fans recognize you, not because it makes you feel like a big-time player, but because they enjoy watching baseball and they like watching us play. It's going to get even better being here. Pretty soon, the city could be one of the best places to play.
Most people don't know what it's like to stand up there and speak their mind. I have a venue to do that. I get paid to do that. It's not like I'm doing heavy lifting up there. It's not like I'm solving the world's problems. It's like I'm hanging out with a bunch of people and it's cool.
In the streets, they're very nice. On Twitter, there are people who love to hate me. Sometimes people get mean. I tend to answer like, 'Careful now, know who you're dealing with...' They're like, 'I'm sorry! Don't send the Lord of Light after me!' It's fun to play with that.
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