A Quote by Ralph Waldo Emerson
Contemporary American psychiatrist
It is a happy talent to know how to play.
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We've all listened to Dr. Laura Schlessinger, haven't we? We all know how not to play a psychiatrist.
It's good to be just plain happy, it's a little better to know that you're happy; but to understand that you're happy and to know why and how and still be happy, be happy in the being and the knowing, well that is beyond happiness, that is bliss.
My talent is definitely a gift. I don't understand where it comes from. I don't play an instrument, and I never went to school for music production, but I know exactly how a song should sound and how to give an artist direction.
Anyone reading contemporary poetry - especially contemporary African-American poetry - will quickly see that race is an enduring subject. What some don't realize is just how diverse the handling of that subject is. It's as diverse as blackness.
All talent needs is credibility and the freedom to create. That is all. That's what will make the talent happy, that's what makes me happy to this day.
Many people know how to work hard; many others know how to play well; but the rarest talent in the world is the ability to introduce elements of playfulness into work, and to put some constructive labor into our leisure.
I would really like to play someone contemporary, as I've done lots of period pieces. I would love to play an American bimbo or a grimy Londoner. But I'm probably more suited in people's minds to playing a corseted victim.
Peter Breggin, an American psychiatrist, had been criticising SSRIs since the early 1990s. He wrote 'Talking Back to Prozac' (1995) to repudiate psychiatrist Peter Kramer's 'Listening to Prozac' (1993) - a bestseller which claimed that Prozac made patients 'better than well.'
Money follows art. Money wants what it can't buy. Class and talent. And remember while there's a talent for making money, it takes real talent to know how to spend it.
I'm interested in how memory and power come together in evil. These are obsessions of mine that appear throughout, like the theme of music. I know at some point or another one of my obsessions will emerge. You don't know how much I save in psychiatrist bills with this writing!
The British and American literary worlds operate in an odd kind of symbiosis: our critics think our contemporary novelists are not the stuff of greatness whereas certain contemporary Americans indubitably are. Their critics often advance the exact opposite: British fiction is cool, American naff.
I haven't figured out how to do anything yet besides recording music - I don't even entirely know how to do that. My favorite phrase is "It takes a lot of imagination to have no talent." So it's a struggle because I struggle between thinking about whether or not I'm actually a musician, am I actually an artist. Does it matter what I'm doing? Should I just go and jump off a bridge? Thinking about the social hierarchy and the fact that I'm American, and how I don't identify with being American, nor do I identify with any nationality or my race.
My stepfather was a brilliant and funny psychiatrist but he was a hound dog. He just didn't know how to be faithful.
A lot of players know how to play the game, but they really don't know how to play the game, if you know what I mean. They can put the ball in the hoop, but I see things before they even happen. You know how a guy can make his team so much better? That's one thing I learned from watching Jordan.
I liked helping talent with their matches prior to my injury. Obviously, now as a producer it becomes more a larger responsibility than just me as a talent giving advice. What I didn't know was I didn't know how fulfilling it could actually be.
I don't think I'm egotistical, and I know what my limits are: I'm a black guy who's probably losing his hair. But I'm happy to play roles that I'm given, and I'm happy to play roles that I write.
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