A Quote by Ron Padgett
Almost everything that's happened in my poetry is what you might call organic. I don't do much preconceiving. The only consistent plan I've ever had is to try to break my patterns, my habits, my kneejerk tendencies in writing. If I start to sound too much like the Ron Padgett that I've read before, I stop myself. I don't want to get locked perpetually in a mode or a level of diction or a stylistic vein - what is called a poetic voice.
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There are only patterns, patterns on top of patterns, patterns that affect other patterns. Patterns hidden by patterns. Patterns within patterns. If you watch close, history does nothing but repeat itself. What we call chaos is just patterns we haven't recognized. What we call random is just patterns we can't decipher. what we can't understand we call nonsense. What we can't read we call gibberish. There is no free will. There are no variables.
I got good at trying to throw a voice on a character from the very beginning as opposed to like reading it and sitting with it and mulling over it and stuff like that just try to read what it is and then try to put a funny voice to it like as soon as possible and stuff like that. Once you get laughs with your voice then you can start thinking about, you know the physical characteristics and how they might walk or if they stick out their buck teeth or if they wear an afro and stuff like that. I think like finding the voice of the character helps to like build the wardrobe and everything else.
I say too much of what, he says too much of everything, too much stuff, too many places, too much information, too many people, too much of things for there to be too much of, there is too much to know and I don't know where to begin but I want to try.
And it dawned on me that I might have to change my inner thought patterns... that I would have to start believing in possibilities that I wouldn't have allowed before, that I had been closing my creativity down to a very narrow, controllable scale... that things had become too familiar and I might have to disorientate myself. p.71
When I'm editing my work, I'm looking for everything to fit, to feel seamless, for every detail or line of dialogue or scene to feel necessary and organic. I approach the writing of others in much the same way while always working to preserve the writer's voice. To allow myself to be vulnerable on the page, I tell myself no one is going to read my work. There's no way I could put myself out there otherwise.
As a musician you fall into certain patterns that you're not conscious of, unless you start listening to yourself on tape a lot. If you do that you start recognizing habits; then you have to try and break them.
I try to listen to a lot of music when I'm in the mixing process of a record, when I'm in post-production and trying to get everything to sound a certain way. During the writing process, I tend not to listen to too much music. I obviously wear a lot of influences on my sleeve, but if I was listening to too many records, I would turn into too much of a monkey.
We have a personal chef who helps us stay on track, and we really like to keep things the same all year round. We don't want to change anything up too much if it's working. We eat clean and organic as much as we can, and try not to eat too much of anything.
I try to make the writing as regular and regimented as possible. I usually get up at around 5 a.m. and read what I wrote the day before. Some of the time, after I read, I think the writing's very good and some of the time I feel embarrassed by what I've written. You have to learn not to pay too much attention to these feelings.
It helped my lyric writing so much studying poetry. I thought I knew what poetry was before I immersed myself in it. Poetry is meditative. It's reflective.
I don't think you can ever do too much. Life would be so boring if you didn't have these, like, holes to fall into and climb out of. I want to do everything. I just want everything. I don't think you can ever have too much.
No one was ever good enough for anybody's precious sons. No one ever called daughters precious, and why was that? Things had not changed very much. In the end women like Emily and Ingrid and Freya and Joanna only had one another to lean on. The men were wonderful when they were around, but their fires burned too bright, they lived too close to the sun - look what happened to her boy, and to her man. Gone. Women only had one another in the end.
My main influence is Kool G Rap and Cam'ron, pretty much. If you were to mix those two people up, I wish that would be me... This is my voice. I sound like nobody; I sound like me.
I really enjoy writing lyrics, I enjoy harmonies and I enjoy hearing the organic side of production because I have to do so much non- organic for a living for other artists, it's just a break for me, for my ears and it confuses people that think my music is supposed to sound like the stuff I do for my day job, but that's just people that don't know me.
If a sound body and a sound mind, which is as much as to say health and virtue, are to be preferred before all other considerations, ought not men, in choosing a business either for themselves or children, to refuse such as are unwholesome for the body, and such as make a man too dependent, too much obliged to please others, and too much subjected to their humors in order to be recommended and get a livelihood?
That's all there was in our house: poetry and choir rehearsal and duets and so forth; I listened to Dad and Mother discuss things about poetry and delivery and voice and diction - I don't think anyone could know how much it really means.
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