A Quote by Pauline Oliveros
I would play a long tone on my accordion, or I'd sing one, and I would note how it felt - what it did with my mental space. These were meditations that I did.
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My dad was very, very invested in image. He felt that as a black person, the thing you could control was how did you look, how did you dress, how did you sound, how did you smell, how did you act. All of that stuff that you could control would absolutely have a strong impact on your access.
If we never arrived anywhere, it did not matter. Between that earth and that sky i felt erased, blotted out. I did not say my prayers that night: here, i felt what would be would be.
If I did not wear torn pants, orthopedic shoes, frantic disheveled hair, that is to say, if I did not tone down my beauty, people would go mad. Married men would run amuck.
We knew we were doing something that would make an impact, because of Francis [Ford Coppola], but I don't think we were surprised by how well the movie [The Outsiders] did, but I think we would all say we were surprised at how well we all did coming out of it.
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.
As a good picture would come, I would never know exactly what I had done. When you did see it, it would strike you as a great surprise - who did that? How did it happen? Being surprised by your own work makes you both less serious and have serious reverence.
If we were left to ourselves with the task of taking the gospel to the world, we would immediately begin planning innovative strategies and plotting elaborate schemes. We would organize conventions, develop programs, and create foundations… But Jesus is so different from us. With the task of taking the gospel to the world, he wandered through the streets and byways…All He wanted was a few men who would think as He did, love as He did, see as He did, teach as He did and serve as He did. All He needed was to revolutionize the hearts of a few, and they would impact the world.
I think my first impression (of Bix Beiderbecke) was the lasting one. I remember very clearly thinking, 'Where, what planet, did this guy come from? Is he from outer space?' I'd never heard anything like the way he played-not in Chicago, no place. The tone-he had this wonderful, ringing cornet tone. He could have played in a symphony orchestra with that tone. But also the intervals he played, the figures-whatever the hell he did. There was a refinement about his playing. You know, in those days I played a little trumpet, and I could play all the solos from his records, by heart.
If I had it my way, I would have just kept it short forever. Of course, men like long hair. There's no two ways about it. The majority of the boys around me were like, 'Why did you do that? That's such an error.' And I was like, 'Well, honestly, I don't really care what you think!' I've never felt so confident as I did with short hair - I felt really good in my own skin.
For a long time, I couldn't tell somebody how I felt or I couldn't talk about my problems because I felt like I was complaining. Writing would help me or it would be like, I can't tell you how I feel, but I can play you a song.
Just classic immigrant story - I mean, child of immigrant story - did not grow up with cable and so felt constantly like I was being spoken to in a foreign language when I would go to school. And people would be like, did you watch this? Did you watch that? I'd be like, no, but I did watch 'SNL.'
I went to art school and interned at DC, and then did the band. When that stuff comes up, you've gotta embrace it and run with it for as long as you can, and I did. I did that for as long as I felt I could.
A terrible premonition washed over me. This was how the whole world would end.... They would devour the forest and excrete piles of buildings made of stone wrenched from the earth or from dead trees. They would hammer paths of bare stone between their dwellings, and dirty the rivers and subdue the land until it could recall only the will of man. They could not stop themselves from doing what they did. They did not see what they did, and even if they saw, they did not know how to stop. They no longer knew what was enough.
It was terrible. 2012, no voice. I would fall to my knees and look up at God and say, 'Oh, man, this is tough. I don't know how to be a person.' And finally, I would sing some shows where the voice crapped out. There were people in the audience. I did my best. I saw that there was lots of love and support.
I wrote 90 percent of the record in prison. A lot of people wonder, "How the hell did you do that?" I just pretty much played drums on my legs with my hands and while I did that, I would hum the guitar parts and sing the melodies of the songs.
I've long had the idea that the factors that are most important in determining what we believe, how we live, and what we accomplish are matters of accident. That is, we did not choose where to be born, who our parents would be, or what we would look like. Yet those factors play an enormous role in almost everything about is. W/regard to issues of cosmopolitanism, the most obvious point is that how we identify ourselves in terms of nationality, cultural subgroups, and religion are all pretty much a function of where we were born.
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