They say my public persona don't have enough appeal, I take a lesson from Kanye and give 'em something real.
My professional persona never loosens its grip, keeping an eye on me at all times.
I tend to prefer the band thing. I think playing solo is good for about 45 minutes. I remember when I was on my solo tour that I got a chance to play with Martin Stephenson of the Daintees. He's now refashioned himself as almost a delta blues guitar player and he's got all the technique, all the persona and the charisma on stage. I think I do too, but I'm more of a first position strummer guy with a little bit of filigree work. I could listen to him for hours; I could listen to myself playing solo for about half an hour!
A great deal of it is personal. But the persona is, I guess, the out of body experience that takes place. Because I'm not conscious of what the outcome is going to be, I'm only conscious of my intentions, do you know what I'm saying? And even my intentions were simple initially.
I think I began getting really influenced by that whole punk scene around the age of 13 or 14-I went through that whole thing like the shaved head. I was always interested in what people called "the darker side," whatever that was, and the kind of look that you would see in the old horror films. So I let that become more of my persona.
In underground music, there seems to be this real inability for people to express themselves in any kind of heroic or mythological way. There's this idea that we're all normal joes, and that creating a persona onstage or having schtick is somehow false and misleading and evil.
We've always been a band who's taken forever to do things. After writing 'Persona' I think we wrote about four songs in three years!
One of my favorite artists is Tom Waits, whom most people think of as a wonderful singer-songwriter and a great poet. I certainly think of him that way, but I also know him as a terrific actor. You know, that persona that he puts on when he's doing his music comes from being an actor, figuring out a persona.
[David] Bowie had a genius for continual change himself, reinventing his sound and his image throughout the decades. Each album seemed to find Bowie in a different persona, with a new sound to match his new look.
The persona in my stories may be truer to my "real" self than any alleged objective, factual "I" that I could replicate for the purposes of storytelling.
When I search myself carefully I do think it's from my mother. I even feel strange saying that. Most people, I believe, when they're asked profound questions about their own persona are not really able to enunciate it, because it's a combination of so many things. But certainly influences early on that I felt from my mother. I wouldn't say she was "political" per se; she was sensitive to other people.
I usually always think of characters and sometimes the characters are a little bit invented, so it's nice to give these invented, blurry, personas an actually name. It makes me get closer to them or something like that. But they're not all real, they're weird amalgamations of reality.
I admire Joyce Maynard a lot, specifically her memoir "At Home in the World." Her writing is beautiful and fascinating and seemed to give me validation to the idea that I could write validly in earnest about my life with (my) very feminine point of view, and also that I could unapologetically explore the bad traits of my character (which I find to be more interesting to explore than the good traits), as well as explore other concepts that interest me like private vs public personas, age gap relationships, etc.
She was obviously useful at the UN because she had a public persona before she ever got there. She was well known. She was a spokeswoman for many important things. When she got there, what she said was paid attention to, undoubtedly much more than would have been if just Joe Blow had been made our representative to the United Nations. In that sense, I think it was useful to have her there.
As far as the persona, I'm true to myself. Not because I'm arrogant, but I'm true to myself because I believe that you have to stand for something. When you start sacrificing that, even if it's just a line in a song or something you say on the mic at a show, or the way you treat someone when you see them out in public, that all reflects on who you are.
Now what's important is that they have an attitude. Everybody has a look, but not everybody has cultivated what their stage persona is. And so when you're dealing with actors, it just makes it more difficult, because you have to help them come up with one. You know, Johnny Depp has no Johnny Depp character when he's onstage. You haven't seen An Evening With Johnny Depp at Carnegie Hall.
There wasn't a persona or an attitude that I could reliably write good stuff from.There wasn't a persona or an attitude that I could reliably write good stuff from.
Some people I see - people who do more or less have prerecorded tracks - their persona is such that the visual side of just them is way more important and multi-dimensional. Me, I'm boring to look at.
I'm actually embarrassed by the idea of writing songs about myself - I imagine someone hearing them and thinking This guy is a bit self-obsessed. I don't know if I really have a persona, in that respect. I want to just make the music and hide away.
I already have the weird experience of having a name for myself personally that's connected to someone that's in the public eye. So you have me, Zooey Deschanel, and then there's Zooey Deschanel's public persona.
There's confusional arousals, there are states in deeper sleep that can happen where people will go and they'll disappear and they'll take on some other persona. They'll commit some crime, but it's all when they are in a very deep stage of sleep. So you really need to have a very thorough evaluation.
So, one, that DJ Spooky is a lot you know this sort of wilder persona and then Paul Miller is more of a nuts and bolts kind of person, meaning just making sure all these things work.
I spent three years researching American Rose, research that included connecting with Gypsy's sister, the late actress June Havoc (I was the last person to interview her) and Gypsy's son, and also spending countless hours immersed in Gypsy's expansive archives at the New York Public Library. I became obsessed with figuring out the person behind the persona.
If I begin a poem, "I am a donkey," reason kicks in and says, "She is taking on the persona of a donkey." But if I write, "I have taken so many drugs I can't see my feet," the tendency is to take that as a confession on the part of the poet. Maybe that doesn't matter. I'd almost prefer for it to be the other way round.
I am uneasy about the practice of other people telling you how to write. This is especially true for beginners who haven't yet developed their style and their writer's persona and are easily pushed off the course.
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