A Quote by Norman Rockwell
Very interesting for an old duffer like me to try his hand at something new. If I don't do that once in a while, I might just turn into a fossil, you know!
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When someone asks me to do something, something new, something I don’t know about, and if I haven’t done it, I’ll say yes. Just so I can try something new. You never know what you might like.
Will you believe me when I tell you there was kindness in his heart? His left hand didn't know what his right hand was doing. It was only that certain important connections had been burned through. If I opened up your head and ran a hot soldering iron around in your brain, I might turn you into someone like that.
I really don't find revivals very interesting because I like new work a lot. I feel like if you're going to pay me, then let me do what I do and let me try to solve some problems. Let me try to make something fly. Why would I do something that everybody has already done the hard work on? But that's me. Tons of people do revivals really well.
I like to go to Africa purely with something to do. I'm not very comfortable getting into an armor-plated Land Rover and going to see things, with my hand gel, you know, it's not me at all. So I like to hang out and you know, really get to know people and try and do something that resonates with them.
You know, a documentary is only interesting once in a while. If you look at a whole book of Dorothea [Lange]'s where she has row after row of people bending over and digging out carrots - that can be very tedious. And so it's only once in a while that something happens that is worth doing.
First, therefore, [the Jew] goes about making up to the people for his previous sins against them. He begins his career as the 'benefactor' of mankind. Since his new benevolence has a practical foundation, he cannot very well adhere to the old Biblical recommendation, that the left hand should not know what the right hand giveth.
Am I more afraid Of taking a chance and learning I'm somebody I don't know, or of risking new territory, only to find I'm the same old me? There is comfort in the tried and true. Breaking ground might uncover a sinkhole, one impossible to climb out of. And setting sail in uncharted waters might mean capsizing into a sea monster's jaws. Easier to turn my back on these things than to try tjem and fail. And yet, a whisper insists I need to know if they are or aren't integral to me. Status quo is a swamp. And stagnation is slow death.
Working with different people and do things that normally I would not do makes the music interesting for me to continue. It keeps me alive. When I'm doing something alone, that is mine, I know how it is. But when I'm working with someone else, I also see the view from the other, and usually learn something new, try something different. This is very important to my happiness.
Every once in a while, a new technology, an old problem, and a big idea turn into an innovation.
One that really caught me was Joe Morello. He was the first drummer I ever saw that could do a roll with one hand. He would turn his hand over and use his fingertips to get the stick bouncing. He could sit there with his right hand doing stuff on the cymbals and tom-toms while he was doing a roll with his left on the snare drum.
It's going back to old school, the way it was done and I'm finding out there is something different, a little interesting. There is something just a little fresh about it because I haven't seen it done like that in a little while. I'm embracing it, you know.
A man builds a house in England with the expectation of living in it and leaving it to his children; while we shed our houses in America as easily as a snail does his shell. We live a while in Boston, and then a while in New York, and then, perhaps, turn up at Cincinnati. Scarcely any body with us is living where they expect to live and die. The man that dies in the house he was born in is a wonder. There is something pleasant in the permanence and repose of the English family estate, which we, in America, know very little of.
Check-raising with a drawing hand on the turn is simply a kamikaze gamble. It might work once in a while, but if you consistently attempt it, too often you'll find yourself watching the rest of the tournament from behind the rail.
I collect old portraits. They're all just interesting pictures of people, and you just kind of wonder who they were and what they were. There's a guy - I don't know who he is, but he's wearing a suit. He's got his arms folded, and he looks like he sold insurance or something. I'm just wondering why someone painted him.
I get up in front of a bunch of kids and say 'Hey, I'm gonna tell you a new story. Who wants to be in a new story?' Well some kid always sticks up their hand and that gives me a name, but it doesn't give me a story. I just say whatever comes to my mind and usually it's not that good. Every once in a while, however, I say something that turns into a really good story.
The Marquis sighed. "I thought it was just a legend," he said. "Like the alligators in the sewers of New York City." Old Bailey nodded, sagely: "What, the big white buggers? They're down there. I had a friend lost a head to one of them." A moment of silence. Old Naeiley handed the statue back to the Marquis. Then he raised his hand, and snapped it, like a crocodile hand, at the Carabas. "It was OK," gurned Old Bailey with a grin that was most terrible to behold. "He had another.
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