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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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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I am a compassionate human being. I am who I am.
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The data says that with the poor, a little money can buy a lot of happiness. If you're rich, a lot of money can buy you a little more happiness. But in both cases, money does it.
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Imagine being told that it hadn’t mattered whether the Christians or the Moors got Spain! I can still remember my shock. I got over it fairly quickly, though, because by that time I had learned enough history to know that in the long run it never mattered a damn where any particular race of people planted its collective ass.
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In our cultural history, all emotions have been more culturally acceptable to women.
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The great thing about Pete and Peggy's storyline is that you barely have to do anything. There's so much there, so much history, that you can have them exchange a look and it's so loaded. So you honestly don't have to do anything.
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With 'Mental Jewelry,' we put a lot of pressure on ourselves to get something happening. I think we lost some of the personality in the music. 'Throwing Copper''s mission was to begin to get some of that back.
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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.
