There should be a law that no ordinary newspaper should be allowed to write about art. The harm they do by their foolish and random writing it would be impossible to overestimate - not to the artist, but to the public, blinding them to all but harming the artist not at all.
Stars are like thoroughbreds. Yes, it's a little more dangerous with them. They are more temperamental. You have to be careful because you can be thrown. But when they do what they do best - whatever it is that's made them a star - it's really exciting.
I don't like to hold too much formality in concerts. It's not that I don't like seeing people who are really polished and put together. But I'm more excited by things that are a little bit breaking apart as you're watching them.
In the studio, if things go wrong, you stop things and fix them. I have never been in a recording studio, really, where the people in the booth were not interested in making a very good album. It's often a light-hearted atmosphere but serious at the same time.
I always played around with writing songs, but when you're spending a lot of time in bars, you have a lot of big ideas, but you don't do much with them.
I started writing music when I was 15 in my bedroom, and I'd post them on MySpace, and from there it shifted to doing covers on YouTube and building my Twitter.
Having spent two years at AOL, I would love to be able to go back to that industry knowing what I know, and I think I would be able to help the traditional media side to better understand what is coming at them, how to deal with it.
A lot of people think I don't like them just because I'm pretty quiet. But there are certain things people don't necessarily need to know. There's got to be some things for me.
Faced with a time shortage, we squeeze tasks into the nooks and crannies of our calendar, leaving less and less time to switch between them. As a result, we become less and less productive exactly when we need to be most productive.
The funny thing about writing is, although you are writing about an experience which only you have had, you are trying to welcome other people into it, and there are ways I think of doing this, and one of them is through the senses, through the sounds and the smells.
All I want is to let women know that I will be there to support and encourage them when they set out to do something.
When you're a regular on your show, that's your family. When people come in and out, it doesn't mean that you don't embrace them, but they have to leave.
The more you rely/trust and believe in your team and the bigger the investment you make in getting them to their greatness, the larger will be the commitment, engagement, and outright devotion they have when it comes to you.
Your first responsibility is to the organization, to teach and prepare players to get to the big leagues and have them ready when they get there, but everyone in the minors wants to be in the majors.
I invite a lot of my friends to some of the performances that I do locally, and some of them know that I'm involved with music, but they're not quite sure how. And so it's kind of fun to play golf with a lot of my friends and then invite them to hear me sing once in a while.
When like-minded people, talking mostly with one another, end up thinking a more extreme version of what they thought before they started to talk... If you put a bunch of rebels in a room and ask them to discuss rebellion, they'll get more extreme.
I'm continually inspired by nature, and the rainbow is one of nature's greatest optical phenomenons. The sighting of a rainbow never fails to bring a smile to people's faces. They signify optimism and positivity: with them comes the sunshine after the rain.
As people talk, text and browse, telecommunication networks are capturing urban flows in real time and crystallizing them as Google's traffic congestion maps.
I surrender to my directors. I do that because I respect them immensely. In fact, a director's talent scares me. I admit that they're more intelligent than me, and I submit to that, as an assistant director does. Even when I have suggestions to make, I don't state them strongly.
The lips on my upper right bicep are my girlfriend's lips. She has the most amazing lips, and I wanted to carry them around with me everywhere I go, considering I can't carry her lips physically with me. So I decided to place them in a discreet location, such as the inside part of my bicep.
In the little world in which children have their existence, whosoever brings them up, there is nothing so finely perceived and so finely felt, as injustice.
Rock 'n' roll accepted me and paid me, even though I loved the big bands... I went that way because I wanted a home of my own. I had a family. I had to raise them. Let's don't leave out the economics. No way.
When I play a good guy, I try to explore them and figure out what shapes them and makes them interesting. When I'm playing a bad guy, I try to explore everything that makes them good. No one ever really thinks that they're a bad guy.
The fans own the records and listen to them and love them. It becomes the soundtrack to some part of their lives, and we don't control that. To me, that's what's exciting about what we do.
We never take people seriously when they are alive, but once they are gone, we always think that we should have treated them better.
I am free because I know that I alone am morally responsible for everything I do. I am free, no matter what rules surround me. If I find them tolerable, I tolerate them; if I find them too obnoxious, I break them. I am free because I know that I alone am morally responsible for everything I do.
On every Bright Eyes record, there's some kind of sound collage that begins it. Some of them have dialogue, some don't. I like it because it can kind of slow down the attention span a bit. It's a way to draw you in to the rest of the record.
I want to remind people that the Nazis weren't able to take the Jews to the crematoriums immediately. The German people wouldn't have allowed for it. Instead, the Nazis had to change public opinion. They marginalized the Jewish people, disparaged them, and made them objects of contempt.
Even if the songs are at times painful - 'cause some of the songs are not all roses and balloons; some of them dig into deep things that I've been going through - there's a joy that I think people feel from my music and, hopefully, from my performance because I am so in love with doing what I do.
SIXX: A.M. is a passion project. I think when you do things like that and put your heart into them and do your best and don't necessarily put them on a marketing grid, that's when things turn out the best.
I know people who have been without a home for ages, and lots of my friends are sofa surfing because they are in between jobs or saving for degrees and other studies - paying £500 rent every month is just not feasible for them.
One of the things my dad always said is that it's O.K. to do one for you and one for them. He taught me a lot of things, but that's certainly one of the many that I took to heart.
When we were doing 'The West Wing,' the hardest thing about doing 'The West Wing' was being compared to yourself. You go out there and want every episode to be as good as your best episode. I wrote 88 episodes of 'The West Wing,' and when you do that, one of them is going to be your 88th best, so your 88th best better be pretty good.
I was the youngest child. I got to be myself and ask stupid questions because I was the youngest. It is so important to listen to the questions children have and reward them for the wondrous questions they ask.
I am very lucky that I get to tell stories for a living. I love being able to grab people's attention, to keep them turning the pages, to make them stay awake all night.
It's really easy to fall for someone on-set, but in the end you know, it's a representative and it's not really them.
