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The story about GE that hasn't been told is the value of an informal place. I think it's a big thought. I don't think people have ever figured out that being informal is a big deal.
I think I had a shyness about me, I think I discovered acting as a way to break out of that and as a way of belonging, a sense of being special.
I don't think about race before I start drawing. I think about how to make that mark to fit whatever purpose I need it to fulfill.
My second record was all about big ideas - I was trying to make big statements about the culture, about life. I think in a certain way, I was a 27 year old kid with a guitar.
Sound is often talked about in a very subjective way, as if it had a colour. This is a bright sound, this is a dark sound. I don't believe in that because I think that is much too subjective.
At synods, I usually wait about a week before I speak. First I listen. I feel the temperature. I listen to what has been said, what has not been said, and what I think needs to be said at that point.
I've never detected a correlation between where I am and what I write. I think there could be something subconscious, though. And I can't really speak for my subconscious.
I think we just need to stick to our knitting on the topics and the subjects the American people care about.
There are lots of stories about my culture that I think bring a whole other perspective to who we are and where we have been and how we got here that I think need to be done.