A Quote by James Rado
I think I started out trying to be very objective about the flow of the play.
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I think about trying to make it better. That's all I do when we play 'Even Flow' or anything off of 'Ten': 'Let's do this the best we can.'
I'm trying to discover - invent, I suppose - an architecture, and forms of urban planning, that do something of the same thing in a contemporary way. I started out trying to create buildings that would sparkle like isolated jewels; now I want them to connect, to form a new kind of landscape, to flow together with contemporary cities and the lives of their peoples.
My dedication to trying to be a poet started very, very young, and I was very well encouraged by good teachers and by older friends and so on, so I think it is a benediction, and I also think it is a calling, a duty.
When I was about 15 I had already been recording on my four track in my room, but I couldn't find anyone in my town to be in a band with me. I was in a band very briefly with a bunch of guys and they kicked me out because they wanted to play grindcore. I think they didn't think I could tread hard enough or something. So I started playing solo.
For me, in trying to talk about something like policing, it's such a huge issue, and it's an issue that's very local and very personalized to communities, to cities, to legislators, and so, in that way, I think as we started looking into talking about policing, the thing that you realize is that you can't paint everything with the same brush.
It wasn't until I started to do 'Poison River' that the readership started falling. 'Poison River' started out very slowly and simply, but then it got really dense and complicated. I don't know, I think the readers just got fed up or burned out. They started dropping off.
I started going blind and my optic nerves of my eye started giving me tunnel vision. I also started fainting a bit and struggling to think. I felt a lot of pressure in my head all the time. That was when it got too much. I'm in a very, very fortunate position now where I've had it taken out once. And now it's back I'm being monitored. I think people at home should be checked for this.
What we did is we used NASA topography data to map out the landscape, very subtle changes. We started to be able to see where the Nile used to flow.
I started to notice that simpleness is divine. I think we all start trying to use very complex harmonies and rhythms and all that because of a certain kind of ambition. But I was always trying to create something simple.
The industrial thing came about mainly through giving up trying to write pop songs in the early '90s. I don't think I was ever very good at pop music and as soon as I stopped trying, and started to write more the things I loved, it became much heavier and more aggressive.
Wars are fought to gain a certain objective. War itself is not the objective; victory is not the objective; you fight to remove the obstruction that comes in the way of your objective. If you let victory become the end in itself then you've gone astray and forgotten what you were originally fighting about.
I think it was Under-16 when I started really focusing on bowling and trying to work out how I was going to go about my bowling and that sort of thing.
Even if you're trying to remain objective, even if you're trying not to mount any campaigns or endorse anything, when you cover an issue you are at least encouraging people to think about all the possibilities and if you're not covering political reform, electoral reform, you can write stories about them that don't say we must do this but just educate people on the fact that there are various advocates who are tugging us in that direction, that can present the arguments of those advocates, and I do think that's an issue we for some reason completely turned away from.
On the field I'm trying to play for the glory of God but then also I'm trying to give everything I have and win and compete. And so I think more than just winning or losing, I think He cares about where our hearts are when we're playing.
To be very fair, it was Ian Marsh and Martyn Ware who started The Human League. They brought Philip Oakey in to sing, primarily because Philip was very tall. So it started out as their vision. I don't think anyone ever thought it would be as big as it became. Music evolves and people were looking for something different. We came out at the right time and were just very lucky.
When we were very, very young, I was actually better than Cate was at swimming, and I was not very humble and thought I was the greatest thing ever and rubbed it in her face a bit, and then she started trying really hard and started beating me.
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