A Quote by Emmanuel Benbihy
People build fame because they're pretty sometimes.Most of the time. This is what the audience wants, apparently. I don't necessarily agree, but I cannot go against it. But it's true that our industry is just full of people who actually really look good. It's the criteria of our generation.
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One of the things I try to work with white people on is letting go of our criteria about how people of color give us feedback. We have to build our stamina to just be humble and bear witness to the pain we've caused.
As each generation comes up that doesn't have the habits for paper it's just easier and cheaper to get your stuff online. You know, people go to what they're used to. Certainly our generation, you know, we'll always want to have a magazine in our hands. We like that, but millennials didn't see the value in that necessarily.
We've learned over the years that if we wanted we could write anything that just felt good or sounded good and it didn't necessarily have to have any particular meaning to us. As odd as it seemed to us, reviewers would take it upon themselves to interject their own meanings on our lyrics. Sometimes we sit and read other people's interpretations of our lyrics and think, 'Hey, that's pretty good.' If we liked it, we would keep our mouths shut and just accept the credit as if it was what we meant all along.
I love the good old book with glue and binding, I really do, but that is just one way of experiencing text, and suddenly we have so many new ways, including our laptops, our phones, our watches. People in my generation agonize over this. People much younger than me don't agonize at all. They just go ahead and find ways to transform publishing.
Most of us fill up our lives and end our boredom with our involvement with other people - people we love, people we hate, people we're afraid of, people we're interested in - and that's what keeps our minds going. So if you're sociopathic and you really have no caring for anybody, there's not much left, only boredom, and the way to relieve that, apparently, is to play a game and make sure that you win.
In a recent survive of Millennials around the world asking what most defines our identity, the most popular wasn't nationality, ethnicity or religion. It was "citizen of the world." That's a big deal. Every generation expands the circle of people we consider one of us. And in our generation, that now includes the whole world. This is the struggle of our time. The forces of freedom, openness, and global community against the forces of authoritarianism, isolationism, and nationalism - forces for the flow of knowledge, trade, and immigration, against those who would slow them down.
I'm lucky right now because I'm not that famous, people will look at the work just as the work, and people respond to it pretty well. It's just hard to know exactly what group I need to meet and where I need to be. I think fame helps, but I want it to be separate as much as it can. Fame is just so weird, people just love famous people.
Half the time, when I first run onstage, I can't look directly at the audience just because of self-consciousness. It's human nature. Sometimes you feel like the man, and sometimes you don't. But sometimes that self-conscious energy is good for the show, it draws people in more.
I don't think quotas are necessarily an evil. I think when we look at industry in general back to the '60s and the '50s, the way more diverse people like my dad and mom's generation were able to break into industry was because of affirmation action, because of quotas.
There's a generation of people that do fetishize books and do fetishize catalogues and do look at them as something important. The same thing with magazine culture: because magazines don't make the amount of money that they used to, it's become important again to another generation of people to actually read them. And it's very, very pinpointed to the select people that actually fetishize and go in and look at them.
Sometimes, love feels like a life or death situation. Losing true love is pretty much as bad as it gets, other than actually dying or losing good health. Most people know that. Most people can relate. It's like the end of the world.
We are using new technologies in meaningful ways. To build our new refinery in 60 percent of the time it took to build our first, we are training 20,000 people in a new generation of welding technology in six months.
Canada does a really a phenomenal job of producing music, actors, and entertainers. If you look at the number of people we have in our country relative to the number of people that are prominent in the entertainment industry, it's pretty impressive.
Of agitating good roads there is no end, and perhaps this is as it should be, but I think you'll agree that it is high time to agitate less and build more. [Here is] a plan whereby the automobile industry of America can build a magnificent "Appian Way" from New York to San Francisco, having it completed by May 1, 1915 and present it to the people of the United States.
There's a lot of forces opposed to legalization marijuana, so I don't want to put the cart before the horse. It's looking like it's going the legalization route, which, you know, a lot of people thought it needs to for a long time outside of recreational and medicinal use, just for crime reasons. We're pumping our prisons full of petty weed offenses and it's partially to feed that industry, but it's not good. It's not good for society, people go in there as a minor criminal and come out as a real criminal.
If sometimes our great artists have been the most critical of our society, it is because their sensitivity and their concern for justice, which must motivate any true artist, makes him aware that our nation falls short of its highest potential. I see little of more importance to the future of our country and our civilization than full recognition of the place of the artist.
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