I mainly listen to the music that's playing during movies. It can be the theme to 'Pirates of the Caribbean,' 'The Equalizer,' stuff like that. I like the blend of orchestra with modern instrumentation. It's something that I've wanted to do.
Mountains are like the great equalizer. It doesn't matter who anyone is or what they do.
Playing a three-hour Rush show is like running a marathon while solving equations.
Like feminism, I want to create systems and structures for the equity for all people, especially girls and women.
I do not like to get the news, because there has never been an era when so many things were going so right for so many of the wrong persons.
I like to mix influences from different eras, like maybe '70s bell-bottoms, something fun from the '80s, or a bit of '90s grunge.
Cancer's like the ultimate excuse. Who's gonna say, 'Oh, no, you have to show up for this one?' 'Hey, I got cancer. I can't be there.' It's the ultimate eraser.
John Mayer will be around forever, like the Eagles and Eric Clapton.
My guitar heroes are Eric Clapton and Jeff Beck and people like that - so I've tried to make an album of Robert Johnson covers that, well, while not totally faithful for blues purists, is faithful for people like me that grew up with the '60s and the electric blues-rock versions of Johnson's songs.
Keep a copy of 'Islands in the Stream' by Ernest Hemingway on the left hand side of your desk. Keep Fitzgerald's 'The Crack Up' on the right. When you get stuck, pick them up and pretend that they are having a fight, like you used to do with your GI Joes.
I remember having to read 'The Old Man and the Sea,' and I didn't want to read it; I didn't want to like Ernest Hemingway. I was being a stubborn teenager.
In 1853, American warships bullied Japan out of centuries of virtual isolation and into the modern world. The threat of force compelled Japan, like India and China before it, to accept trade agreements that were economically ruinous and eroded national sovereignty.
One thing that's important to understand is that it's believed that the pathology of CTE doesn't have to do with concussion so much as it has to do with the accumulation of sub-concussive hits. So every hit matters. If you're subject to 800 or 1,200 of these every year, it accumulates. It's like erosion.
Other than obvious errors like forgetting a line, often I can't see any difference between take one and take 20.
I like to be surprised. Fresh implications and plot twists erupt as a story unfolds. Characters develop backgrounds, adding depth and feeling. Writing feels like exploring.
The songs my band and I like to sing - the songs that the room will erupt for - are '90s hits, like 'All Star.'
Loser lit antiheroes aren't well intentioned or earnest; they don't care whether you like them or not. They're self-mocking, ironic and inventive; they narrate their downfalls with manic wordplay, rampant metaphors, wisecracks, and escalating flights of spleen-fueled lyricism.
What's going on in the Senate is kind of a politics of escalation. We're getting sort of like the Mideast: pay back everybody when you're in charge.
It was like stepping on to an escalator; I could do anything. I was just made for science.
My mother is like a character who escaped from the set of a Fellini film. She's a whole performing universe of her own. Activists would run a mile from her because they could not deal with what she is.
