A Quote by Mikal Cronin
I had some pretty lucky and good living situations; thankfully I never got forced out of an apartment. A lot of my friends got evicted or pushed out and couldn't afford a new place. For me, I wanted more space to set up a home studio, but there was no way to afford that.
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I convinced my wife to let me climb Everest. I emptied my savings and took out a loan so I could afford to make the trip. I wanted to do it solo and I pushed myself too hard. I was carrying too much gear and got altitude sickness. I meditated to the point where I was feeling better, but didn't make it up, because I got involved with a rescue.
If you're going out for a meal with friends, and they say they can't afford to go to such and such a place, you can't force them to afford it.
When 'Mortal Kombat' came out, I was living in an apartment in the Venice Canals in L.A. I didn't get paid a huge amount of money, so I had a nice apartment, but I couldn't afford to have it furnished. It was kind of like Robert De Niro's apartment in 'Heat': It looked like I was ready to walk away from it in ten seconds, because there was nothing.
I always wanted to go to the Chavez school but I could never afford it when I was growing up so a lot of my learning came from magic books and watching other magicians. I was also very lucky that I had a couple of really good magic teachers.
I remember on a Friday afternoon getting a phone call from Grant Simmons saying, "Mike," we got to be pretty good friends; "Mike, the Sheriff is closing us down on Monday. If you'd like to drive into the studio tomorrow morning, you can have anything you want." So rather than go in and take home piles and piles of cels of Spider-Man what did I take home? Two pages of original art that got sent out to the west coast. Now of course if I'd have taken all the rest of that stuff home I could probably have retired a lot earlier.
I was never pushed into the business. I wanted to play the guitar. When my dad found out I could play pretty good he took me into the studio one day. I did my first session for his label. We did quite a few sessions up there.
My clients were always poor folks, working folks, people who were in trouble and couldn't afford to pay a whole lot. I found it very difficult to say no to somebody who needed help, so most of my work turned out to be pro bono. It didn't start out that way, but it turned out that way because I never got paid.
I've had people say to me, "Well, how do I start collecting artworks?" Well, you start by buying. Buy what you like, buy what you can afford - and I'm not just saying that because I'm a dealer. You can't be so paralyzed to where you keep saying, "I've got to learn more." The best way to learn is to go home and actually put something on the wall. Then you've got an investment. Then you're living with it. Then you're in the game.
What I got out of baseball is what I have today, and I've got to look at that. I still see some of my friends that never made it past Triple-A. I made that last big step. I was lucky. I'm in love with my land. I got it all from playing ball. It gives me prestige. Someone says, 'What you got?' I say, 'One hundred and twenty-one acres of nice land.'
In my sophomore year of high school, I watched my friend Loretta leave in a U-Haul headed for Oakland. She and her mom had been tenants in a nearby apartment, forced out by rent they couldn't afford anymore.
I'm really pretty much a regular person who just got very lucky. I got involved early on in my life with a lot of wonderful people who helped me and guided me. I found out what I really liked to do and that was sing. And I had a lot of help to accomplish most of my goals.
Looking a dead insect in the sack of basmati that had come all the way from Dehra Dun, he almost wept with sorrow and marvel at its journey, which was tenderness for his own journey. In India almost nobody would be able to afford this rice, and you had to travel around the world to be able to eat such things where they were cheap enough that you could gobble them down without being rich; and when you got home to the place where they grew, you couldn't afford them anymore.
To me, the band is like one of my homes, in fact. It's not like, 'I've got to get out of this band. I've got to go home.' This band is home in a lot of ways. It's my closest friends; it's a place where I really feel comfortable and happy.
I've had a lot of friends in the business that got out earlier than normal. They tell me they got out too early and that I should make sure I've got all I want before I step aside. When I do get out, there are other things that I want to do with my life.
People are constantly telling me, whether they are friends who feel sorry for me, because I can't find a place to live, or real estate agents, "You can't afford an apartment the size you need with this many books. Why don't you just put some of your books in storage?" And I always say the same thing: "What if I told you I had four children? Would you say, 'You just can't afford to house four children. Why don't you just put two of them in storage?'" That's how I feel.
I was reading an article with Stevie Ray Vaughan a long time ago, and the number '1959' stuck out to me for some reason. So I started searching those out as the band got more popular and I could actually afford one. And I found this one in Los Angeles. That's what introduced me to the whole world of 1959s.
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