The poetical tendency of the present and of the preceding century has been divided in a manner singularly curious. One loud and conspicuous faction of bards, giving way to the corrupt influences of a decaying general culture, seems to have abandoned all the properties of versification and reason in its mad scramble after sensational novelty; whilst the other and quieter school constituting a more logical evolution from the poesy of the Georgian period, demands an accuracy of rhyme and metre unknown even to the polished artists of the age of Pope.
The past is of no importance. The present is of no importance. It is with the future that we have to deal. For the past is what man should not have been. The present is what man ought not to be. The future is what artists are.
I have a feeling a lot of artists' work got lost [because of AIDS]. Howard was fortunate because his family and friends supported him, but a chilling thing I remember was these guys at St. Vincent's [Hospital] who would call out for someone to listen to them, just for a moment. They were dying alone. Who knows what happened to their work? It's been a process to follow the thread to find out everything Howard did. It's getting over that shock.
When people see me struggling on paper, I think it invites an almost collaborative relationship with the outside world, and that includes readers and other artists.
You really can't be a good artist if you can't say what you really feel. And people may be offended, but, you know, that's how you feel, and that is your right, and that is your gift as well.
I do original songs in the style of other artists, where I try to learn all their musical idiosyncrasies and try to do something that sounds like them and yet is a bit more sick and twisted.
I like adding little elements into the final mix. I'm more fond of the '70s glam than '80s. I have that style of vocals... there are a lot of pop artists who are using the glam vibe in their music. I'm part of that wave.