this is every musician's dream, to stand in front of an audience and not have to prove your credentials.
I do cherish those moments when I can just relax in the hotel room. Because there are a lot of details that have to be taken care of aside from just getting up onstage. You're dealing with a number of human beings whose well-being and safety you're concerned about. There are people I like to meet and talk to in the crew and the band.
Anyone who's been a heavy drinker and heavy smoker and has the good future to survive that and give it up knows what a very different kind of daily existence one has. I was smoking a couple of packs of cigarettes a day. And I was drinking heavily on tours.
I've never thought of myself as a singer anyway. . . I've been free from those considerations because so many people over the years told me I don't have a voice. I kind of bought that. I never thought that much about it to begin with. I knew I didn't have one of the great voices. As my Damon Runyanesque lawyer used to say, "none of you guys can sing. If I want to hear singing, I'll go to the Metropolitan Opera."
It's inappropriate for an elderly chap to register, you know, authentically, his feelings, you know, because they really can be interpreted. So you have to get quite covert as you get older. Or you have to find some avuncular way, you know, of responding.
Everybody knows that the boat is leaking. Everybody knows the captain lied. Everybody got this broken feeling, like their father or their dog just died. Everybody talking to their pockets. Everybody wants a box of chocolates and a long-stem rose. Everybody knows.
I would like to study Judaism. I feel that my own Jewish education was really quite superficial from a certain point of view. Although I think the values were very clear and were presented very clearly, there's - there were aspects of the whole tradition that were not emphasized. And, you know, I've come to those areas myself as I've grown older. But I would like to go deeper.
I'm never sure why I do anything, to tell you the truth.
I think that really what our training, what our culture, our religious institutions, our educational and cultural institutions should be about is preparing the heart for that journey outside of the cage of the ribs.
We all need that experience of forgetting who you are. Forgetting who you are is such a delicious experience and so frightening that we're in this conflicted predicament.
I think that all the spiritual training is just to be able to allow you to experience this from a slightly different perspective - one that's a little more stabilized.
Your heart opens and of course you're completely panicked because you're used to guarding this organ with your life.
I don't think there's any difference between a crush and profound love. I think the experience is that you dissolve your sentries and your battalions for a moment and you really do see that there is this unfixed free-flowing energy of emotion and thought between people, that it really is there.
When you're younger, you do have that thing that you were talking about where the mouth goes dry. I mean you have reactions, and you do fall in love.
To keep our hearts open is probably the most urgent responsibility you have as you get older.
I see people allowing their lives to diminish, to become shallow, so they can't enjoy the deep wells of experience. Maybe it's always been this way, when the heart tends to shut down. If only the heart shut down and there were no repercussions, it would be O.K., but when the heart shuts down, the whole system goes into a kind of despair that is intolerable.
Seriousness is the deepest pleasure we have.
Seriousness is not Calvinistic, it's not a renunciation, it's the very opposite of that.
I think there's an appetite for seriousness. Seriousness is voluptuous, and very few people have allowed themselves the luxury of it.
It's hard to be serious about so many things. [Look at the whole emphasis] on the charts, if you're a songwriter.
We've got to temper anything we say with that. On the other hand, you've got to be serious about what you do. And you've got to understand the price you pay for frivolity or just for greed - it's a very high price, especially if you're involved in this sacred material, which is about the human heart and human desire and human tragedy.
It's easy to look down from the summit you've reached, or even the summit I've reached, and talk about the responsibilities of the artist, but most people are just trying to get their foot in the door and make a living.
The obstacles are great and the suffering is great and people have got to make a living.
Just to get serious about this thing, you know. One has to be compassionate. It's true that people are up against things, economically and emotionally.
The psychologists are valiantly trying to provide us with answers, the religious people are trying to provide us with answers. I think it properly falls on the cultural workers to investigate this predicament with a little less concern for the marketplace and a little more concern for their higher calling.
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