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He had never acted in his life, and couldn't play the pin in Pinafore.

 

P. G. Wodehouse

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Mingus was always a disaster to have around. I loved him, but he was worse than a child. He didn't know how to clean up behind himself. He could cook, but there would be eggs on the floor and the ceiling. Couldn't find his shoes when he had to go to work, didn't have a white shirt, couldn't write a check. All he could really do was play the bass and write.

 

Charles Mingus

 

l'd been getting bored with the stereotyped changes that were being used all the time at the time, and I kept thinking there's bound to be something else. I could hear it sometimes but I couldn't play it. ... I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes I could play the thing I'd been hearing. I came alive.

 

Charlie Parker

 

Push hands is practiced between two people: the intitiator and the one acted upon. Initiating is called ‘asking’. The person acted upon ‘answers’. When the opponent asks, listen first before answering.

 

Wu Kung-tsao

 

In the early days when I was drinking ... I had a very blurry line about where those two were... but I mean, that happens when you drink twenty-two hours a day. I would just sit and drink. I didn’t know whether or not I was supposed to be Alice when I went out for dinner and was a little lit. Then there was the question about whether or not I should wear the make up because I didn’t really want to disappoint anyone. Was I supposed to get into trouble? Was I supposed to get arrested that night? All of those questions went through my mind. You have to remember though who my older brothers and sisters were though--guys like Jim Morrison and Keith Moon and all the people who were living that life. After they all died, I just sat there and went, “if one generation is going to learn from the next the truth is going to have to be that you don’t have to die to be your character.” I figured then that I had better be able to separate the two. When I go onstage as Alice to this day, I play Alice to the hilt — I play him for everything he is worth, but when I’m offstage, I never think about Alice Cooper. He never occurs to me. .. I walk off stage though and I turn away from the audience, I go back to being me again. Whenever I see an audience, that’s when I turn into Alice. If there was no audience there, there would be no reason to be Alice. . If I tried to be Alice Cooper all the time — I’d either be in an insane asylum or in jail or dead. Alice is just too intense, and you just can’t be Alice all the time. Jim Morrison couldn’t be Jim Morrison, so he died. Jimi Hendrix couldn’t be Jimi Hendrix, so he died. That’s really what killed Janis Joplin, Keith Moon and all the way down the line. They were all animated characters who couldn’t live up to their lifestyle, so I said that I needed to be able to separate the two — that’s why I’m still here.

 

Alice Cooper

 

There's probably not a department in his game that couldn't be considered the best in that department. You watch him play Hewitt and everybody marvels at Hewitt's speed, as well as myself. And you start to realize, `Is it possible Federer even moves better?' Then you watch him play Andy [Roddick], and you go, `Andy has a big forehand. Is it possible Federer's forehand is the best in the game?' You watch him at the net, you watch him serve-volley somebody that doesn't return so well and you put him up there with the best in every department. You see him play from the ground against those that play from the ground for a living, and argue he does it better than anybody.

 

Roger Federer