A Quote by Joan Baez
Back then I was still listening to rhythm and blues, and my aunt took me to see a Pete Seeger concert. And it gelled. He made all the sense in the world to me. I got addicted to his albums, and then Belafonte and Odetta - they were the people who seemed to fuse things that were important to me into music. I think Pete the most because he did what he did to the point where he took those enormous risks and then paid for them.
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I did 'Love Letter' and 'Write Me Back,' and those were fun albums for me to do because they took me back to music I love.
You know what? I did a lot of things that were deliberate, and they all backfired. I was trying desperately to become Will Ferrell or Adam Sandler, and it did not work for me. I took a lot of leaps that I shouldn't have, traditionally speaking. I paid the price for that. I was not as hire-able for a while. But then I just gave all that up.
I guess I did a couple of things when I was a kid, but they weren't really acting - I think I walked down a corridor or something. Then I didn't want to do it at all. I got into it because both my parents were actors and so I went with the flow. Then I said, "I can't handle this, I don't like auditioning." I still hate auditioning, but it's less painful then it was back then.
Pete Townsend for me was a huge influence. Because essentially they were a three-piece band and the way he structured his chords and took up a lot of space musically in the songs was really important to the way Rush developed. Geddy and Neil both were such active players and lot of the time we were all playing like crazy and it was too much and somebody had to reel it in and me being the faceless guy, I would do that.
I did not think I had what it took to be an actor, because most of the actors that I encountered were people who were very narcissistic and I thought since I lacked narcissism to become an actor because that's what it took. It was more of a social experiment for me to walk in the shoes of other people that I found interesting.
I went to a hotel to become a chef and then tried becoming a flight attendant, but no one took me. I then worked in a travel agency and got into advertising and modelling after someone spotted me. So I started doing ads. I did 'Charminar' ad, because of which I got two films.
Those who failed to oppose me, who readily agreed with me, accepted all my views, and yielded easily to my opinions, were those who did me the most injury, and were my worst enemies, because, by surrendering to me so easily, they encouraged me to go too far... I was then too powerful for any man, except myself, to injure me.
I have been an organizer and then activist and a legislator, all of that. But then there's this big gap after I advanced in Congress and ended up as the ranking member of financial services committee. It took me into the financial services issues and Wall Street and Dodd Frank. And it took me away from the things that I did years ago.
I started 'SNL,' and I became the one who did impressions. I did that, but then I wanted to get an original character on, and that took a long time to get one on that stuck. And then I got Vinny Vedecci on - 'Oh great' - and then it took a couple more seasons to get Greg the Alien on. You have to have some patience.
There were times when there were parts that I was sure I got and then I didn't, and I did get upset. But at this point, it doesn't affect me in the least because I know how the business works.
I absorbed the vinyl of Woody Guthrie, Pete Seeger, Jack Elliott, to Michael McClure and then into the Beat poets, Allen Ginsberg. At campus, we were absorbing that stuff. We looked to America.
I was born abroad, but my parents were both English. Still, those few years of separation, and then coming back to England as an outsider, did give me an ability to see the country in a slightly detached way. I suppose I was made aware of what Englishness actually is because I only became immersed in it later in life.
I've met Bob Dylan. We did one of those non-handshake handshakes. I was with all guys, and he shook hands with all of them, and then they said, 'And this is Kate,' and I put my hand out, and he didn't put his out. And then I took my hand away, and he put his out. It was one of those. We finally did shake. And then I fainted!
To me, Sabbath was always JUSt a really heavy blues band. That s all we were. We just took those blues roots and made them heavier.
I think art can really serve to inspire a movement - and, of course, it has in the past. The Civil Rights movement wouldn't have the same resonance without the songs from everyone from Pete Seeger to Odetta to James Brown.
We all know the types who listen to Pete Seeger songs; even Pete admits they aren't interesting.
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