I have been very fortunate in worldly matters; many men have worked much harder, and not succeeded half so well; but I never could have done what I have done, without the habits of punctuality, order, and diligence, without the determination to concentrate myself on one object at a time, no matter how quickly its successor should come upon its heels, which I then formed.
I wanted people to feel me as a person. I do this music for the people, man, so at the end of the day I feel like, [given] our state of mind and the state our economy is in, I felt like we needed motivation for the type of situation we're in nowadays.
What is the foundation of that interest all men feel in Greek history, letters, art, and poetry, in all its periods, from the Heroic or Homeric age down to the domestic life of the Athenians and Spartans, four or five centuries later? What but this, that every man passes personally through a Grecian period.
I lived in San Jose for a little bit, and one of my neighbors was Vietnamese and was teasing me. I said "I've had pho," and then he goes, "Oh, what do you get, the number one big bowl?" I was like, "Come on, man. You don't have to come at me like that." But yeah, I've tried tendon. Tendon eventually yields.
It behooves every man to remember that the work of the critic is of altogether secondary importance, and that, in the end, progress is accomplished by the man who does things.
The mark of the man of the world is absence of pretension. He does not make a speech; he takes a low business-tone, avoids all brag, is nobody, dresses plainly, promises not at all, performs much, speaks in monosyllables, hugs his fact.