A Quote by Robert Plant
You can't even imagine how it felt to have a cassette that you could take with you with a microphone so you could put down an idea and not have to hum it a million times to remember what it was.
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What made losing someone you loved bearable was not remembering but forgetting. Forgetting small things first... it's amazing how much you could forget, and everything you forgot made that person less alive inside you until you could finally endure it. After more time passed you could let yourself remember, even want to remember. But even then what you felt those first days could return and remind you the grief was still there, like old barbed wire embedded in a tree's heartwood.
The truth is, the central issue is not the needs of the 11 million illegal immigrants or however many there may be - and honestly we've been hearing that number for years. It's always 11 million. Our government has no idea. It could be 3 million. It could be 30 million. They have no idea what the number is.
Don't go changing to try and please me You never let me down before Don't imagine you're too familiar And I don't see you anymore I would not leave you in times of trouble We never could have come this far I took the good times, I'll take the bad times I'll take you just the way you are Don't go trying some new fashion Don't change the color of your hair. [...] I could not love you any better I love you just the way you are.
I remember running down a road on my way to a nursery of flowers. I remember her smile and her laugh when I was my best self and she looked at me like I could do no wrong and was whole. I remember how she looked at me the same way even when I wasn't. I remember her hand in mine and how that felt, as if something and someone belonged to me.
The most exciting time is when I think of an idea and how I imagine I can make it. It would be wonderful if there was a projector inside my eye that and it could just put the idea on the screen for people to see.
Marvin Bell always looked very closely at how lines could break, how you could put over one line into the second line. How you could stop the line two or three times within the line: You could make it stop.
Imagine if you have a million views on a show and they say it's a hit on some cable networks. I could put out a piece of content that has 20 million views.
Would I if I could by pushing a button would I kill five
thousand Chinamen if I could save my brother from
anything. Well I was very fond of my brother and I
could completely imagine his suffering and I replied
that five thousand Chinamen was something I could not
imagine and so it was not interesting. One has to
remember that about imagination, that is when the
world gets dull when everybody does not know what
they can or what they cannot really imagine.
All the working-class people could feel a Malcolm X. They could hear Malcolm X, and two weeks later they could whisper back what he said. Verbatim. They could remember the way he put it, and he put it so well.
'Ghost City' began as a idea. I felt that I hadn't read or heard a great deal about the sort of life that I thought I had, and I just thought that it would be interesting to sit down and see if I could put it down onto paper.
But how to do feelings? All very well to write "She felt sad", or describe what a sad person might do, but what of sadness itself, how was that put across so it could be felt in all its lowering immediacy? Even harder was the threat, or the confusion of feeling contradictory things.
I remember, the first times watching WWF, Bret Hart was kind of the man, winning King of the Ring, technical master, and he could go for an hour. He had a million different moves he could beat anyone with. Just rugged, dynamic champion. He was so cool.
Maybe I'll start from the initial idea, what motivated me to do that. In 1953, I had access to a tape recorder. Tape recorders were not widely available. There was no cassette tape back then. It was a Sears Roebuck tape machine. I put a microphone in the window and recorded the ambience.
I could draw ideas. I remember writing a paper for a seminar class. I remember writing a paper about - and this is going to sound really sort of pretentious, but that's where my mind was at the time - how acting and the performing artist can really be like a Bodhisattva, how they can communicate ultimately an idea in a way that can move and shift things. And that was wonderful. I didn't know many classes where I could try and relate the thing that I really loved and wanted to do into an intellectual idea, and that happened to be one of them.
[A]s soon as you try and take a song from your mind into piano and voice and into the real world, something gets lost and it's like a moment where, in that moment you forget how it was and it's this new way. And then when you make a record, even those ideas that you had, then those get all turned and changed. So in the end, I think, it just becomes it's own thing and really I think a song could be recorded a million different ways and so what my records are, it just happened like that, but it's not like, this is how I planned it from the very beginning because I have no idea, I can't remember.
What was the idea behind Hot Pockets? Was there a marketing meeting somewhere, 'Hey I got an idea: How about we take a Pop-Tart and fill it with really nasty meat? You could cook it in a sleeve thing, and you could dunk it in the toilet.'
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