He talks in a soft voice with a country accent, almost a pure country accent, only crackling and rasping and cheese-grated over the two-foot hookup, talking about - "-there's been no creativity," he is saying, "and I think my value has been to help create the next step. I don't think there will be any movement off the drug scene until there is something else to move to -" - all in a plain country accent about something - well, to be frank, I didn't know what in the hell it was all about. Sometimes he spoke cryptically, in aphorisms. I told him I had heard he didn't intend to do any more writing. Why? I said. "I'd rather be a lightning rod than a seismograph," he said. He talked about something called the Acid Test and forms of expression in which there would be no separation between himself and the audience. It would be all one experience, with all the senses opened wide, words, music, lights, sounds, touch - lightning.
Tom WolfeRelated topics
accent acid almost audience country crackling drug experience expression frank hell help lightning lights move movement music next off plain pure rasping rod say saying scene seismograph separation soft something spoke step talking tell test think touch value voice well wide writing creativity words hookupRelated quotes
The Qur'an is not a book of abstract theories and cold ideas, which one can grasp while seated in a cozy armchair. Nor is it merely a religious book like other religious books, whose meanings can be grasped in seminaries and oratories. On the contrary, it is a Book which contains a message, an invitation, which generates a movement. The moment it began to be sent down, it impelled a quiet and pious man to abandon his life of solitude and confront the world that was living in rebellion against Allah. It inspired him to raise his voice against falsehood, and pitted him in a grim struggle against the lords of disbelief, evil and iniquity. One after the other, from every home, it drew every pure and noble soul, and gathered them under the banner of truth. In every part of the country, it made all the mischievous and the corrupt to rise and wage war against the bearers of the truth.
Abul Ala Maududi
I'd have played against him (Len Bias) for the next 14 years. I would have been in my prime and he would have been in his. I'll never forget what he looked like. He was a 'Wow!' player. When Maryland played and was on television, I watched. It was like, 'I need to watch this guy; I'll be seeing him real soon.'... It was just shocking. Thing is, cocaine was huge then. My brother had been in and out of rehab a few times.... It was a popular drug at the time. And guys I was playing against, like John Lucas and Michael Ray Richardson and John Drew had done cocaine. I was thinking: 'What the hell is up with this cocaine? I should try this once to see what it was all about.' Then, we heard the reports were that Bias only used it once... that it was his first time. When I heard that, it scared me to death... scared the daylights out of me. It scared me into not trying it even once, not going anywhere near it.
Charles Barkley
So he imports this special breed of scorpions and feeds them on metal meal and the scorpions turned a phosphorescent blue color and sort of hummed. "Now we must find a worthy vessel,” he said. So we flush out this old goof ball artist and put the scorpion to him and he turned sort of blue and you could see he was fixed right to metal. These scorpions could travel on a radar beam and service the clients after Doc copped for the bread. It was a good thing while it lasted and the heat couldn't touch us. However all these scorpion junkies began to glow in the dark and if they didn't score on the hour metamorphosed into scorpions straight away. So there was a spot of bother and we had to move on disguised as young junkies on the way to Lexington. Bill and Johnny we sorted out the names but they keep changing like one day I would wake up as Bill the next day as Johnny. So there we are in the train compartment shivering junk sick our eyes watering and burning.
William S. Burroughs
While the others had got married and moved out to suburbia, I had stayed in London and got into the arts scene through friends like Robert Fraser and Barry Miles and papers like The International Times. We opened the Indica gallery with John Dunbar, Peter Asher and people like that. I heard about people like John Cage, and that he'd just performed a piece of music called 4'33” (which is completely silent) during which if someone in the audience coughed he would say, ‘See?' Or someone would boo and he'd say, ‘See? It's not silence-it's music.' I was intrigued by all of that. So these things started to be part of my life. I was listening to Stockhausen; one piece was all little plink-plonks and interesting ideas. Perhaps our audience wouldn't mind a bit of change, we thought, and anyway, tough if they do! We only ever followed our own noses-most of the time, anyway. ‘Tomorrow Never Knows' was one example of developing an idea.
Paul McCartney
This Mr. Dewhurst has not understood the Impressionist movement in the very least. All he sees in it is a technical method... He also says that before going to London we knew nothing whatsoever about light; but we have studies that prove the contrary. He omits the influence of Claude Lorrain, Corot, all the 18th-century painters, Chardin most of all. But what he fails to realize is that while Turner and Constable were of service to us, they confirmed our suspicion that those painters had not understood 'The Analysis of Shadows', which in the case of Turner are always a deliberate effect, a plain dark patch. As to the division of tones, Turner confirmed us its value as a method, but not as a means of accuracy or truth to nature. In any case, the 18th century was our tradition. It seems to me that Turner too, had looked at Claude Lorrain. I am even inclined to think there is a picture by Turner, 'Sunset', hung side by side with a Claude.
Camille Pissarro
