A Quote by Ken Bruen

Tony Black is the Tom Waits of Crime Fiction, yes, that good. — © Ken Bruen
Tony Black is the Tom Waits of Crime Fiction, yes, that good.
The most popular American fiction seems to be about successful people who win, and good crime fiction typically does not explore that world. But honestly, if all crime fiction was quality fiction, it would be taken more seriously.
I heard Tom Waits in this kinky shop on Belmont Street in Chicago. Considering the way I was raised, they were such obscure voices, but their music saved my life - I didn't know who I was before I heard Bob Dylan and Tom Waits.
I got to watch my heroes meet him and saw how they reacted, whether it was Joe Strummer or Tom Waits. It was peculiar. I'm so stoked to meet Tom Waits, and he's so nervous to meet my dad. It's a head spin.
I just really like the verve and muscle of good crime fiction, the narrative punch of it. The underlying principle of good crime fiction is an insistence on a kind of root democracy. I've always responded to that notion.
Leonard Cohen can give you "Leonard Cohen" - the self-deprecating wit, the slow, considered speech, the perfectly-honed anecdote - Tom Waits is far more comfortable giving a journalist "Tom Waits" the character, whose conversation is really a series of strange tales, learned or ad-libbed.
I have a piano in my kitchen. I read a great biography about Tom Waits that said that he had a piano in his kitchen; he had a grand piano in his kitchen. And I thought, 'Well, if Tom Waits has one, then I must.'
I can't do that wonderful thing that Tom Waits and Bob Dylan do - to do imagery. I'm not good at that. I just write from the heart.
I'd love to do a song with Tom Waits. Around when I was like 17 or 18, my buddy, D-Money, put me on the Tom Waits and I literally at that point got every one of his albums and kind of studied his music. I like that he provides an entire world for the listener. He's hopefully someone that I could vibe with down the line. I'm not sure how it would sound or even how it could work, but he's always been a huge influence.
I grew up reading crime fiction mysteries, true crime - a lot of true crime - and it is traditionally a male dominated field from the outside, but from the inside what we know, those of us who read it, is that women buy the most crime fiction, they are by far the biggest readers of true crime, and there's a voracious appetite among women for these stories, and I know I feel it - since I was quite small I wanted to go to those dark places.
I can count on one hand the people who are legendary in my book, and Tom Waits is certainly right at the top. It's funny, though: When I tell people that I like Tom's music, it surprises them.
People tend to believe that I want to make soul music, which is not entirely untrue but, really, I want to be like the black Tom Waits - I don't want to make one kind of sound.
What's your name?" "Becky Thatcher. What's yours? Oh, I know. It's Thomas Sawyer." "That's the name they lick me by. I'm Tom when I'm good. You call me Tom, will you?" "Yes
Logical Tom begs emotional stupid dickhead Tom not to ask the question. 'Are you alone?' he asks quietly. He hears her breathing so close to his ear. 'Yes.' 'Good,' he says, his voice croaky. 'I'll sleep like a baby.
White-on-white crime is a devastation in America like so-called black-on-black crime. It's not black or white-on-white crime. It's proximity murder.
You must hold on to the sort of finger-painting aspect of music. That's something I learned, particularly from listening to Neil Young. Tom Waits is another one, because Tom's music is incredibly sophisticated and beautifully arranged, but he's using a toolbox that's unlike anybody else's.
The road's a tough life, but I said 'yes,' because as a kid growing up in Ohio, I never had a chance to see a Tony-winning actress in a role she won the Tony for.
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