The machine is impersonal, it takes the pride away from a piece of work, the individual merits and defects that go along with allwork that is not done by a machine--which is to say, its little bit of humanity.
In America, we hurry-which is well; but when the day's work is done, we go on thinking of losses and gains, we plan for the morrow, we even carry our business cares to bed with us...we burn up our energies with these excitements, and either die early or drop into a lean and mean old age at a time of life which they call a man's prime in Europe...What a robust people, what a nation of thinkers we might be, if we would only lay ourselves on the shelf occasionally and renew our edges!
I am giving you examples of the fact that this creature man, who in his own selfish affairs is a coward to the backbone, will fight for an idea like a hero. . . . I tell you, gentlemen, if you can shew a man a piece of what he now calls God's work to do, and what he will later call by many new names, you can make him entirely reckless of the consequences to himself personally.
The idea that to make a man work you've got to hold gold in front of his eyes is a growth, not an axiom. We've done that for so long that we've forgotten there's any other way.
As you work, the mood grows on you. There are certain images which suddenly get hold of me and I really want to do them. But it's true to say that the excitement and possibilities are in the working and obviously can only come in the working.
Talent finds its models, methods, and ends in society, exists for exhibition, and goes to the soul only for power to work. Genius is its own end, and draws its means and the style of its architecture from within.
There is always a bit of pressure to do a good album - to do good work, period. I really put a lot of pressure on myself, more so than other people. But I try not to let that overwhelm me to the point where I can't even do good work. I just put it aside and do the best that I know that I can.