A Quote by Terence Trent D'Arby
It's imperative that I have another channel to pour ideas into, that have been with me for quite a while, that it would be hard for people to kind of accept on first listen. Some of that would be more classically based stuff and some more jazz based.
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The classics of Marxism talked of communism as a society to which a modern society should aspire, a society truly fair, where the relations of monetary exchange were not the priority but one wher the people's needs could be satisfied, and where people would not be worth more according to how much monetary wealth they acquired. Instead their value would be based on their contribution to society as a whole. It would be a society without class that would accept people based on their capabilities and their potential to contribute to that society.
Some people hate the sight of me as soon as they see me on television. They loathe the look of me, and I accept that from the days of variety. I would walk on and some people would open a newspaper and think, 'He's first on, so he can't be any good.' I accept that.
People can have so many ill-conceived ideas about me based on the parts that I play. I've had guys, when I've been single, come out of the woodwork to date me and I've found out very quickly that they were expecting some kind of whirlwind, some dramatic crazy person - and that's just not me.
My stand-up has always been very character-based. I'm not really the kind of person that's like, 'Hey, here's what's on my mind! Tip your waitress!' I would create the jokes based on the character I was playing. It was always a performance-based thing for me.
There have always been arguments showing that free will is an illusion: some based on hard physics, others based on pure logic.
I would like to see our society mature, and become more rational and more knowledge-based, less emotion-based.
A respectable-sized audience hasn't really been able to follow developments in jazz since the free jazz movement in the '60s. Some of them can't even get with John Coltrane. Audiences are diminishing more and more rapidly. Some of the top young musicians with something new to say can't get record companies to put out their stuff.
I like to go on stage with a variety, with some stuff that's been around for a handful of years, some stuff from the last year, some stuff is from last week, and some stuff is brand spanking new. Those are the moments that excite me - when I'm coming up to a brand new bit. The more virgin the snow, the more fun it is to run on.
I just went into my studio and started to compile stuff. I was so happy with what was coming out that good momentum just carried over and when I would listen back to some of the riffs and some of the ideas, I was completely happy because I felt like, "wow, this was a breakthrough!" The ideas and the songs were really strong and I couldn't wait to show everybody the stuff.
When I was a kid, some of the guys would try to get me to hate white people for what they've been doing to Negroes, and for a while I tried real hard. But every time I got to hating them, some white guy would come along and mess the whole thing up.
She would be quiet at first. Then she would say a word about something small, something she had noticed, and then another word, and another, each one flung out like a little piece of sand, one from this direction, another form behind, more and more, until his looks, his character, his soul would have eroded away . . . I was afraid that some unseen speck of truth would fly into my eye, blur what I was seeing and transform him from the divine man I thought he was into someone quite mundane, mortally wounded with tiresome habits and irritating imperfections.
I did, I was in Europe a lot. I would say, mid 20s to late 30s. Less so in the last ten or twelve years. Based on some political stuff and other things, I think I'm not the only musician, the only American jazz musician that's not going to Europe quite as much. I think we're seen a little differently in the world, unfortunately, than we were pre-Iraq invasion and things like that.
I bring ideas to set, and I'm more than willing for those to be affected and be malleable based on what the other person gives me. I don't know what another actor is going to give me, on the day, and I don't want to be so hard and fast in my technique that I'm not open to what's coming.
People are interested in certain ideas, in certain periods, and then that moves, and okay, now people are more interested in studying this, and there is no perfect balance, and how would you know what the perfect balance is? I mean, what does it mean to have too many Beethoven chairs and too few Stravinsky chairs? I mean, that's kind of a value judgment that isn't really based on humility. We don't know what the optimum number is, so let people figure this out on their own. People are more interested in Beethoven than Stravinsky? Great! Why would that bother me?
Not everybody's actions are based on ideas. Some people's actions are based on profit.
In days to come I would love to doing some more reality shows but the saas-bahu type daily soaps are a strict no for me as I hate serials based on kitchen politics.
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