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Doors Quotes

“Back at the Chateau Windsor there was a rat-like scratching at the door of my room. Vinod, the youngest servant, came in with a soda water. He placed it next to the bag of toffees. Then he watched me read. I was used to being observed reading. Sometimes the room would fill like a railway station at rush hour and I would be expected to cure widespread boredom”

“You're gonna die. You're gonna die. And nobody's gonna care which version of the iPhone you used to make something on Twitter, or to go and post about your bowel movement on Facebook. And I'm not even talking about legacy; I'm talking about the fact that I personally feel most alive when I'm making something, and I feel least alive when I'm being led around by some obnoxious use of my attention that I wasn't aware of. To me, that's the thing. You can buy the jogging shoes and you can buy the Runner's World, but until you put them on and walk out the door every day, you're just a fat man.”

“Now, to tell my story--if not as it ought to be told, at least as I can tell it,--I must go back sixteen years, to the days when Whitbury boasted of forty coaches per diem, instead of one railway, and set forth how in its southern suburb, there stood two pleasant house side by side, with their gardens sloping down to the Whit, and parted from each other only by the high brick fruit-wall, through which there used to be a door of communication; for the two occupiers were fast friends.”

“Most importantly, what you get from a greasy spoon is a certain kind of smell that has been almost legislated out of existence. It is cigaretty, certainly, and it also has the catch-throat quality of smoking fat. It is a warm, companionable fug that rises to meet you as you step through the door on a late autumn day and it is how public places used to smell in my childhood in the 1970s. It is real, it is human, and it beats anything I know.”

“My name recognition has opened doors on the research side. I used to go into crack houses and drug markets and really bad neighborhoods by myself, routinely, and hang out. Sometimes I still do, because I don't want to attract attention. But lately, I've been riding with cops and gaining access to other types of law, like the ATF guys, just because of my name. I guess it's a smarter way to work.”

“I was composing before I realised I was a composer. It came more or less naturally. There were a couple of old ladies lived next door to me, and I frequented their house more than I did my own, because it had all those marvellous things in that that old ladies do have. And they had a piano, and I used to play around with that; they showed me how to read music and I used to play to them.”

“I used to think the reason I'd like to stop letting fear run my life was that it felt so bad to be afraid, and also that it was pointless - possibly wasted, if the feared thing never did materialize. But now that fear has packed its miserable bags and is running out the door, making slamming noises to call attention to itself, I begin to see how much room fear has occupied. What opportunity opens up!”

“I used to live at the Cecil Hotel, which was next door to Minton's [Playhouse]. We used to jam just about every night when we were off. Lester [Young], Don Byas and myself - we would meet there all the time and like, exchange ideas. It wasn't a battle, or anything. We were all friends. Most of the guys around then knew where I lived. If someone came in Minton's and started to play - well, they'd give me a ring, or come up and call me down. Either I'd take my horn down, or I'd go down and listen. Those were good days. Had a lot of fun then.”

“Fifteen years ago, God unequivocally and undeniably gave me Isaiah 22:22 as a life-verse. "Then I will set the key of the house of David on his shoulder, when he opens no one will shut, when he shuts no one will open." After 40 plus confirmations over a two-week period - yes, more than 40 - I became thoroughly convinced this verse was both a promise and a weapon for me. I have since used the verse hundreds of times throughout America - in all 50 states and in Washington DC - to open and close spiritual doors for the Lord.”

“The place that I worked I used to joke about it. There was a, every morning at 10:30 I'd come into work and I'd go into this cubicle that had a little upright piano and fake white cork bricks on the wall, and a little slate that came out of the wall that you could actually write on. And a door that locked from the outside. Every day from 10 to 6, we'd go in there and pretend that we were 13 year old girls and write these songs. That was the gig.”

“I believe that being on that show [the Voice] and getting the exposure opened the door for me to get my name and music outside of Texas and the markets I was used to playing in. One of the bigger things that came about from being on the show was that I got on with Paradigm Booking Agency; one of my earlier problems was how hard it is to get booked if you don't have a good booking agency.”

“We used to rehearse and that's where the roots of Dream Theater formed. Y'know, we used to play cover songs and jam to [Iron] Maiden and stuff but we were writing songs and it was this metal, loud style and we'd constantly get knocks on our door, because the rehearsal rooms were right next door to each other, and these jazz guys would be like, "Can you guys turn it down a little?"”

“A lot of black people worked with the police as snitches. We used to call them bimpees where I grew up. And, you know, they were afforded special privileges. They may have been paid by the police. But you never knew who was informing on you. We lived either next door to or - two doors away from us was a known informant in Soweto.”

“When the police officers knock on your door with a warrant, they don't expect you to give them a tour. It's supposed to be an adversarial process so that it's used in these extraordinary powers are applied only when there's no alternative. Only when they're absolutely necessary, and only when they're proportionate to the threat faced by these individuals.”

“It's amazing being a member of perhaps the last analog generation - being born in the late '40s, growing up in the '50s and '60s, when it was still a very analog world. And in New Orleans those days, the country was just next door, as it were. You didn't have to travel miles and miles to get out in the woods. There's tons of fishing, obviously, in New Orleans, and tons of hunting. That was part of the cycle of life, to get fresh meat from the butcher or go duck hunting and get it yourself. It wasn't malicious or insensitive. It was just there, and you used it.”

“No one is banging my door down to be a superhero. I don't know how good I would be. I have low bone density, so I don't know if anyone really wants to put me in a cape and chuck me out a window. But a lot of my friends, who are great actors and who come from film, are doing TV because that's where the opportunities are. For us, it does feel like it's similar to making the movies that we used to make.”

“Alistair Crowley used to define magic as anything in which you can exercise your will in the world through the use of your mind. So what's the magical way of opening or closing that door? Well, to will your body to stand up and close or open that door, that's magic. With the iPhone, it's like you put your intent into it, and it helps you exercise that intent in the world.”