A Quote by David Lee Roth
Let's play with the career, if we can't find anything else to do
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The conversation of how you do a play is my favorite conversation in the whole wide world: what a play is, why it's different than anything else, the math of the way that human behavior has to be calibrated theatrically versus anything else.
Music is a universal language insofar as you don't need to know anything else about a musician that you are playing with other than that they can play music. It doesn't matter what their music is, you can find something that you can play together, with what their culture is. The dialect part of it comes into play, but nothing like the differentiation that language sets up, for example.
When one tugs at a single thing in nature; he finds it attached to the rest of the world.
Variant - When we try to pick out anything by itself, we find it hitched to everything else in the Universe.
Variant - Tug on anything at all and you'll find it connected to everything else in the universe.
Anytime a person can play the blues, he has a soul and he has a 'lift' to play anything else he wants to play. It's sort of like the foundation to a building.
I'd like to walk into a room sometime and be introduced as the author of something other than that play. There's always one thing in a career that has more impact than anything else. In my case, 'The Subject Was Roses' was that thing.
I did The Seagull, the Chekhov play, on Broadway, a couple of years ago, and I had done it in London, and I became completely obsessed with the character, Nina, that I played in that. She's an actress. I couldn't find a play after that, that I wanted to do, because I couldn't think of doing anything else. Every part is a disappointment, once you've done that part.
Our job is to find players younger, where they are able to play from 11 years old and grow up playing the game. Rather than, you start playing when you are 17 or 18 and you don't get the opportunity to do anything with your career.
I would expunge the word "aptitude" from our vocabulary, because if you're interested in something, that's all that matters. You'll spend more time doing it, that than anything else, and possibly more time doing it than anybody else. And that's all that matters, because in the end, if you love what you do, you'll be your best at it compared to anything else you might have chosen as a career.
The years in Boston were the best of my career, and they mean more to me than anything. Winning on that stage was incomparable to anything else. That's the way I choose to look at it.
The thing that interests me far more than anything is creating music, songwriting and arranging, and in that context drumming itself is a means to an end. I think it's really easy to forget that - I'd sooner play something musical than flash, and as I can't play anything flash, I try to be musical. Drums can set a mood, create an impression, as much as anything else.
The first thing you have to get when you play somebody iconic is you have to get lucky. More than anything else, you have to make a leap of faith and know that somewhere, the net will appear, and you'll find your way.
I did a play in Bolton - 'Billy Liar.' I turned it down at first but then thought, 'What the hell else can I do? I'm no good at anything else.'
You can't do anything else once you do game shows. You have no career.
If you can play the game later in your career very similar to how you played earlier in your career, then it bodes well for you to play longer and play better longer.
I find the relationship of sensation and physicality, and, for me, it's music like anything else. It's a different way of expressing and exploring sound. I find it really beautiful.
I use Facebook, but I find that I'm... if I put up a picture of my dog there or a sunset or something, I get a million hits. If I mention anything to do with my career, three people respond. And/or if I say anything political, I have to duck afterwards. I try to be selective.
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