A Quote by John Densmore

The End' eventually became the encore at all of our big concerts. We would play 'Light My Fire,' and there would be this incredible Summer Of Love '60s thing, and then we'd come out and bludgeon them with 'The End.'
It's so much fun to have vocal groups out on the road because we get to see them do their thing, and at the end of the night, we come back, and we all do a big thing together for the encore with 'American Band.'
I was seduced by the nouvelle vague, because it was really reinventing everything. And the Italian cinema that one would see in the theaters in the late '50s, early '60s was Italian comedy, Italian style, which, to me, was like the end of neo-realism. I think cinema all over the world was influenced by it, which was Italy finding its freedom at the end of fascism, the end of the Nazi invasion. It was a kind of incredible energy. Then, late '50s, early '60s, the neo-realism lost its great energy and became comedy.
I would love a big family. I have this vision in my mind where I have four or five children, and then, when I'm in my 60s, it's Christmas, and all my kids come home with their spouses and lots of grandchildren. By the end of it, there are 40 to 50 people in my house, and I look around, feeling totally happy, surrounded by my family.
It's like you run into this dark tunnel, trusting that somewhere there's another end to it where you're going to come out. And there's a point in the middle where it's just dark. There's no light from where you came in and there's no light at the other end; all you can do is keep running. And then you start to see a little light, and a little more light, and then, bam! You're out in the sun.
I'd be at these different clubs passing out my business cards and fliers. Then the club would end, the light would come on and all my business cards would be on the floor.
A lot of times there were big mistakes, but I would show the art director and he'd say, Yeah, let's go with it. There would be a strange cropping or one girl in focus and three out or a blur. But I would end up liking the mistakes and incorporating them into my work. And I became known for it.
If we would end the war on drugs, you would see the end of the militarization of our police forces and you would see an end to a lot of the shooting violence that's going on when people are being pulled over for traffic stops and then suddenly executed right in the street.
I would like to see every gay doctor come out, every gay lawyer, every gay architect come out, stand up and let that world know. That would do more to end prejudice overnight than anybody would imagine. I urge them to do that, urge them to come out. Only that way will we start to achieve our rights.
It was true what Jim said, this wasn’t the end but the beginning. But the wars would end one day and Jim would come then, to the island they would share. One day surely the wars would end, and Jim would come home, if only to lie broken in MacMurrough’s arms, he would come to his island home. And MacMurrough would have it built for him, brick by brick, washed by the rain and the reckless sea. In the living stream they’d swim a season. For maybe it was true that no man is an island: but he believed that two very well might be.
Everything comes to an end. A good bottle of wine, a summer’s day, a long-running sitcom, one’s life, and eventually our species. The question for many of us is not that everything will come to an end but when. And can we do anything vaguely useful until it does?
Our minds work in real time, which begins at the Big Bang and will end, if there is a Big Crunch - which seems unlikely, now, from the latest data showing accelerating expansion. Consciousness would come to an end at a singularity.
I would have conversations with European artists. Meaning, people look at my painting and one person would say, "Oh, your painting is just like so-and-so!" Another person would say, "It's just like so-and-so." But at the end, it's a chain of relay like a marathon. There are so many so-and-so's that eventually it becomes mine. My dialogue was completely European, with the '40s, '50s, '60s artists, but on the exterior side I do big painting. It's post-Pollock. It's current. It's a meeting of the time. The Chinese side just comes out.
The idea of a life plan, "I'm here now, where do I need to go to..." There's always "And then what?" And eventually the end of that "and then what?" is death. I've just learned that I can't have such a narrow focus as I did as a child, because there is no end point, and eventually you feel empty if you're not also nourishing other things: joy, love, relationships.
If in my youth I had realized that the sustaining splendour of beauty of with which I was in love would one day flood back into my heart, there to ignite a flame that would torture me without end, how gladly would I have put out the light in my eyes.
I can't stand it when groups come back for an encore, and they play some slow thing. Oh, brother! It's like, 'Had I known that, I would've left.'
It was not going to be the end of the world. Just the end of the Cullens. The end of Edward, the end of me. I preferred it that way – the last part anyway. I would not live without Edward again; if he was leaving this world, then I would be right behind him.
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