A Quote by Frederick Lenz
I started to meditate formally at about 18. I would sit on a mountaintop in Southern California around twilight and focus on my third eye. Everything would become still and rings of light would appear, and I'd go through them. I would be beyond time and space.
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When I was about 17 or 18, I would go through my boy's garage and they had a little studio set up. I would just play around there.
No, I was talking to the network and Universal about plans for a third season where Buck would go back to Earth and would focus on stories around the planet and show what it was like 500 years later.
I would go with my husband to the tailors where he gets his shirts made, and I would watch the bespoke process. I would ask them, "Would you be able to make that for me?" And they would always say, "Well, yes, but no." They were very French about it. I decided I would just do it for myself. And I started doing that. Then other people would notice, and want it. So I started doing things for friends, little pieces, and my own line grew that way.
My generation remembered going to the movies as an event. We would see these things, we would bring them home, and we would think about them for years because it would take a long time before they would go on television where you could re-experience the fun that you had when you watched them.
Maybe i would become a mermaid... i would live in the swirling blue-green currents, doing exotic underwater dances for the fish, kissed by sea anemones, caressed by seaweed shawls. I would have a doliphin friend. He would have merry eyes and thick flesh of a god. My fingernails would be tiny shells and my skin would be like jade with light shining through it I would never have to come back up
Designing a station with artificial gravity would undoubtedly be a daunting task. Space agencies would have to re-examine many reliable technologies under the light of the new forces these tools would have to endure. Space flight would have to take several steps back before moving forward again.
If you knew that only a few would care that you came, would you still come? If you knew that those you loved would laugh in your face, would you still care? If you knew that the tongues you made would mock you, the mouths you made would spit at you, the hands you made would crucify you, would you still make them? Christ did.
[Nikola Tesla] was thinking of parts actually moving, like exchanging positions in space through time. This would go over here, then that would go over there, and then something else would happen.
I had three toy buckets, and I would put hot water in them because we weren't allowed to sit in the jacuzzi - we weren't old enough - so I would charge people $1, and everyone would line up, and everyone would sit in this disgusting hot water-sand-filled thing, and I would get $1 and go to the snack bar and get an Oreo.
If we knew that we would meet the Lord tomorrow - through our premature death or through His unexpected coming - what would we do today? What confessions would we make? What practices would we discontinue? What accounts would we settle? What forgivenesses would we extend? What testimonies would we bear? If we would do those things then, why not now?
It was like time would stop, and the dancer would sort of step through some kind of portal and he wasn't doing anything different than he had ever done, 1,000 nights before, but everything would align. And all of a sudden, he would no longer appear to be merely human. He would be lit from within, and lit from below and all lit up on fire with divinity. And when this happened, back then, people knew it for what it was, you know, they called it by it's name. They would put their hands together and they would start to chant, "Allah, Allah, Allah, God God, God." That's God, you know.
You must take care to light the matches one at a time. If a powerful emotion should ignite them all at once, they would produce a splendor so dazzling that it would illuminate far beyond what we can normally see; and then a brilliant tunnel would appear before our eyes, revealing the path we forgot the moment we were born, and summoning us to regain the divine origins we had lost. The soul ever longs to return to the place from which it came, leaving the body lifeless.
I was 16 at the time, and I came backstage and started hanging out with them. I said, "Well, maybe you can 'vanish' the silk this way." The opening was a black stage while the "Magic to Do" song started playing. All you saw were hands, lit by Jules Fisher, and then Ben Vereen would appear beyond the hands, and at the end of the scene he would vanish a silk. The spotlight would hit a red spot on the floor where you'd see the silk on the floor. He'd pull the silk out of the floor and it became the entire set coming out of the floor.
I was very depressed when I was 19... I would go back to my apartment every day and I would just sit there. It was quiet and it was lonely. It was still. It was just my piano and myself. I had a television and I would leave it on all the time just to feel like somebody was hanging out with me.
You'd go in, read the script once for timing and then you would sit around and play games. The sound effects people would come in and we would do a dress rehearsal so they could get the effects and the music cues in place. Then you would wait until you went on the air.
I would just be vibing with whatever I liked the most. And then there were a couple songs that I started on my own. I would have a melody or an idea and I would take it to the studio to go through it.
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