“I had a beautiful childhood and a lovely childhood. I just didn’t like being a child. I didn’t like the rank injustice of not being listened to. I didn’t like the lack of autonomy. I didn’t like my chubby little hands that couldn’t manipulate the world of objects in the way that I wanted them to. Being a child, for me, was an exercise in impotent powerlessness. I was never terribly good at that kind of no-holds-barred fun. … I’ve essentially made a career on not being good at no-holds-barred fun.
But, you know, I [was] just never sort of like, hey, yes, let’s go play. I was always more sort of like, does everybody know where the fire exit is? And let’s make sure there’s enough oxygen in this elevator. … As a grownup it’s much easier to work — to navigate the world with that, because then you can just go home to your own apartment.”—David Rakoff on his childhood
“I don’t believe I can offend you in a comedy club. I don’t believe I can offend you in a concert. A comedy club is a place where you work out material, you’re trying material. Louis CK, Tosh, any of these guys, it costs $80-100 to see them. If you’re in a club, and you pay $12, and a superstar comedian comes in there trying out his jokes – you know, that’s like the first draft to a book, or a movie that’s not cut, it’s just not to be judged for the masses. This guy is trying out stuff. I think that’s the deal that’s made when you see a famous guy in one of these clubs.”— Chris Rock on comedy clubs as ‘first drafts’ for big-name comedians
If I notice that not very many women are singing the song, I like to give it a different perspective. It’s a different vibe, and I enjoy that little bit of theater that you can put into a song. All the Way is such a classic and I really did want to put some classic jazz songs that everybody knew on this record just to kind of not be so obscure all the time. We also like to find the obscure songs, but a lot of the well known songs are stunning.
“The act of sharing decades of your life with one person lends itself to repetition. If you aren’t careful, repetition becomes routine, routines become ruts, and then, for the terminally uncommunicative, ruts dig themselves so deep that they become the sort of soul-sucking bottomless trench in which Kay and Arnold, the married couple played by Meryl Streep and Tommy Lee Jones in Hope Springs, find themselves.”—Movie Review - ‘Hope Springs’ - A Marriage Passes From Routine To Rut To Therapy : NPR
General George McClellan really does see himself as the indispensable man. His resentments of Lincoln are phenomenal. He refers to him as ‘the original gorilla,’ ‘a well-meaning baboon,’ a traitor or the tool of traitors.
“Step, if you will, into my bedroom at night. (Don’t worry, this is a PG-rated invitation.) At first, all is tranquil: My husband and I, exhausted by our day’s labors, slumber, comatose, in our double bed. But, somewhere around 2 a.m., things begin to go bump in the night. My husband’s body starts twitching,”—'Dreamland': Open Your Eyes To The Science Of Sleep : NPR
Tomorrow we remember military historian John Keegan. His book The Face of Battle (1976) began with this observation:
I have not been in a battle; not near one, nor heard one, nor heard one from afar, nor seen the aftermath. I have questioned people who have been in battle; have walked over battlefields … I have read about battles, of course, have talked about battles, have been lectured about battles and, in the last four or five years, have watched battles in progress, or apparently in progress, on the television screen … But I have never been in a battle. And I grow increasingly convinced that I have very little idea of what a battle can be like … For, very, very few Europeans of my generation — I was born in 1934 — have learned at first hand that knowledge of battle which marked the lives of their fathers and grandfathers.
“It was a tough decision, because I went to Harvard, and I was the first kid in my family to go to college — my parents didn’t go to college. … So on one level, you’re like wow, here’s the lottery out of the lower middle class by getting this ticket into Harvard. And I had a choice to either go into investment banking or pursue acting, and I talked to a lot of people. I had done some plays with the American Repertory Theater there in Boston, so I had other professional actors who were making a living … and I asked them what they thought my chances were. …”—Dean Norris on why he decided to become an actor
"Well, you know, if you stop in any doughnut shop, and you see three cops eating donuts, one of them is gonna look like me. I don’t know why that is … but I guess you have a certain look, it’s kind of an authoritative law enforcement-type look and that look is certainly the first thing that people cast you with before you get a chance to do some acting."
"We must declare ourselves, become known; allow the world to discover this subterranean life of ours which connects kings and farm boys, artists and clerks. Let them see that the important thing is not the object of love, but the emotion itself."
“In the early ’90s, it was grunge, everybody was fully clothed. Alanis Morissette was one of the biggest artists in the world, never wore make up, wearing Doc Marten boots, and then the Spice Girls turn up, and suddenly it all looks a bit burlesque, suddenly they’re the biggest band in the world. … And as you go all the way through the ’90s, the clothes just fall off the women until you get to the year 2000, and Britney Spears is just wearing a snake.”—'How To Be A Woman': Not A Feminist? Caitlin Moran Asks, Why Not? : NPR
“The word ‘barren’ tells you everything you need to know. The word ‘spinster’ tells you everything you need to know about our attitude of women who choose not to marry…imagine if you saw George Clooney on the cover of a magazine every week with, “Is George broody? Is George gonna adopt a baby? When is George gonna have another kid? It would just seem weird. We’d seem demented, yet it’s totally valid for women.”—Caitlin Moran on women who decide not to marry or have children
“On Centennial: Newly Discovered Works of Gil Evans, Evans scholar and fan Ryan Truesdell digs into rarities dating from the mid-1940s to the mid-’60s. Even the music Gil Evans wrote for swing bands was sleek and airy. A godfather of cool jazz, he could make dissonance sound pretty, vanilla chords sound exotic and a big band seem to float.”—Digging Up The ‘Newly Discovered Works Of Gil Evans’ : NPR
“I think one of the interesting things that has happened in Washington in the last few years is that a lot of the conservatives are beginning to wonder how much money we should spend on defense. It’s not a simple liberal conservative split anymore. And I suspect that despite Mitt Romney’s promises about increasing the defense budget, even if he’s elected, we’ll see some severe pressure on how much do we really need to spend on defense.”— David Wessel on the Federal Budget
A dozen years ago, if someone told me that one of the liveliest, most inventive party albums of the year would come from a band originally associated with wedding celebrations and beer festivals, I would have been all, “Yeah, sure, you bet.” If it was further explained that the band’s roots were much closer to polka than rock, funk or hip-hop, I would have responded, “Don’t push it.” But nowadays, I’m familiar with the Boban i Marko Markovic Orkestar, whose retrospective Golden Horns will lighten the heart and lift the feet as surely as anything you’ll hear in 2012. I’m just glad the band finally released an irresistible introduction.
— Milo Miles reviews Boban i Marko Markovic Orkestar
For this new collection, Kelly even reaches deep inside for his inner Smokey Robinson on pop-soul songs such as “Fool For You.” In theory, Kelly’s updating of classic soul arrives at the right moment, in line with sounds from singers such as Anthony Hamilton and Raphael Saadiq. But while early reviews of Write Me Back have called this album tepid or even timid, I hear the sound of a man seeking strength and inspiration in musical forms…
Ken Tucker reviews R. Kelly’s new album, Write Me Back
“I remember working with Avedon and you get photographers that really don’t get your beauty, because I guess they’re really not used to looking at a woman of color and thinking of her as beautiful…it was a very interesting journey and I worked very hard to establish myself as one of the premiere models so that I could have a voice, so that I could speak about the inequalities in the business.”— Supermodel Beverly Johnson on working in the modeling industry in the 1970s