A Quote by Troy Vincent
At the end of the program, I tried to talk to the kids a little bit about life skills.
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I've always tried to do things a little bit before they were being done by the mainstream. I challenge myself to do that in stand-up also, to talk about things that I'm not hearing anybody talk about onstage and in the media.
But when you talk about the education and you talk about the lack of recreation for kids to do, I mean, it's second to none in New Orleans when you talk about the lack of opportunities for young people. And it's not just black kids, it's white kids. It's Asian kids. I had Vietnamese kids in my class that had lack of opportunities.
I wish parents at the end would think a little bit about how everything we do affects the lives of our kids and defines who they're going to be.
I went to college in Iowa for a little bit and tried to get some bands together there. That was about a year of my life.
Morale is a little bit dimmed, is a bit affected by the redundancy program. That program had been planned for quite some time, and when I took over it was really left to me to make the final decision and it clearly was the right thing to do for the business.
The impositions that this government is trying to put on now, it's the typical death by 1,000 cuts. We'll take a little bit here, we'll take a little bit here, we'll take a little bit here. And it doesn't end the conversations for 25, 50 years. It starts the conversation again the next day what they're looking to take back.And really it's about freedoms.
I believe I've accomplished my goals of trying to get better every year, and a little bit of that, a little bit of luck, a little bit of everything just falls in place, and you end up on top.
I get rejections from the New Yorker. When I had to give a little talk to the people graduating from the MBA program at Columbia who were going into writing and filmmaking and everything, I said, "When I tried to think of what to say, the only subject I thought was appropriate for people doing what you're going to do is rejection." That's what it's all about.
My conception of it was that in a normal film you have a story with different movements that program, develop, go a little bit off the trunk, come back, and end.
I like to always stop with a couple of pages that I haven't - that are just raw copy, where I haven't touched it, I haven't tried to revise it, I haven't tried to polish it. It's like having a little bit of a runway. The next day when you sit down, you have the comfort of saying, well, I have got a little bit here, used to be in the typewriter. Now it's in the magic box, the computer.
I always want my standup act to appeal to everybody in the room, and when I started standup, and I would see people talk about their kids and their wife, and I'd always cringe a little bit, like, 'I can't get a date, I don't know what you're talking about.'
There are a lot of ways to talk about the life of a photograph. You can talk about the afterlife of a photograph, and in the end I talk about that, with the Richard Prince picture. But mainly, what I dedicated the book to being about was how photographs begin their life, and where they begin it. And they begin it with the photographer's imagination and instinct and experience.
I'd like to see the government talk a little bit less about the AP and little more about Bob Levinson.
By having a little bit of knowledge about many different things, it enables me to talk to people about a subject that they would not ordinarily think I could talk about. It's a lever for me, I suppose.
For sure I see so much in Sudan that is wonderful, normal life - young entrepreneurs starting up NGO projects, kids mucking around and being kids. Everything else that happens in normal life in any part of the world, and we never get that in our media coverage. We only talk about Sudan once it's in crisis, so we end up with a distorted sense of what daily life is like for a lot of people.
When we talk about public education, we don't worry about a district. We don't focus on an individual school or a building when we talk about education. We talk about kids and what's best for kids. It doesn't matter what's best for the adults; what matters is what's best for the individual kids.
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