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Quote by Jules Feiffer

“I learned to distrust writers who talked about how they squeezed the blood onto the typewriter. They just don't want you to know how much fun they have - you'll resent it.”

Quote by Jules Feiffer

Author

Jules Feiffer, born on January 26, 1929, is an American cartoonist, screenwriter, and author. His work is known for its sharp social commentary and unique sense of humor, particularly his long-running comic strip 'Benny and the Jets' in The New Yorker magazine. more

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“There are many people who get beat up, who suffer, who are victimized, and then they sit down to write and they write crap. How many of these graphic novels over the years are from really talented people? Most of them actually, if you look at them, are self-pitying confessionals about "poor me".”

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“I have no sense of direction; I never know where I am. When I back up a car, I'm more likely to hit what's behind me than not, because I have no vision for it. I've never been able to play games or play cards because I can't in my head get the next move. I've never been able to balance a checkbook. So there's some brain damage, but it may be that very brain damage that allows me to do the work I do. I've never met a cartoonist who isn't quirky or weird in some ways.”

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“A fishnet is made up of a lot more holes than strings, but you can't therefore argue that the net doesn't exist. Just ask the fish.”

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Author:Jeffrey Kluger

“Black people in America have to, for their own protection, develop a defense mechanism, and I just grew terribly tired of it. When you sustain that kind of affront, and sustain it and sustain it and sustain it, something happens to you. You try to steer a course in American society that's not self-destructive. But America is a country that inflicts injury. It does not like to see anything that comes in response, and accuses one of anger as if it were an unnatural response. For anyone who is not white in America, the affronts are virtually across the board.”

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Author:Randall Robinson

“Something is very, very wrong with American culture. The signs are everywhere. I think the country is in almost terminal descent. The business class is combined with the evangelicals. And I think the evangelicals want to provoke an immense global disaster to precipitate the second coming of Christ. So they are very happy about what we're doing to Iraq - and the menace we present now for Syria and for Iran - because they think that the apocalypse is an important thing to get into so that they can see vindicated their most literal interpretation of the Bible.”

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“The U.S. has the largest prison population in the world: two million people. One out of every eight prisoners in the world is an African American. We are warehousing people as a profit to shareholders or for benefits to communities that get to host federal prisons. It is modern slavery. The whole future of America's black community is at risk. One out of every three young black men in Washington, D.C., is under one arm or the other of the criminal justice system. These are the continuing consequences of slavery.”

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“I write in the studio, I don't sit around with a piano or a guitar and write songs. I get satisfaction out of that because I can finish the song really quickly. I can use whatever momentum I have. I've got to put it down, develop it, and get it as far [as I can], because the excitement of the moment of when you get that idea - you want to try and hold it and build on it and really gain strength from it. Being in the studio and writing songs like that is really the best way.”

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“There are a few people that I always say, "Hey, what do you think of this?" The minute that you know that you want this particular person to hear it, you know that you're pretty much done - although you're doing it to hear some feedback. It's a smart move to know whose ears you want.”

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“Because I was a chemistry student and was never supposed to be a musician, I always felt like I was an outsider looking at music going "Why is this interesting to me? Why should I be doing this?" and I never felt like I was a natural musician. It came into my life, kind of, as a conceptual problem and I think all my pieces are, in a way, looking at some issue and sometimes veering toward an inside baseball model of classical music.”

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“I think, when you're a young composer, you're told constantly that what you're supposed to do is figure out what your voice is. "What is your thing supposed to sound like?" You know: "What's the thing you do," that everyone can recognizably tell from a long distance is you and then you're supposed to be in search of that marker and you're supposed to find it and you're supposed to live there for the rest of your life. And it seemed to me, from a young age, that was what I was encouraged to do. You find a sound and that's your sound! That's what you do.”

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