“I was supposed to say on [“New Day,” on ‘Watch the Throne’], ‘Come on, Jay, you know we’re both gonna have daughters.’ And I’m so mad, because you know when I pop that creative-genius shit? If I had had that, that could’ve been my one moment where I’m like: ‘Okay, fuck all the conversation. Look at that. I called that one.’”—Kanye West to Zach Baron in GQ. One of many excellent moments.
The thing that sucks about mental illness is that if you aren’t depressed enough, suicidal enough, bad enough, nobody cares. Nobody cares until you reach their standard, and that standard is when your problem is bad enough to effect them
The amount of people who can relate to this makes me equally incredibly sad and immensely angry
“Well, all right. To be frank, most of it’s not very good. Some of it’s useful, though. One of the things is, it’s made this sort of continuing-story TV — you know what I mean, House of Cards, Damages, The Killing, Sons of Anarchy, Breaking Bad, Walking Dead, that kinda thing — the Internet and the blogs have made it possible for people to follow the stories even if they miss an episode or two. And thanks to the computer generation, they don’t really even have to do that, because you can always pull one down from iTunes or Hulu or something like that. But a lot of the actual criticism is pretty ham-fisted. I’m not just talking about reviews and stories about series that are not good. I know that the reaction on the blogs to Hostages, for instance, was [chuckles] pretty goddamn harsh! But a lot of that harsh criticism wasn’t written very well, and some of the [positive] criticism’s the same thing. But it’s been an interesting thing — you can’t, when you’re in the process of making these shows, writing a continuing series, it’s not a good thing to look at them too much, blogs and everything. Because a lot of times the speculation is very close to what you’re planning to do, and then the impulse is to say, “Oh, people have already figured this out! We have to change it!” And a lot of times, your first way of going’s your best way. Does that answer your question?”—–Stephen King re: the online TV criticism machine | Grantland (via popculturebrain)
“I have acquired the reputation over the years of being prolix when in fact I am measured against people who simply don’t work as hard or as long.”—Joyce Carol Oates, as quoted in Daily Rituals: How Artists Work
“Following a more straightforward novel and a work of translation, David Mitchell returns to the genre-skipping, globe-trotting, techno-spiritual ambitions of his astonishing ‘Cloud Atlas,’ taking even greater risks at even greater length.”—Boris Kachka’s description of The Bone Clocks, coming in September. AHHHH!
“There’s this kind of whole secret inner life to the Eels, and one of the weirder parts of it is that we’ve been friends with Steve Perry for years. It started because he’s been coming to our shows for a long time — like 10 years. And occasionally he would send word backstage that he wanted to meet me, but I always felt awkward about it because when I grew up I didn’t have an appreciation for Journey, and I felt like, “Well, I don’t know what I’ll say to him.” So I avoided him for years, and then one day I had lunch with the film director Patti Jenkins, who made the Charlize Theron movie Monster, and she happened to be good friends with Steve, and she said, “You should really meet Steve. He’s the greatest guy.” So I did, based on that recommendation, and found that she was absolutely right. Steve’s the greatest guy. So then I invited him to one of our weekly Sunday croquet matches, which is another part of our secret inner life that I guess is no longer a secret, and he came one Sunday and never left. He became a regular for years, and he just became one of our good friends. There’s no one in our circle that doesn’t just love the shit out of Steve. He really is just a great guy. Then he started showing up unannounced to our tour rehearsals every year. He would just sit there and watch us. And then slowly over the years, guys in the band would try to bait him by playing a Journey song hoping he would grab the microphone and start singing, but he never would. He would just laugh. He was always a good sport about it. And then one tour rehearsal probably three or four years ago, it happened, where he surprised us all and grabbed the microphone. And for the first time in 18 years or something, he started singing a Journey song. And it sent shivers down my spine, and I instantly gained an appreciation for his voice and Journey, something that I never got before.”—
"[What Breaking Bad's] Anna Gunn had to deal with — that was so bizarre. I was following that and was really appalled by the way that was unfolding. The people’s reaction to her character was so disturbing to me as a woman. I was like, 'What’s wrong with our country?' It freaked me out, man. But I don’t think that I have exactly the same thing to worry about, because we know in the very beginning that Lester goes from zero to 60, whereas in Breaking Bad we sort of watched Walt deteriorate. I don’t know why that confused people; people gave him more slack for that reason and therefore hated Skyler more. But there are people online who are like, ‘Boo, Molly, we hate you.’ But I know they’re just super Martin Freeman fans, so they want him to win no matter what.
On the last leg of the tour, Donald invited his dad to join us. To give you some background, I never liked his first album Camp. I thought it was too mechanical, and the singing was too clean and sounded like a drama club kid in high school that was trying to win the lead in some play or some shit. The opening track ‘Outside’ was something I knew the words to only because I saw him perform it a million times on the road, but I’d be fine if I never heard that joint again. Until I heard his dad talk about it. This man could barely hold back tears just talking about not being able to listen to it for weeks after it came out because it took him to a time in his life that he hates to remember. Every damn lyric was true, but people marginalized it as a post-racial attempt to speak on a problem that is now non-existent. The music sucks? Cool. But I’ve never seen a rapper’s personal life attacked as much as Donald in this current era of music. …
Let’s be real, Donald is an easy target for most people, specifically white critics. They see him as this affluent whiny dude who never had to struggle or live the black experience, and most of his success can be attributed to his built-in audience from being on network TV for a number of years. If you didn’t read that first sentence you would’ve most likely thought I was talking about Drake, but they won’t let niggas have two successful actors-turned-rappers. It’s just too much to digest. So you attack who you think is the weaker one, the one with no co-signs or real affiliations.
“If race or gender (or any other important social force) are not part of your interpretive logic—if they’re not part of what you consider the real—then you’re leaving out most of what has made our world our world.”—Junot Diaz, talking more about the whiteness of MFA programs and his own syllabi at MIT
“Still, [Maya Rudolph] assures me that this last baby will truly be her last. Four days after giving birth to her, Rudolph found herself on the set of [Paul Thomas] Anderson’s latest film, ‘Inherent Vice,’ out in December. ‘It’s one of those things where you realize I obviously love this person because I would only say yes to him, but I also simultaneously want to kill him for asking me because he knows I’m not going to say no.’”—New York mag: “The New Carol Burnett: Maya Rudolph on Fulfilling Her Variety-Show Dream
“Not to toot our own horn, [but] we have women … who look like middle-aged women. It’s actually pretty rare to see women, especially of a certain age, that look like women do in real life. Even on reality shows, those women are getting tons of plastic surgery. I loved it when we had our premiere at the Beacon in New York. 1,500 people show up and so many people commented afterwards about how diverse the audience was. The streets of New York are diverse, but when you go into a Broadway show, unless Denzel Washington is in it, or Fantasia’s in it, it’s a lot of old white people and gay men. Our pop cultural likes and dislikes are still very segregated, and that is not true of Billy on the Street.”—Billy Eichner, who’s been making me laugh too hard for three years to even realize and celebrate this great aspect of the series. (Discovered this while writing about Billy and Julie Klausner’s new sitcom and all the Billy on the Street guests I want to see show up.)
“Once, Picasso was asked what his paintings meant. He said, ‘Do you ever know what the birds are singing? You don’t. But you listen to them anyway.’ So, sometimes with art, it is important just to look.”—Marina Abramović (via sludgemetalprincess)
“We have a small crew, we have very few vehicles. I don’t have a trailer, I just sit in my car. I change in my car and I sit in my car. It just seems so absurd to me, living in New York, to have a trailer with a chair and a TV. It’s ridiculous.”—Louis C.K. on filming Louie