A Quote by Pharoahe Monch
Couldn't you see me and you stretched out in a bikini on the beach in Tahiti?
See, me, I'm very selective even though I could be greedy;
My main objective is to write our names together in graffiti.
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To me, writing is about how we see. The writers I want to read teach me how to see-see the world differently. In my writing there is no separation between how I observe the world and how I write the world. We write through our eyes. We write through our body. We write out of what we know.
I've always been kind of uncomfortable just on the beach in a swimsuit. I'm never my most confident in a bikini on the beach, especially when you know people are looking at you, and they expect one thing because of what they see in the magazines, and you might not look that way. It's always been a scary thing for me.
You see, even though back then Barack was a Senator and a presidential candidate... to me, he was still the guy who'd picked me up for our dates in a car that was so rusted out, I could actually see the pavement going by through a hole in the passenger side door... he was the guy whose proudest possession was a coffee table he'd found in a dumpster, and whose only pair of decent shoes was half a size too small.
Even though novels were the love of my life, I started off writing poetry. I think because I had a knack for image and lyricism, even though I didn't really have anything to write about, or I didn't know what to write about. I could just couple words together that pleased me and so poetry seemed sort of natural.
Throughout my career, even as a very young actor, people have always said to me that they would like to see my Othello. They could see something of him in me, I suppose.
You're not going to see me in a bikini again, that's for sure. I was horrified to wear that. I was mortified. I was like, "Danny, can you put me in a one-piece?," and he gave me that red bikini. I was like, "That's not a one-piece. That's a two-piece with a string."
What intrigued me more than anything else was finding out the way in which everything, all of creation - all of it! - was held together by invisible chemical bonds, and I found a strange, inexplicable comfort in knowing that somewhere, even though we couldn't see it in our own world, there was a real stability.
The main objective in any song, the songs that I write, has always been that it reflect the way I feel, that it touch me when I'm finished with it, that it moves me, that it can take me along with it and involve me in what its saying.
Graffiti is art, but you don't see graffiti in the National Gallery. Graffiti is on the street - that's where it belongs.
I was never on the side of the teachers at school. Even though I put all the work into getting the main role in the end-of-year musical when I was 11, they didn't give it me, even though they knew I should have had it. That sort of drove me into am dram and getting the main part in another production. And I did.
When it became easy enough to do dairy online, then I just thought, "Oh, I'll start doing this. I'll put the parts online that aren't going to get me in trouble. I'll save the rest for myself." It became also this kind of self-therapy. I could write about stuff that was bothering me, or personal stuff. And the very personal stuff I could edit out. But it was kind of the catharsis of getting it out and writing about it, that made me think, "Okay, I see why people do this, why they keep these diaries." So I thought, "Well, let's see what happens when I post some of it."
I have to say, though, that somebody pointed out to me on YouTube that Conan O'Brien was being interviewed, and he was talking about how, oddly enough, he went to see that movie [South Park: Bigger, Longer & Uncut ] in Hawaii with his girlfriend or wife or whoever, and he didn't even realize his character was in it. But there he was, and he said, "This voice comes out of me, and I'm thinking, 'That's not me! Who is that? That doesn't even sound like me!'
I had a lot of great lakes of ignorance that I was up against, I would write what I knew in almost like islands that were rising up out of the oceans. Then I would take time off and read, sometimes for months, then I would write more of what I knew, and saw what I could see, as much as the story as I could see. And then at a certain point I had to write out what I thought was the plot because it was so hard to keep it all together in my head. And then I started to write in a more linear way.
For me to even be talking about bikini confidence is crazy. If you had asked me a couple of months ago, I probably would have been like, 'what are you talking about...' so it's actually huge for me to even feel okay with putting a bikini on.
I imagined Kandinsky's mind, spread out all over the world, and then gathered together. Everyone having only a piece of the puzzle. Only in a show like this could you see the complete picture, stack the pieces up, hold them to the light, see how it all fit together. It made me hopeful, like someday my life would make sense too, if I could just hold all the pieces together at the same time.
There is a terrific disadvantage in not having the abrasive quality of the press applied to you daily. Even though we never like it, and even though we wish they didn't write it, and even though we disapprove, there isn't any doubt that we could not do the job at all in a free society without a very, very active press.
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