Three Dog Night Quotes
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I got a call from Buddy Arnolds, who started the program, and he said, ‘Kurt Cobain is at this hospital, and I just visited him. He would like to meet you,’ he wasn’t aware of my music… He was aware of my being a world-class junkie. He wanted to meet the junkie that got clean.
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I have a 47-year-old daughter, who we’re very close now… But her mother left, took her, I didn’t see her for years, i have a son, Chuckie, whose mother was an addict. I was an addict. And he ended up, of course, being an addict… He ended up in prison, which broke my heart… Now he’s clean and doing well.
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It’s terrible, I have to say, I loved getting high, i mean, I loved it. It became my life… For a time, I didn’t want to stop. When I even thought about stopping, just for a while, I couldn’t. For a while, I just went in there to clean up and get my health back, with the idea of using again when I came out. Then… I had to go in just to get my family off my back, to get my loved ones, my wives, whatever, off my back… My family, everyone… just couldn’t bear to see it anymore.
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In a sense, I’m a little kid in here, i didn’t wake up until I was 50 years old. I turned 50 before I had one year clean and sober. I woke up late.
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He came to visit and told me, ‘Chuck, you have to pray and you have to ask for the acceptance of God’s will in your life’, … I fell asleep in the middle of a horrific withdrawal… But there is no sleep really because your body is just aching, it’s electric… [But] when I woke up, the obsession was gone. And I knew God had helped me. Chuck Negron performing today. (Courtesy of Chuck Negron) I believe God came and did for me what I couldn’t do for myself and relieved me from the bondage of addiction… I knew God had helped me. From that time on my faith grew stronger and stronger. It changed my life.
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I didn’t go to CRI-Help to get sober, i went in there because I had no place to go. I had no place to live. I needed some place to sleep, eat… I think I was probably too messed up and too stupid to know how close to death I was.
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When I was growing up, I didn't know anything existed outside the borders of Buffalo.
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My last name is Wellsley, but a lot of people say it's Lowendowski, which is my mother's last name, and I had it changed to my father's when I was 18.
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I was a big fan of black gospel. As a kid, there were black groups I sang with from my teen years to my early 20s.
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You want sanity, democracy, community, an intact Earth? We can't get there, obeying Constitutional theory and law crafted by slave masters, imperialists, corporate masters, and Nature destroyers. We can't get there, kneeling before robed lawyers stockpiling class plunder precedent up their venerable sleeves. So isn't disobedience the challenge of our age? Principled, inventive, escalating disobedience to liberate our souls, to transfigure our work as humans on this Earth.
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I'm truly an outsider in the poetry world. When I started writing, I was trying to move my poems away from modernist lines.
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I don't think that brutality and idealism are mutually exclusive. It's a common denominator in my work - rabid idealism.
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I'm a staunch civil libertarian; I really believe that the individual is more important than any societal value.
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My books are not about different components that fit together like pieces in a jigsaw puzzle, it's about creating the space around the components, which is almost as important as the components themselves. And that space changes and blends depending upon what the components are.
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I have a strong spiritual commitment, and I try to express that in my work. Salvation cannot be worked out in human terms. The point of my writing is to touch upon the systematics of prayer and on how we arrive at a method of achieving spiritual coherence in our lives.
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When you're reading my book, you're not in a four dimensional continuum, you're in my continuum, the Grossman continuum.
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Salvation is an individual relationship with God. I've always considered myself to be a devotional poet, and I consider myself to be a devotional novelist.
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The problem with American democracy is the American corporation, which is a slave holder construct, pure and simple. It's totally invasive, and people are as tightly controlled within the walls of a corporation as they are in a totalitarian society.
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I think of myself as a jazz player, and my music as a natural extension of the jazz tradition. What I'm doing is completely free improvisation ('composing in real time') with nothing predetermined. I've had a lot of experience playing many different kinds of music and several different instruments, and since I tend not to waste anything, it all shows up somewhere in the music I'm playing now.
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I'm a centrist. There is a lot going on socially that I don't like, but I feel that in a democracy you work from the center, not because I like the center - I'm a marginalized person politically - but because the center is where things get done.
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I write about life as it exists within houses and on the streets. And there's nothing, hopefully, in any of my characterizations or in any of my plottings or in any of my valuations that doesn't ring true to life. I'm a novelist. I'm not a theoretician.
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I think not in two or three dimensional terms but in five dimensional terms when I consider a novel. There's height, width, and depth, there's the time factor, and then there's the factor which I call the cerebral factor of the reader, the way the reader adjusts to all the other dimensions, which is the fifth dimension.
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I've been in the art world for many years. But the sad fact is that most writers are visually prepubescent. Generally speaking, the literary world is provincial when it comes to matters of art. And it always has been.
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If there is anything unique about my writing it is the way that I combine poetry and prose, not just on the level of having a poem here, prose there, but that it really is a true amalgam.