American Quotes

Mortality means you don't have forever to work things out. You can live your life unexamined but then on the last day you're going to think: 'I've left things a little late.'

Detroit is a place where we've had it pretty tough. But there is a generosity here and a well of kindness that goes deep.

I believe that you live on inside the hearts and minds of everyone you've touched while you were here on earth.

For better or for worse, I've watched people die in front of me. I see how they are in the end. And they're not cynical. In the end, they wanna hold somebody's hand. And that's real to me.

We all lose somebody we care about and want to find some comforting way of dealing with it, something that will give us a little closure, a little peace.

I believe the biggest themes of life are put into the best focus when held up against the very sharp light of mortality.

People are only mean when they're threatened, and that's what our culture does. That's what our economy does.

If you're always battling against getting older, you're always going to be unhappy, because it's going to happen anyhow.

We have no general conceptual thrust for the band, other than trying to make music that keeps our interest. When things are novel, they are probably things we have discovered by accident or investigation rather than by design.

There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently.

The woman I am currently crazy about was a vegetarian for a year until I started dating her. As is the case with most vegetarians, she had never eaten properly prepared meat, only commercially packaged or otherwise abused flesh.

The band cannot sign to another label or even put out its own material unless they are released from their agreement, which never happens.

Many rock musicians are excellent cooks, I've found, and those that are prefer to eat their own cooking in the studio. I encourage this behavior as I also enjoy the benefits of fresh food.

Make no mistake about it: once a band has signed a letter of intent, they will either eventually sign a contract that suits the label or they will be destroyed.

It betrays hubris on the part of the artist to think his medium is limiting him, and I think we all recognize this.

In 1980, I moved to Chicago, and I recorded demo tapes for my friends' bands, and in 1981, the first Big Black record - the first thing I did that was an actual record.

If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength.

I'm busy doing my job, and being a loudmouth doesn't appeal to me as much as when I was younger and had the youthful delusion that I was smarter than everybody else.

I moved to Chicago in 1980 to go to college.

I don't think anyone has exhausted the range of sound possible in a conventional rock band, but people do become slaves to their own easiest techniques.

For less than the cost of a Big Mac, fries and a Coke, you can buy a loaf of fresh bread and some good cheese or roast beef, which you will enjoy much more.

Doubt the conventional wisdom unless you can verify it with reason and experiment.

By now all rock bands are wise enough to be suspicious of music industry scum.

Buy groceries and feed yourself, even on the road.

A more important reason is that the bands will intuitively trust someone they think is a peer, and who speaks fondly of the same formative rock and roll experiences.

Find people who think like you and stick with them. Make only music you are passionate about. Work only with people you like and trust. Don't sign anything.

Know what you're trying to do before you do it. Turning knobs at random isn't enlightening any more than throwing paint at a wall blindfolded will let you paint a nice picture.

It's impossible to work under conditions where they confused negativity with objectivity. You can't fool the fans.

Let us begin by doing our best to do our best, every single time, no matter what, forever.

In 1969, at the age of 19, I was lucky enough to work with George C. Scott in the definitive portrayal of his career over a period of many months and several countries on the definitive film version of Patton's WWII career.