A Quote by Kamasi Washington

I like living on that edge, musically. I like a bit of insecurity and that feeling of not really knowing what's going to happen. — © Kamasi Washington
I like living on that edge, musically. I like a bit of insecurity and that feeling of not really knowing what's going to happen.
I try my jokes onstage. The only way to really find out if something is going to work is to try it on stage, and I try to be careful and bookend something new with a strong bit before and a strong bit afterwards. But it's fun to run on virgin snow. I like that feeling onstage of creating new footprints and not knowing what's going to happen.
Most people who work with me can tell you I'm a bit of a pessimist about business stuff. Not because I don't believe in what I'm doing, I just don't like feeling presumptuous. Like, 'This is what's going to happen!' Honestly, I don't know what will happen.
It was very satisfying knowing I could come in not really knowing what I was going to do, and at the end of the session feeling that I'd really done interesting guitar work and knowing that I'd really contributed to the music.
I told Ersken, "Lately it's been like living on the knife's edge, never knowing which side I'll fall off on" Ersken clapped me on the shoulder as we stepped into the street. "Cheer up, Beka. Maybe you were going to fall off that razor's edge before, but not today," he said, as good humored as always. "Today we're doing to jump.
The thing is, I used to like that: feeling special because I knew something no one else did. It's a kind of power, isn't it, knowing a secret? But lately I don't like it so much, knowing this. It's not really mine to know, is it?
It's just so weird coming into the gym and not feeling like, you know, 'I'm going to die.' Before it was like, 'I've got to hit that routine or I'm going to get yelled at.' So it's just been really nice to kind of relax a little bit and be able to really focus on gymnastics and get to enjoy it more.
That is what we have been feinting towards for a year of our lives: pretending like it was going to happen, acting like it was going to happen, and making you think it was going to happen. I like to work from the back forward.
I think we're going a bit too fast at the minute. The rate we're going is like we're going over the edge of the hill.
In real life we don't know what's going to happen next. So how can you be that way on a stage? Being alive to the possibility of not knowing exactly how everything is going to happen next - if you can find places to have that happen onstage, it can resonate with an experience of living.
About the 50th hour, I was going to start thinking about the edge of the universe. Is there an edge? Is this an envelope we're living inside of, or no, does it go onto infinity in both time and space? And there's nothing like swimming for 50 hours in the ocean that gets you thinking about things like this.
Bad directors will tell you they absolutely know how to do it, and how it has to happen; there's this insecurity that leads them to feeling like they have to control everything.
We're all going to go crazy, living this epidemic [AIDS] every minute, while the rest of the world goes on out there, all around us, as if nothing is happening, going on with their own lives and not knowing what it's like, what we're going through. We're living through war, but where they're living it's peacetime, and we're all in the same country.
At one point, I was in a place where it didn't feel like it was going to happen and I was feeling pretty down on myself. But I stuck to it, and now I have a hit comedy on my hands. You've got to keep plugging away at it. If you really believe in yourself, you can definitely make it happen.
At one point, I was in a place where it didn't feel like it was going to happen, and I was feeling pretty down on myself. But I stuck to it, and now I have a hit comedy on my hands. You've got to keep plugging away at it. If you really believe in yourself, you can definitely make it happen.
In some cases, I allow the edge of the set, the edge of my own artificial, artistic imposition, to show up because I don't want to hide from that. I want to acknowledge that there is a living human and a living eye and a living mind and a living heart responding to what's going on out there.
I think being funny had something to do with feeling like an outsider, not feeling cool - insecurity.
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