In the '80s, I was the only game in town, I was the only one getting that kind of exposure in any rotation on MTV. Now with internet culture it seems like everyone is doing music parodies. And they're not all good!
Substances like LSD, which give away a secret about the nature of the social game - the human game and what underlies it - are potentially dangerous, of course, like any good thing is. Electricity is dangerous, fire is dangerous, cars are dangerous, planes are dangerous, but not so dangerous as driving on the freeway. The only way to handle danger is to face it. If you start getting frightened of it, then you make it worse. Because you project onto it all kinds of bogeys and threats which don't exist in it at all.
Substances like LSD, which give away a secret about the nature of the social game - the human game and what underlies it - are potentially dangerous, of course, like any good thing is. Electricity is dangerous, fire is dangerous, cars are dangerous, planes are dangerous, but not so dangerous as driving on the freeway. The only way to handle danger is to face it. If you start getting frightened of it, then you make it worse. Because you project onto it all kinds of bogeys and threats which don't exist in it at all.
I don't believe in the so-called Olympic spirit. I speak from personal experience. When China hosted the Games, it failed to include the people. The event was constructed without regard for their joy.
If he had unlimited money at his disposal, he might go into the wilds somewhere and shoot big game. I never know what the big game have done to deserve it, but they do help to deflect the destructive energies of some of our social misfits.
The commission of the investment sins listed above is not limited to 'the little guy.' Huge institutional investors, viewed as a group, have long underperformed the unsophisticated index-fund investor who simply sits tight for decades. A major reason has been fees: Many institutions pay substantial sums to consultants who, in turn, recommend high-fee managers. And that is a fool's game.
You really have to bring your game and know what you want to do. And then, there are the producers and the writers and the director on the other side of the glass, and what they want. You have to be malleable to what's going to work, and you have to stay in the framework of the context.
As things are, and as fundamentally they must always be, poetry is not a career, but a mug's game. No honest poet can ever feel quite sure of the permanent value of what he has written: He may have wasted his time and messed up his life for nothing.
It's exciting to be with really, really good people. Some people make you feel like you've got to up your game. Working with good people is always good.
I make plenty of mistakes and I'll make plenty more mistakes, too. That's part of the game. You've just got to make sure that the right things overcome the wrong ones.
I've always felt that the game itself is pretty much a melody and I am there to provide the lyrics. You want the lyrics to match the melody, because if you are composing a song or recording a song, it's cacophonous if they don't match.
As things are, and as fundamentally they must always be, poetry is not a career, but a mug's game. No honest poet can ever feel quite sure of the permanent value of what he has written: He may have wasted his time and messed up his life for nothing.