A Quote by Linton Kwesi Johnson
The modern stuff, I can take it or leave it. I like its danceability, but the DJs talk a lot of nonsense.
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I don't like the Samba; it's nonsense. With a lot of these Latin dances I can't really understand what they're all about. I like the Rumba and the Paso Doble but the others I could take or leave.
A lot of modern horror can leave me cold, and I'm not good with blood and gore and all that stuff. It's not fun for me. There's nothing entertaining about watching a film like that.
Nonsense, it was all nonsense: this whole damned outfit, with its committees, its conferences, its eternal talk, talk, talk, was a great con trick; it was a mechanism to earn a few hundred men and women incredible sums of money.
The DJs with a lot of hype are not necessarily the best DJs at creating a vibe.
A lot of DJs who started the same time as me, they are not to be seen anymore. And I get so much love and respect from the young DJs, and some of them look up to me or ask me for advice. I am almost like the mentor.
I do like taking stuff seriously that a lot of people look at as nonsense. I enjoy the insanity of that. And I like the commitment that is needed for that.
I basically look like a lot of modern Orthodox people you know, but I work on a TV show where I sometimes have to kiss Jim Parsons. That's why I don't take on the title of modern Orthodox, but in terms of ideology and theology I pretty much sound like a liberal modern Orthodox person.
Talking nonsense is the sole privilege mankind possesses over the other organisms. It's by talking nonsense that one gets to the truth! I talk nonsense, therefore I'm human
I still tell a lot of jokes and do a lot of funny comics, but the stuff I like best is the personal stuff. I will still occasionally talk about my job and retail, but it evolved.
When you leave, you basically want to go eat, because I talk a lot about food in my act. So when you leave, you leave hungry.
I do take a computer to do some processing live and I might use a couple of plug-in synthesisers, 'cause obviously you can take quite a lot of power in terms of sound generation on a computer that I can trigger from a couple of keyboards. And it means I don't have to take some of my vintage stuff and have it trashed by various airlines which has happened in the past. But I still take some vintage stuff with me, I'll take that risk because I like using all that stuff.
Now I'm able to play on the main stage and play my own tracks and the crowd likes them. I feel like a lot the other DJs play a lot of the same songs, and not to knock them, but it's important to me to go up there and sort of sneak in a bunch of stuff the other guys aren't playing.
I think there's been a gigantic shift in the way we talk to each other, and the way that we communicate with each other. So as a filmmaker, the stuff's always been really interesting to me, and I sort of considered a lot of my films horror films, the ones that were relationship dramas, because I feel like it was very easy to look at modern communication and the Internet and cell phones and all that stuff as horror movies, basically.
My ears are open to all sorts of stuff. I appreciate some of the big electro house guys.I love their music but I also like a lot of the stuff coming out of the U.K. Future garage stuff. A lot of stuff like that.
It's modern day. It is modern day. Some of the cars are older but it is absolutely modern day. There are modern cars in it, modern people, modern clothes, modern talk. We wrote 'Valentine' to sort of pay tribute to all the old slasher movies that we grew up with and I think that we did that.
I go to the opera. It's mostly my wife that's a bigger fan, I'd say, than I am. I like the big opera. I want a lot of people on stage, elephants and marching stuff, and the modern stuff I don't care for.
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