A Quote by Jack Osbourne
I had about four days of like, 'Pity party, woe is me, it's all over.' Then I did some research and spoke with doctors and got in contact with people who have MS, and I soon realized it's actually a lot more manageable than the kind of public perception of it is, and that's part of the reason why I've been so outspoken about it.
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When I got diagnosed, the more research I did about it - MS overall, as a subject, as a disease - there's a lot of misconceptions and there's a lot of unknowns about it, and there wasn't anyone out that was close to my age or close to anything like me out there.
[On her mastectomy:] Pity is delicious. I was crazy about the pity I got. It was the best kind, too. I did not get, nor did I want, the drooling, mewing kind. I preferred something more restrained but deep-felt. Quality pity.
The wrap party for the 'Lorna Doone' TV series was pretty special. We went to about four clubs, then four people's houses, and I got home at midday the next day. I'd been wearing ridiculous green shoes all night, and the dye had smudged all over my legs.
I think the only reason I've had the career life that I've had is that someone told me some secrets early on about living. You can do the very best you can when you're very, very relaxed, no matter what it is or what your job is, the more relaxed you are the better you are. That's sort of why I got into acting. I realized the more fun I had, the better I did it. And I thought, that's a job I could be proud of. It's changed my life learning that, and it's made me better at what I do.
Being able to play tragedy for humor rather than pity is a new trick I've learned. For a long time that's what I did with my poetry, ask people to feel sorry for me. I got sober and I realized I have to get out of the pity thing; it's not going anywhere for me. I don't want to have any self-pity.
When I first started comedy, before I kind of gained any national prominence, I - in a weird way - went back to that. Marc Maron had me on WTF making fun of me about that when I first opened for him. I had this very kind of hip-hop bravado to me, and I realized that now I've let some of that go in my stage presence, that maybe that was because I had dropped that completely from my life, and when I got onstage I sort of rekindled it. And I think now that it was perhaps a defense mechanism that was left over from those days, which I think is kind of interesting.
Song in the Manner of Housman" O woe, woe, People are born and die, We also shall be dead pretty soon Therefore let us act as if we were dead already. The bird sits on the hawthorn tree But he dies also, presently. Some lads get hung, and some get shot. Woeful is this human lot. Woe! woe, etcetera.... London is a woeful place, Shropshire is much pleasanter. Then let us smile a little space Upon fond nature's morbid grace. Oh, Woe, woe, woe, etcetera.
I went public with the alcoholism, very early on... the early '70s. Mercedes McCambridge, the actress, I think was the first recognizable person that went before Congress and talked about it, and I thought that was a good idea, to take some of the stigma away from it and say "Normal, average people can fall prey to it." So it's been public for me. I did a movie about an alcoholic. And today, you're nobody unless you've been to rehab. It seems like everybody has some kind of an addiction.
Actually, I had a lot of good people with me - my mother's sister did a lot of taking care of me, and I suppose I got more attention than my stepbrothers because at least I got to travel with my parents.
People are more willing to talk about child abuse. When this whole McMartin thing went down, I was at a dinner party with about eight people, all from different backgrounds and from all over the world. And every single person at that table had had some weird experience as a child. I think everyone has - whether it was with a babysitter, or playing doctor, but usually when some older person tries to come in contact with you. It's amazing how much we block out.
Aside from birthing me my first grey hairs and keeping me up at night more times than I'd like to count, 'The Subtle Art' taught me a lot about the nature of work. And a lot of that had to do with how my perception of the work itself evolved over the course of writing the book.
Woe to the youth whom Fancy gains, Winning from Reason's hand the reins, Pity and woe! for such a mind Is soft contemplative, and kind.
In every war zone that I've been in, there has been a reality and then there has been the public perception of why the war was being fought. In every crisis, the issues have been far more complex than the public has been allowed to know.
I actually didn't even think about "Josie and the Pussycats" . I was like, "Oh yeah we kind of took some shots at MTV," but I think everyone had a good sense of humor about it. People either got that movie completely, or completely missed it and dumped all over it.
When I woke up from that dream, brother, I was like, "Okay, I've got to know what that was, what happened." That was not an average dream. I've had some dreams in my days, but not like that. It was way too vivid. Looking back, the reason that dream makes more sense today than it did then is, we are in a digital world. Back then, it was an analog world. Everything was digital in the dream.
When I was in grade five or six, I just remember quite a lot of people were always talking about me like I was some kind of math genius. And there were just so many moments when I realized, like, okay, why can't I just be like some normal person and go have a 75% average like everyone else.
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