A Quote by Lenny Bruce
My only challenge was to tell my truth, man... figure out what I had to say. These days, it's not enough to boost that roomful of strangers. The young comic spends all their time trying to sound different from the million other jokesters grabbing for the mic.
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Painting is like having a bad mistress who spends and spends and it's never enough ... I tell myself that even if a tolerable study comes out of it from time to time, it would have been cheaper to buy it from somebody else.
I'm one of those people you can tell 'no' a million different ways, and I'll spend the rest of my life trying to figure out some way to get you to say 'yes.' People have always underestimated me. I have great stamina, great tenacity.
I'm a stand-up comic, but I also have ideas, and I want to get them out. People think getting in front of the mic is the only way to work out. You've got to try different situations.
Al Qaeda is not the organization now that it was before. It is under stress organizationally. Its leadership spends more time trying to figure out how to keep from getting caught than they do trying to launch operations.
Young actors, fear your admirers! Learn in time, from your first steps, to hear, understand and love the cruel truth about yourselves. Find out who can tell you that truth and talk of your art only with those who can tell you the truth.
I feel like when you call me inspirational, it takes away from the success that I've actually had. Would you say that to any other comic that just ripped the mic for an hour?
If a young man gets married, and starts a family and spends the rest of his life working at a soul-destroying job, he is held up as an example of virtue and responsibility. The other type of man, living only for himself, working only for himself, doing first one thing and then another simply because he enjoys it and because he has to keep only himself, sleeping where and when he wants, and facing woman when he meets her on equal terms and not as one of a million slaves, is rejected by society. The free, unshackled man has no place in its midst.
I was 21. At the time, I was under the thumb of my label, and I felt like I had to do, say and act out everything they asked me to do. I was trying to please them and the public and finally I had to say, "Enough. I'm going to make a record that makes me happy and addresses all facets of being a woman. I don't care if I sell one or one million records." That's how I came to make Stripped.
I was living under a desk in West Hollywood. It was a closet that I shared with another comic. I was shocked when they called me to come in to try out for the show. The chances of me getting on a TV show and winning it is like one-in-a-million. I had only been doing comedy for six years at that point, so I was basically considered an open mic-er or maybe a feature act once in awhile.
"Don't believe me, don't believe yourself, and don't believe anybody else." Don't believe me, because what I say is only truth for me. Don't believe yourself, because most of the time what you tell yourself is only truth for you - especially when you tell yourself that you're not good enough, you're not intelligent enough, you're not beautiful enough - when you reject yourself before anybody else can reject you. And don't believe anybody else, because what they say is only truth for them.
I think, when you're a young composer, you're told constantly that what you're supposed to do is figure out what your voice is. "What is your thing supposed to sound like?" You know: "What's the thing you do," that everyone can recognizably tell from a long distance is you and then you're supposed to be in search of that marker and you're supposed to find it and you're supposed to live there for the rest of your life. And it seemed to me, from a young age, that was what I was encouraged to do. You find a sound and that's your sound! That's what you do.
I would say the greatest challenge, for me, had been my rookie year and learning my spot. It is an emotional battle, as you have good days and bad days. Being young and thrown into this big business is challenging.
Infinite was me trying to figure out how I wanted my rap style to be, how I wanted to sound on the mic and present myself. It was a growing stage. I felt like Infinite was like a demo that just got pressed up.
The conventional wisdom is - people say this all the time - you should only write something when you're far enough away from it that you can have a perspective. But that's not true. That's a story that you're telling. The truth of it is here, right now. It's the only truth that we ever know. And I'm interested in that truth and the confusion being part of the experience and sorting it your way through and figuring it out.
The good thing about life is that you can research anywhere you are. I'm just constantly gathering little bits of information all the time. I'm always grabbing something out of the headlines, out of the news or reading a book about astronomy and just trying to figure out how to get my head around the facts but the bigger stress is trying to connect those facts to normal life situations and our relationship with God.
You're young and you're always in pursuit your young manhood. You're trying to figure out - what does that mean? What does - you know, there's a lot of pressure on young men to sort that out. And, you know, we tend to gravitate towards one-dimensional iconography as far as what it means to be a fully grown man. And you can get lost in so much of it out there.
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