A Quote by Frankie Ballard
I collect hotel keys. I hope to make something out of them someday. It would be cool to make a bar at my house and, like, the bar is all the hotel keys: lay them down and put glass over them. Or maybe even a coffee table.
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We [with Les Charles] started talking about hotel stories, and we found that a lot of the action was happening in the hotel bar. We actually thought of that while we were in a bar: "Why would anyone ever leave here?"
Even murderers, I suppose, experience the loss of car keys the way the rest of us do. I mean, how can they not? Once you make this person scramble around the house looking for her car keys and finally find them, get in the car, and run into traffic, we can identify with her enough that when she stops the car and pulls the gun out of her purse and heads in to kill somebody, we'll be with her as much as is possible.
Even when I ran my bar I followed the same policy. A lot of customers came to the bar. If one in ten enjoyed the place and said he'd come again, that was enough. If one out of ten was a repeat customer, then the business would survive. To put it another way, it didn't matter if nine out of ten didn't like my bar. This realization lifted a weight off my shoulders. Still, I had to make sure that the one person who did like the place.
In my carjack I immediately knew not to resist. I put my hands up, I didn't make eye contact, I didn't speak with them, I didn't argue with them, and he searched me - I knew he was going to search me, because I was told they would probably search you for phones or keys. I think once you expect something it's not as scary.
When we were kids, we would never open the minibar. A $6 Snickers bar? But the other day I was in a hotel and I was staring at a Snickers bar, and I finally just ate it. Then it was like something in me snapped. I opened all these drinks. I thought: I can do it now. Now I'm all grown-up. I can eat things from the minibar.
To me, there are certain things you lay claim to proudly and others you hope the people look over them, and for me, the NWA title throwdown is something that I wear like a badge of honor and what we did and what it achieved for ECW at the time, and ultimately we failed, but damn, we came close to grabbing those keys to the kingdom.
... I'm the fortieth-ugliest man in this bar. But so what! So what! What if someday she lets me kiss each one of her freckles again? She has like a million. But every one of them means something to me. Isn't this how people used to fall in love? I know we're living in Rubenstein's America, like you keep saying. But doesn't that just make us even more responsible for each other's fates? I mean, what if Eunice and I just said no to all this. To this bar. To this FACing. The two of us. What if we just went home and read books to each other?
Keys," she repeated, and slowly stepped back. "What do you mean, keys?" "Car keys. As in, give them up. Now." Shane had that look -- hard, and no bullshit. "We don't have time for your drama, Monica. Nobody does.
When you go into a bar, there are hundreds and hundreds of cameras in that bar - many of them installed by that bar. They might be checking something or taking a picture of you.
I don't really think much of any songs I put out like I know... I think they're good, that's why I'm putting them out. But like I don't ever try to expect anything, so even with 'Caroline' or 'Red Mercedes,' I just put them out and hope for the best and people kind of gravitate towards them and I guess that's pretty cool and that's a blessing.
From a policymaker's point of view, [the back door] must look like a perfect solution. "We'll hold onto a separate copy of the keys, and we'll try to keep them really, really safe so that only in an emergency and if it's authorized by a court will we bring out those keys and use them." And, from a policy point of view, when you describe it that way, who could be against that?
I can sing 'Happy Birthday' to you in twelve different places, but one of them is going to make you feel a certain thing, maybe it's a vulnerability, maybe an innocence, maybe another way is sexy and soulful or bluesy whatever it is, but with singers, exploring keys, I think, is important.
When I was in Vegas women were throwing their hotel keys at me. But it was after they checked out.
One of the keys is, and it may sound funny, talking about characters with super powers, but one of the keys is to make your characters as realistic and believable as possible. Even if they have super powers, you say to yourself, "Well, if somebody had a super power like this, what would his life be like? Wouldn't he still maybe have to go to the dentist or wouldn't he have to worry about making a living? What about his love life?" You've got to make characters that your reader can believe exists or might exist.
When we put our keys down, we should be conscious of putting them down. When we pick them up, we should be conscious of picking them up. That's all there is to zen.
Telling your story out loud is the way human beings communicate. We don't normally think up words, translate how to spell them and then move our fingers up and down over this randomly arranged set of keys to make the same letters appear on a screen.
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