When I hear the Spice Girls, yeah, all that '90s stuff, like Limp Bizkit. Dandy Warhols! Whenever I hear them, it takes me right back, because they were friends of the channel, too.
I lived in San Jose for a little bit, and one of my neighbors was Vietnamese and was teasing me. I said "I've had pho," and then he goes, "Oh, what do you get, the number one big bowl?" I was like, "Come on, man. You don't have to come at me like that." But yeah, I've tried tendon. Tendon eventually yields.
I remember somebody saying, "I feel really bad for kids growing up around iPads right now. It's just too complicated. Life's too complicated." I think, yeah, but I remember being a kid and holding up a new piece of technology that was made in the '80s and my grandparents going, "Oh, it's too complicated." It didn't seem complicated to me.
I actually didn't even think about "Josie and the Pussycats" . I was like, "Oh yeah we kind of took some shots at MTV," but I think everyone had a good sense of humor about it. People either got that movie completely, or completely missed it and dumped all over it.
I was trying to think of a word that was not offensive. Yeah, Harry [Elfont] is right - it is kind of a different MTV for sure.
If I could go back in time to change stuff? Oh yeah, there's a few movies I would not have done.
Well, when you think music-wise, and if you hang with me or you see me or whatever, the average person will be like 'oh yeah, she probably raps'. This is that stereotype and then I do what I do, so they're more like 'oh, I wasn't expecting this whatsoever'. This especially links with the idea of being a woman in this kind of work and within the footwork genre.
I know a guy who writes on the show, it was his episode, and he called and said, "Would you do it?" And I said, "Yeah." There's not really much else to tell, except that I was thrilled to be on The Simpsons, because it's one of the greatest series in the history of television.
With Mel [Brooks], only one time and that was later on during "Young Frankenstein" - never with Zero [Mostel] and never with Mel except I was writing every day, and then Mel would come to the house and read what I'd written. And then he'd say, yeah, yeah, yeah, OK, yeah, OK. But we need a villain or we need whatever it was.
Politically, the world economy really depends on consultants. Because it's also, in a way, an outsourcing of responsibility. They can say, "Yeah, they told us to do that," and the consultant says, "Yeah, but I'm just a consultant," and nobody's responsible anymore.
It was a film [The Lost World], and it's a sequel at the same time. The first shot on the first day was from the sequel to the movie they hadn't made yet. But yeah, it was a pretty amazing experience running around the jungle for that.
I jump out of the boat [in The Lost World], and I'm trying to swim to the kid, and my boots fill with water, and I start to drown, and the director has no idea why I'm flailing around. He's, "Come on, come on!" And I managed to rescue myself. I'm wet and sitting on the banks of the river, and John walks over to me and says, "Are you all right, dear boy?" "Yeah, I'm all right."
[Pope Francis] continued to focus on migrants. He visited the Greek island of Lesbos, which was the front line of the European migrant crisis. And a month later, he accepted a prestigious European Union prize, but he scolded Europe for its treatment of migrants. And in a speech echoing Martin Luther King, he said I have a dream of a Europe where being a migrant is not a crime. So, yeah, he showed he can be quite outspoken on political issues.
If you create something, it really should mean something more than that to you. I had to grow into all of this though, through a learning process. I didn't wake up one day and just say, 'Yeah, that's Jlin, there it is'. That's why I said it took my entire life to make this album and it comes back to having that comfort zone - if you don't have one, the more progress you make and the more creative you become over time.
Maybe in my personal life, but as far as my career, I've been offered some humongous things in my career and didn't take them. I look back and think, oh man, well I'd have been well off monetarily wise, but artistic wise I don't know. I'd have to say, personally, in my personal life, yeah, but in my musical life, on twenty-twenty hindsight I would say just take the good with the bad.
I don't speak cockney and I don't pretend to come from that part of the world. For the longest time the English, like the Beatles and so on sounded American. "She loves you yeah yeah yeah!" All of the sudden you sound American. It doesn't work that way with Americans who try to sing English. It's not convincing. If I say "Footy" and "tele" and "Brissy" and "Sydney" and "Simmo" it's not convincing.
I love that people are going, Yeah, I love a hundred different kinds of beauty; it's not all the tall, skinny supermodel. Around the world, we have to find the beauty. Now more than ever, we're looking.
The Nineties was such an incredible period. There was this real sense of community and such a uniqueness to it. There were unique personalities, unique bands, unique lyrical takes. A lot of artistic expression. It was this real renaissance that was exciting to be a part of. It's hard to not look back on that period and say, "Yeah, it was crazy. But it was crazy good."
I don't really have any position to complain about my job. Yeah, every job has its moments like, "Ah, you know, it's Wednesday." But I'm blessed. I love my work.
I enjoy fame except when I'm with my daughter. Kids stop me all the time and I don't want her to be jealous of the attention. Also, sometimes I just want to be left alone and I refuse to make rubber faces. That's when they start asking, What's the matter, man, don't you like your job? I say, Yeah, I like my job. But I also like having sex, and I'm not going to do that in front of you either.
I'm still trying to learn how to do it, I'm still trying to figure out how to make films, but, yeah, it started then [in 1979].
You still had to find the music inside your language. You know, it was - that's a big part of what sort of moved me to begin writing the book. I wrote a little essay and I felt, yeah, this is a good voice. This is a good feeling. It feels like me.
I was lucky I survived the motorcycle accident because I - bike went under the car. I flew out about 20 or 25 feet. I didn't have a helmet on. I hit my head on the pavement and knocked myself out, gave myself a brain concussion, screwed up my left leg. And I was - I was lucky then that I didn't get killed because I didn't have any protective clothing on whatsoever. And I took a pretty good beating. But, yeah, such was the nature of the day when the barber was called and Samson's locks were trimmed.
Sadly, I wish I had been able to play ["Miner's Prayer"] for [grandfather]. Yeah, I'll never escape the influence of him in my life. And my - his wife, my grandmother, Earlene Tibbs - those experiences with them shaped me musically probably more profoundly than anything else in my life and shaped me as a writer.
There's no right way. There's no measurement system. That's why, you know, art competitions are a little confusing to me. I mean, they're lovely, but so many people are affected by different people and different things in such different ways. And yeah, it's immeasurable.
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