Ashley Kahn Quotes
Paul's One Way Out is a fresh, intelligently arranged, and satisfyingly complete telling of the lengthy (and unlikely) history of the group that almost singlehandedly brought rock up to a level of jazz-like sophistication and virtuosity, introducing it as a medium worthy of the soloist's art. Oral histories can be tricky things: either penetrating, delivering information and backstories that get to the heart of how timeless music was made. Or too often, they lie flat on the page, a random retelling of repeated facts and reheated yarns. I'm happy to say that Paul's is in that first category.
Quotes to Explore
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My whole life, people have been saying, Why are you so angry?
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I think shoppers are looking for newness and creativity. Look at C. Wonder, for instance. They're dancing in our stores. We don't believe in retail like retail was done in the past. We believe in disrupting the whole environment, offering them amazing value in an amazing package of fun, excitement and whimsy.
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I write 'Broad City,' so I connect it to me.
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I think what television and video games do is reminiscent of drug addiction. There's a measure of reinforcement and a behavioural loop.
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The stage is the best experience in the world. It's a great compliment to be able to share the music, because people can hear my album but they don't get to make the connection in the same way as when it's one-to-one.
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It's been tough for me being away from the game.
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It is so important for girls and boys to have a female, strong superhero to look up to.
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I don't mind being described as vanilla in certain ways.
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I'm someone that examines culture and tries to break down why things are the way that they are whether its hip-hop music, sex, race, or consumerism. I try to examine it and scrutinize it to the point where I can write a song.
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My younger brother's death in Vietnam was both sobering and cause for reflection. In 'Fallen Angels' I wanted to dispel the notion of war as either romantic or simplistically heroic.
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My imagination is a twisted place.
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And also, I think Japan places great value on the lyrics.
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I am definitely a spiritually centered person and that is usually one of my biggest guiding lights beyond music.
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When I first moved to New York, all I did was musical theater. That's what I studied at Carnegie Mellon University.
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They ought to put out the eyes of painters as they do goldfinches in order that they can sing better.
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It's a really subtle kind of thing. It makes me feel like Randy Harrison is not a human being to them.
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My father was a research doctor at the National Institutes of Health in the early 1980s, and you couldn't work in the field and not know about D. Carleton Gajdusek, who my father often mentioned.
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We love a good, hyped sound, but when it starts to sound insincere, that's when I lose interest. I hope that our music, even if it sounds polished, doesn't sound insincere.
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There are so many remarkable playwrights working right now, that I see everything I can. Annie Baker is a genius, I'll see anything she writes. The same for Lynn Nottage, Cynthia Hopkins, and Lisa D'Amour. Anything they've got going on, I'll go see.
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I don't concentrate on any one period of history; I like to locate my stories in wildly different eras and places. I seem to be drawn to large, sprawling, uncomfortable swaths of American history, finding embedded within them a tight narrative that involves strife, heroism, and survival under difficult circumstances.
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I am probably the biggest equity investor in the history of modern Russia.
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Free will appears unfettered, deliberate; it is boundlessly free, wandering, the spirit. But fate is a necessity; unless we believe that world history is a dream-error, the unspeakable sorrows of mankind fantasies, and that we ourselves are but the toys of our fantasies. Fate is the boundless force of opposition against free will. Free will without fate is just as unthinkable as spirit without reality, good without evil. Only antithesis creates the quality.
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I don't like rooms you never use or that are wasted space but I also like a sparseness and a cleanness.
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Paul's One Way Out is a fresh, intelligently arranged, and satisfyingly complete telling of the lengthy (and unlikely) history of the group that almost singlehandedly brought rock up to a level of jazz-like sophistication and virtuosity, introducing it as a medium worthy of the soloist's art. Oral histories can be tricky things: either penetrating, delivering information and backstories that get to the heart of how timeless music was made. Or too often, they lie flat on the page, a random retelling of repeated facts and reheated yarns. I'm happy to say that Paul's is in that first category.
