When you do something that you like, and you think you can keep doing it, you don't think about retiring.
I do not like to use a player solely to make a member of the opposing team, for one simple reason: when we cannot retrieve the ball, we are forced to defend with ten men, giving the opponents an advantage.
When I was in college in Philly, there was a lot of post-punks... hardcore... like, rock. Sixties, retro, proto-Strokes kind of bands.
In retrospect, I can see I couldn't talk to people face to face, so I got on stage and started screaming and squealing and twitching about. Ha! Like, that sure made sense!
Many a witty inspiration is like the surprising reunion of befriended thoughts after a long separation.
We all got older, and we'd tell our children things like, 'Mommy used to be in a famous rock band,' but they didn't believe us. Part of the reason for our reunion was to show our children what we did to make the lives they have possible.
I've always wanted a 'Full House' reunion, so when you see stuff like this comes back, it's super exciting.
The only thing I want to be satisfied in life is to do one reunion tour with Guns N' Roses. I would like to finish what I started with them.
Our first scene is sort of a reunion between the X-Men characters, which establishes everyone's relationship to one another, sort of like a recap for all those who have forgotten since the last movie.
I have all these revelations as I'm writing. Each song is like a chapter of my diary.
I've seen tennis clubs close in Manhattan and garages put up in their place, and I'd sure like to be part of reversing that trend.
I've always liked an easygoing, colloquial style. I like the kind of reviewer who is essentially a fellow reader, an enthusiast, a fan.
To my undying shame, I do read reviews. I don't read them all, but I like to get some kind of idea how things are going.
Even more than this, however, the sick - like lepers - were often reviled because people believed that they had brought their torments upon themselves.
I like to think of 'the studio' as a laboratory where I can go in, learn tricks, apply, revise, and release. I'd figure I had about the same emotional attachment to my craft as a guy over at NASA does over... NASA stuff.
Like dancers with choreography or actors with scripts, jazz singers could take material that was known, even loved, then risk interpreting and revising it. They could conceal even as they revealed themselves. Inflection, timing and tonality were their language, at least as much as words.
Stories, as much as we like to talk about them, retrospectively, as emanations of theme or worldview or intention, occur primarily as technical objects when they're being written. Or at least they do for me. They're the result of thousands of decisions made at speed during revision.
My daughter couldn't care less about me being famous. She finds it revolting and, like a lot of teenagers, is virtually allergic to me. That started at 12 and hasn't gone anywhere yet.
There's no single movement out there. It's not like in the '60s, when Revolver came out and that's just it for the next year.
I like to do books in which a lot of the research and the writing and the thinking revolves around something American.
