A Quote by Glenn Danzig

I know they are going to be doing a box set in Europe of Danzig 5 and 6 and some other stuff. — © Glenn Danzig
I know they are going to be doing a box set in Europe of Danzig 5 and 6 and some other stuff.
I still don't really know what my style is. I like a lot of different kinds of comedy, I like watching it and I like being inventive and original. That's the problem with doing a longer set - you can't do every joke that you have because some stuff contradicts other stuff. Even when you know that the audience knows that you're joking and it's not true, you still can't do a joke about your family dying and then later talk about your Mom. I mean you want to keep some kind of cohesive order going.
I've done some stuff with Glenn Danzig before, and while I can't really say that we're friends, we're friendly acquaintances.
I'm close to my audience. I think I have more tools in my box than other guys who might try it. Also, I know how to do this stuff. I know how to write and shoot and edit. I'm technically adept and that helped with the website. You need a big skill set.
For a long time, I thought when you do a box set, you're giving up; you're saying, 'OK, I don't have anything left.' But now I've listened to some of the old stuff I haven't heard in 20 to 40 years with fresh ears. It's like, 'Oh yeah, I can see where people might want to to hear some of this stuff that didn't make it onto the records.'
Doing the box set is one of those things where you get to rewrite your own history to some extent. We could take out some of the songs that we felt weren't as strong as some of the others, so you look better.
Like some people just really think this is all you do, is play basketball. It's like, 'no actually there's other stuff I like doing, there's other stuff I love doing.'
Some of the stuff I get the scripts for, I read it and I'm like, "Wow." We're doing some crazy stuff on this show [Legends of Tommorow]. it's going to be amazing.
I did, I was in Europe a lot. I would say, mid 20s to late 30s. Less so in the last ten or twelve years. Based on some political stuff and other things, I think I'm not the only musician, the only American jazz musician that's not going to Europe quite as much. I think we're seen a little differently in the world, unfortunately, than we were pre-Iraq invasion and things like that.
It feels like there are more good youts out there following their dreams. It's not just music; they're doing loads of stuff - they are getting creative and doing mad out of the box stuff.
But the Danzig unreleased stuff will be either a single or a double CD.
Writing is a black-box proposition. You see actors; you can see what they're doing. You can watch the director on set doing his work. But when a studio says to a writer, 'Give us some pages,' he just goes off and comes back. It's just pages, and suddenly, there's some writing on them.
Markets are saying pretty much what I'm saying too: that Greece is doing what it can, but that Greece is not going to be able to carry the weight of all of Europe and the other problems that Europe has.
I had done some stuff on camera, then I did some film dubbing when I lived in Europe. When I came back, I'd considered doing on-camera work again, but I didn't really like it.
I'll get out and do Pilates. I'll get in the ring and do some rounds of kickboxing and grappling and MMA conditioning. There's a lot of unique stuff that I do, too, that a lot of people wouldn't imagine or think about doing, like box jumps. You get a 42-inch box and dumbbells and practice working on your explosion jumping up on those boxes.
There'd be days I was in the locker room with my dad doing media, and there'd be other days that I'd be with my mom in the press box and just kind of looking at stuff from that point of view. I'd see guys writing stories after the game and stuff like that. So it was cool to me to see both sides.
I've never set a book in Europe. I've lived in Europe three times, but somehow or other it wasn't the experience that engaged me in that way.
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