A Quote by Ronnie Montrose
It was very satisfying knowing I could come in not really knowing what I was going to do, and at the end of the session feeling that I'd really done interesting guitar work and knowing that I'd really contributed to the music.
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A visionary is someone who can see the future, or thinks he sees the future. In my case, I use it and it comes out right. That doesn't come from daydreams or dreams, but it comes from knowing the market and knowing the world and knowing people really well and knowing where they're going to be tomorrow.
When I started acting, I had a really strong discipline of knowing that you had to be on time, knowing that you had to work 12 to 16 hours a day, knowing you had to be prepared, knowing you had to be ready, and it's very interesting because if you're an artist and you're creating, you can work very, very long hours but as you're putting out that love of creation, it's almost like you're charged by it, you're charged by the process of it.
I went from off-off Broadway. I would direct plays in Baldwin Hills. Almost Tyler Perry-like, really trying to express myself in that and not really knowing how to, knowing acting in story, but not really knowing how to technically hold a camera.
A song or an album is never really done. You can work on it forever, but knowing when to call it a day and knowing when to walk away from it is extremely important.
The Tao belongs neither to knowing nor not knowing. Knowing is false understanding; not knowing is blind ignorance. If you really understand the Tao beyond doubt, it's like the empty sky. Why drag in right and wrong?
Starting out really punk came from not knowing any better and listening to music like that, not knowing how to play music - well, still not knowing how to play music.
My favorite part of my job is really getting to connect people to their loved ones and, really, to allow them to have a release and be able to come into a session not knowing what they're wanting or expecting, and be able to leave it feeling a sense of healing and a sense of closure.
Right now you can allow yourself to experience a very simple sense of not knowing - not knowing what or who you are, not knowing what this moment is, not knowing anything. If you give yourself this gift of not knowing and you follow it, a vast spaciousness and mysterious openness dawns within you. Relaxing into not knowing is almost like surrendering into a big, comfortable chair; you just fall into a field of possibility.
But in the end she merely shrugged, knowing at the very least it would be interesting. Knowing, in her gut, it might just be the beginning.
Really knowing is good. Not knowing, or refusing to know, is bad, or amoral, at least. You can't act if you don't know. Acting without knowing takes you right off the cliff.
The man of the true religious tradition understands two things: liberty and obedience. The first means knowing what you really want. The second means knowing what you really trust.
The thing is, I used to like that: feeling special because I knew something no one else did. It's a kind of power, isn't it, knowing a secret? But lately I don't like it so much, knowing this. It's not really mine to know, is it?
History is for human self-knowledge. Knowing yourself means knowing, first, what it is to be a person; secondly, knowing what it is to be the kind of person you are; and thirdly, knowing what it is to be the person you are and nobody else is. Knowing yourself means knowing what you can do; and since nobody knows what they can do until they try, the only clue to what man can do is what man has done. The value of history, then, is that it teaches us what man has done and thus what man is.
As an artist, I'm very used to waking up and sort of not knowing what my day's going to be and not knowing where my next paycheck is going to come from.
To me, the most interesting approach to film noir is subjective. The genre is really all about not knowing what's going on around you, and that fear of the unknown. The only way to do that effectively is to really get into the maze, rather than look at the maze from above, so that's where I sort of come at it.
To know another human being in their essence, you don’t really need to know anything about them - their past, their history, their story. We confuse knowing about with a deeper knowing that is non-conceptual. Knowing about and knowing are totally different modalities. One is concerned with form, the other with the formless. One operates through thought, the other through stillness.
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