We're getting used to reality and fantasy passing into each other. Much of the border between them has been erased.
As I've gotten older, I have gotten a lot better at finding the pleasures of making music despite the business of it.
Lenelle Moïse's poems render the abstract - policy, disaster, history, diaspora - specific. Her words make the political not just personal, but corporeal: the beautiful system of the human body as canvas and subject, perfect in all its attendant complications and complexity, and still ruled, undeniably, by a warm, beating heart.
So many policy decisions that effect musicians are being made without any input from musicians at all.
The only really weird part for me was making sense of the person on the TV at the same time as the person who I am friendly with and do something so friend-intimate with as text.
It's funny because my main awkwardness around writing the song had little to do with the method.
Really, everything for me comes from "Manifestra. " It was an incredible gift of a song; it really describes an important moment in my life.
My teaching began in 1936 at Iowa State College where T. W. Schultz was the department chairman.
Writers are lampposts and critics are dogs. Ask lampposts what they think about dogs. Does the dog hurt the lamppost?
I look back at my twenties and see that I was much less confident.
The journey of a thousand leagues begins with a single step. So we must never neglect any work of peace within our reach, however small.