A Quote by Glenn Danzig

Yeah, now we publish whenever we feel like it. — © Glenn Danzig
Yeah, now we publish whenever we feel like it.
Whenever I publish a book, I feel like a trapper caught by the Iroquois. They're all lined up with Tomahawks, and the idea is to run through with your head down, and everybody gets to take a swing. They hit you in the head, the back, the ass, and the balls.
Whenever I can, I like to go to Cotswolds, in England, where my husband had a cottage. I spend my time reading his diaries, which I would like to publish.
Whenever I have a job, it's very important for me to handle myself in a way so that when there's another person, a young person of color, or even someone who's my age now, that they'll say, 'Oh, Dule was cool. Yeah, he handled his business. Yeah, he really added to what we did here,' so maybe we'll do it again.
I feel like I'm a fan of film who's actually in the business, too. So it'd be like saying like, ‘Yeah, I love the NFL,’ and then, ‘Yeah, I'm also a wide receiver.’
I paint and I draw and I write and I do other things too, and recently some people at school were asking if I'd ever publish any of my work. But I almost feel like I would have to publish it under another name because there's a definition of me out there that feels kind of stuck in the moment when it was formed.
Send it to someone who can publish it. And if they won't publish it, send it to someone else who can publish it! And keep sending it! Of course, if no one will publish it, at that point you might want to think about doing something other than writing.
When I trip, I feel like that's the world saying come here for a second. It just pulls me closer for a second, yeah what do you want? I just want to remind you that you're uncoordinated. I'm aware of that, thank you... can I go now? Yeah, you can go, but never ever try to outrun me. Ok, world, see you later. Yeah, I'll see you in about 50 years.
I love that my music is connecting with people, but I don't think there'll be a point where I feel like, 'Oh yeah, I'm famous now.'
I just write songs whenever I feel like it, whenever they come to me.
I feel I understand now why, whenever there are revolutions, Shakespeare is what people turn to. Because whenever a society is on the cusp, about to become something else, they find themselves in Shakespeare.
I love life... Well yeah, and I'm sad, but at the same time I'm really happy that something could make me feel that sad. It's like, it makes me feel alive, you know? It makes me feel human. And the only way I could feel this sad now is if I felt somethin' really good before. So I have to take the bad with the good, so I guess what I'm feelin' is like a, beautiful sadness.
But it's clear to me that us slow-poke writers are a dying breed. It's amazing how thoroughly my young writing students have internalized the new machine rhythm, the rush many of my young writers are in to publish. The majority don't want to sit on a book for four, five years. The majority don't want to listen to the silence inside and outside for their artistic imprimatur. The majority want to publish fast, publish now.
Yeah, I could get an internet page and maybe get a thousand downloads of new songs but it's a lot of work. I'm 57 now, I really feel like I've got the T-shirt. I just like performing. It's instant. I go off, I do the show, it's over. I like that.
Am I mad about Deflategate? I feel like I'm on ESPN with that question... Yeah, yeah, I'm kind of mad.
New York has made me so paranoid, too. Whenever I visit another city, I always act like I'm from there, so the cab driver doesn't rip me off. I'm always like, "Yeah, it's good to be back home. Back here where I grew up. Yeah. Here in Tokyo. ... Uh, driver, I need to go to my old stomping grounds. That would be the Holiday Inn. And the address appears to be the pound sign."
I don't know, whenever someone was like, 'Yeah, I'm going to the studio,' I just went with them. And I started recording.
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