A Quote by Melissa Gira Grant
When I interviewed the evangelical Christian youth group who were protesting the Village Voice, I wanted them to feel they could freely tell me things like, "Did you know that 90 percent of prostitutes don't want to be doing it?" Is that unfair? That's sort of an invisible privilege for me.
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There was this large group of people that we were talking about on the first album - "The Youth" - but we didn't really know what to tell them. We still don't know what to tell them, but we want to make it seem like maybe there's something we know that they want to know, too.
She asked me what made me do such a thing. That is an awkward question because I often can't tell what makes me do things. Sometimes I do them just to find out what I feel like doing them. And sometimes I do them because I want to have some exciting things to tell my grandchildren.
We can't have close to 90 percent of those prenatally diagnosed with an intellectual disability being aborted; 90 percent not going to school; more than 90 percent reporting discrimination in the healthcare system; and 90 percent unemployed, and tell ourselves that we're doing a good job. The obstacles to leading a full life for the vast majority of people with intellectual disabilities are far beyond what they should be, and far beyond what we should tolerate. So yeah, I want change.
I don't want 100 different cures of cancer. I want, you know, give me five. So if you had, you know, five medicines, you could do away with 90 percent of cancer. That's sort of my objective. I think we're going to do it.
One of my constant reminders was, "End practice on a happy note." I wanted the boys to want to come out to practice, and I wanted them to get a certain amount of pleasure out of basketball. It's a game. It should be fun. So I always tried to counterbalance any criticism in practice with a bit of praise. I wanted my players to feel that the worst punishment I could give them was to deny them the privilege of practicing. If they did not want to practice, I did not want them there.
I have to always, always pay homage to a woman I never met but she touched me like she touched so many others with that amazing voice, Whitney Houston. The very first time I heard her voice, I knew I wanted to make people feel that way. Even if I couldn't do all of that that she did, the way she was able to tell my story without even knowing me, the way she could feel what I didn't know how to express, it was spiritual almost.
speaking with, uh, about the vocal choreography, one of the first groups that I worked with was a group called the Cadillacs, which was uh, an exceptionally talented group. They all moved well and they sort of established Cholly Atkins's style. In other words they basically put me on the map, and everybody would look at them and see their choreography and they wanted to know who did it, so they would tell them.
I like to speak with the youth, and I like to hear the youth. They always put me in difficulty. They tell me things that I haven't thought of, or that I've partly thought of. The restless youth, the creative youth, I like them!
Not 100 percent of the time, but I feel like I'm good at being direct. I know what I want, and I feel like I can tell people, 'I want this; I don't want this. I want you; I don't want you. I hope for this, and this is right, and this is wrong for me.'
I think it's important to realize that the players who are protesting aren't protesting the anthem. They're not protesting the flag. People kind of move the goalposts on them and try to tell them what they're protesting. But as they keep saying, that's not what they're protesting.
The voice-over world has changed radically in the time that I've been in it. It used to be this rather small, select group of people who did 90 percent of the work. Now it's kind of the reverse: 90 percent of the work is done by this very broad mix of people all over the country, and the guys who used to be the go-to guys are a much smaller percentage now. But there was this massive interest in voice-over as well as in the story, so I think that also added to the film's appeal.
Did you know that there was a study in 1961 that found that 90 percent of physicians wouldn't tell you if you were diagnosed with cancer?
When I was a teenager, I wanted to be in a group, or I wanted to work for Greenpeace, or I wanted to be a Buddhist monk. Those were the only three things I really wanted to do. I was doing some sort of soul searching in life.
There is a sort of backlash of people who feel like you're not representing them accurately, and you want to say as elegantly as you can, "I wasn't trying to represent you I, was just doing what I could do to make being alive easier for me." And if it helped anyone or made them feel comforted in the process then it's the greatest thing you can ask for.
My art teacher in junior high was a very out gay man and a mentor to me. He would tell us about Greenwich Village and show us the 'Village Voice' and describe his life, but it was all sort of subversive and below the radar.
These things you did were like prayers; you did them and you hoped they would save you. And for the most part they did. Or something did; you could tell by the fact that you were still alive.
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