A Quote by Philip Roth
For a pure sense of being tumultuously alive, you can't beat the nasty side of existence.
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In the social jungle of human existence, there is no feeling of being alive without a sense of identity.
The chances are you've never seen the other side of me. You've seen the event side of me when I'm on stage. But there is another side of me. If you evoke that side, you won't like it. It's a nasty side. You don't want to see that side. You're not missing anything by not seeing it.
I felt him there with me. The real David. My David. David, you are still here. Alive. Alive in me.Alive in the galaxy.Alive in the stars.Alive in the sky.Alive in the sea.Alive in the palm trees.Alive in feathers.Alive in birds.Alive in the mountains.Alive in the coyotes.Alive in books.Alive in sound.Alive in mom.Alive in dad.Alive in Bobby.Alive in me.Alive in soil.Alive in branches.Alive in fossils.Alive in tongues.Alive in eyes.Alive in cries.Alive in bodies.Alive in past, present and future. Alive forever.
This is part of the involuntary bargain we make with the world just by being alive. We get to experiences the splendor of nature, the beauty of art, the balm of love and the sheer joy of existence, always with the knowledge that illness, injury, natural disaster, or pure evil can end it in an instant for ourselves or someone we love.
A joyful life isn’t about others; it’s about the brightness that is associated with being alive. Your path to it is through anything that replaces thinking with pure flight, pure joy.
Emotionally, I have no picture-book illustrated with memories of my first five years, but externally, I have impressions that possess a haunting vividness comparable only to the texture of dreams, when dreams are tumultuously alive.
All this pitting of sex against sex, of quality against quality; all this claiming of superiority and imputing of inferiority belong to the private-school stage of human existence where there are sides, and it is necessary for one side to beat another side.
So many things suddenly made sense for the clowns, for the whole idea. I’d been going through a struggle, particularly after 9/11; I couldn’t figure out what I wanted to say. I still wanted the work to be the same kind of mixture – intense, with a nasty side or an ugly side, but also with a real pathos about the characters – and clowns have an underlying sense of sadness while they’re trying to cheer people up. Clowns are sad, but they’re also psychotically, hysterically happy.
I like to look on the bright side: Every day I beat my own previous record for number of consecutive days I've stayed alive.
The bartenders are the regular band of Jack, and the heavenly drummer who looks up to the sky with blue eyes, with a beard, is wailing beer-caps of bottles and jamming on the cash register and everything is going to the beat - It's the beat generation, its béat, it's the beat to keep, it's the beat of the heart, it's being beat and down in the world and like oldtime lowdown.
I live and work for the pure enjoyment of being alive.
The worst side of people is political part of the process, the side that can be very mean and nasty.
Girls, when you walk down the street, just stay nasty. Please stay nasty for me because that's how I freak out. So stay nasty and be nasty and have a beautiful time.
Usually I start with a beat, I start making a beat, and my producer side is making the beat. And on a good day, my rapper side will jump in and start the writing process - maybe come up with a hook or start a verse. Sometimes it just happens like that. A song like 'Lights Please' happens like that.
No man or woman can be strong, gentle, pure, and good, without the world being better for it and without someone being helped and comforted by the very existence of that goodness.
You don't want to be nasty for the sake of being nasty.
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