A Quote by Jerry Garcia
Light shows are sort of a meditative kind of experience, you know. It is not like a shock.
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One of the things I like about performing on the stage is that it is a kind of meditative experience. Time does stand still. You have no concept or feeling of the passing of two or three hours' time. It's all kind of one present moment, which is a kind of a description of meditation.
And I'd like to believe that's true, you know, kind of showing gay people in this kind of light and - where it's not about that, it's just about the characters for the first time, like those shows were.
I always wanted to make a light that looks like the light you see in your dream. Because the way that light infuses the dream, the way the atmosphere is colored, the way light rains off people with auras and things like that...We don't normally see light like that. But we all know it. So this is no unfamiliar territory - or not unfamiliar light. I like to have this kind of light that reminds us of this other place we know.
It's very meditative to watch Food Network shows. I mean, you might be taking notes, but you're probably not. It's meditative to watch someone cook, just like it is to watch your mother cook, or anyone cook.
At a certain moment, when I started doing my own shows, I felt it would be really interesting to know what is the history of my profession. I realized that there was no book, which was kind of a shock.
TV has taken a crazy turn, especially in the industry of food, where everything is either a competition show or a sort of reality show. We've lost the kind of shows that are, like, 'Here's how you do this,' like the old Julia Child shows.
Obsessive use of meditative disciplines or perennial study of scripture and philosophy will never bring forth this wonderful realization, this truth which is natural to awareness, because the mind that desperately desires to reach another realm or level of experience inadvertently ignores the basic light that constitutes all experience.
I am completely and utterly hooked to all the great shows on A&E and Court TV that are about small town murder. These shows like Forensic Files, City Confidential, I just can't get enough of them. It's always the same sort of deal. You know that they interview the actual people that lived through the experience. I miss Paul Winfield as the host of City Confidential, may he rest in peace.
That authentic experience that happens both in the artist and in the audience you can classify as a mystical experience. You can classify it as aesthetic shock, or even a psychedelic experience. Some people seek to recreate that experience through drugs. But the other way that you can do it is through art, and through spectacle. We have those experiences when we go to rock shows, or when we listen to a piece of classical music, or read a particular poem, or see a painting.
John Cheever was the first writer I ever read who sort of had that similar sensation that, you know, life is nasty, miserable, brutish and short, but that occasionally, there's a certain river of light, a kind word, a telling gesture that sort of illuminates something.
The thing about Snapchat is it is ephemeral, so you don't - it's not like a video that you post to YouTube and then everyone can see it. It's this video that you get to share this kind of very intimate experience again, this very kind of genuine experience with another person in a more one-on-one sort of way. And I really appreciate that.
The Lampoon was definitely quite formative. You know there's a crazy like kind of network of comedy writers from The Lampoon that are, that kind of you know like Seinfeld and The Simpsons and a lot of shows kind of had a lot of kind of Lampoon writers and so that was very formative. I mean, to me I got interested in comedy writing at an early like reading like Dave Barry.
There's the way that light shows in darkness, and it is extremely beautiful. And I think it essentializes the experience of being human, to see light in darkness.
You know, songs like 'Rock'n Me' were actually written to be played in large... for a hundred thousand people kind of gatherings. And a lot of what came out on 'Fly Like an Eagle' and 'Book of Dreams' was music that was put together to be played in big, big venues with big light shows.
Maybe I'm a little biased, but shows like 'Dexter' and 'Southland,' I'm just enthralled by that sort of storytelling, kind of clever and patient.
In order to produce learned fear, you take a neutral stimulus like a tone, and you pair it with an electrical shock. Tone, shock. Tone, shock. So the animal learns that the tone is bad news. But you can also do the opposite - shock it at other times, but never when the tone comes on.
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