![I don't know if you can ever take him [ Andrew Wood ] out of [my heart and soul]. There was a period of time when he would sit in his bedroom across the hall from mine and we would kind of have these dueling four-track demos and songs. He wasn't doing it for Malfunkshun and me doing it for Soundgarden; it had nothing to do with that. It was us just having fun. Maybe you can look at it as songwriting exercises? We were always kind of neck and neck. We were very different from each other in terms of our approach. He was very free and didn't necessarily have a critical voice while he was in the process of writing a song. He would just do anything. I on the other hand, not only do I have a critical voice, I have sort of an editorial staff and what that creates is something kind of completely different. (Chris Cornell)](https://cdn.quotesdtb.com/img/quotes_images_webp/56/chris-cornell-across-anything-1004556.webp)
I don't know if you can ever take him [ Andrew Wood ] out of [my heart and soul]. There was a period of time when he would sit in his bedroom across the hall from mine and we would kind of have these dueling four-track demos and songs. He wasn't doing it for Malfunkshun and me doing it for Soundgarden; it had nothing to do with that. It was us just having fun. Maybe you can look at it as songwriting exercises? We were always kind of neck and neck. We were very different from each other in terms of our approach. He was very free and didn't necessarily have a critical voice while he was in the process of writing a song. He would just do anything. I on the other hand, not only do I have a critical voice, I have sort of an editorial staff and what that creates is something kind of completely different.
Chris CornellRelated topics
across anything approach different dueling editorial free fun hall having heart kind mine neck nothing sit something song sort soul staff take time voice while wood demos songwritingRelated quotes
Consent in virtue knit your hearts so fast,
That still the knot, in spite of death, does last;
For as your tears, and sorrow-wounded soul,
Prove well that on your part this bond is whole,
So all we know of what they do above,
Is that they happy are, and that they love.
Let dark oblivion, and the hollow grave,
Content themselves our frailer thoughts to have;
Well-chosen love is never taught to die,
But with our nobler part invades the sky.
Then grieve no more that one so heavenly shaped
The crooked hand of trembling age escaped;
Rather, since we beheld her not decay,
But that she vanish'd so entire away,
Her wondrous beauty, and her goodness, merit
We should suppose that some propitious spirit
In that celestial form frequented here,
And is not dead, but ceases to appear.
Edmund Waller
From his high pedestal, Prof. Sharma could afford to disregard the 'very few authors whose work effectively addresses the feudalism thesis in a critical manner', and he 'appears to have been in no mood to take heed of criticism levelled at his work'. This disregarding and ignoring of counter-evidence is tactically the best way to prolong your dominant position (which is why this tactic was adopted by most secularists in the Ayodhya debate): it denies publicity and respectability to the critic's alternative thesis. But to the progress of science, this upholding of dogma and suppression of debate is detrimental. According to Prof. Wink, the effect has been this : 'Under the impact of the feudalism thesis the historiography of the period is still in utter disarray.'
Koenraad Elst
An energetic crudity, even a riotous absurdity, has more promise in it than a clever and elegant mediocrity, because it shows that the young man is speaking out of his own heart, and struggling to express himself in his own way rather than in the way he finds in other men's books. The early works of original writers are usually very bad; then succeeds a short interval of imitation in which the influence of some favourite author is distinctly traceable; but this does not last long, the native independence of the mind reasserts itself, and although perhaps academic and critical demands are somewhat disregarded, so that the original writer on account of his very originality receives but slight recognition from the authorities, nevertheless if there is any real power in the voice it soon makes itself felt in the world.
George Henry Lewes
Have you guys noticed that Madonna is British now? OK, let's talk about her lineage for a minute. Raised in Michigan, moved to New York, is British. She started turning British like at the Golden Globes and she was doing the interviews and she says "telly" instead of "television" and she uses the word "actually" way too much and then she's also sorta bringing her voice down to a register around here (brings her voice down) and she's being interviewed for the Golden Globes and she's got whole, you know, crazy hair that everybody hated and everybody has and they were saying, "Well, Madonna, we're so glad to have you at the Golden Globes." (speaks in Madonna British accent) "Well, actually, it is more fun to come here than watch it on the telly". You know. Look, I'm from the midwest- its a TV.
Kathy Griffin
The main difficulty in using either lazo or bolas, is to ride so well, as to be able at full speed, and while suddenly turning about, to whirl them so steadily round the head, as to take aim: on foot any person would soon learn the art. One day, as I was amusing myself by galloping and whirling the balls round my head, by accident the free one struck a bush; and its revolving motion being thus destroyed, it immediately fell to the ground, and like magic caught one hind leg of my horse; the other ball was then jerked out of my hand, and the horse fairly secured. Luckily he was an old practised animal, and knew what it meant; otherwise he would probably have kicked till he had thrown himself down. The Gauchos roared with laughter; they cried they had seen every sort of animal caught, but had never before seen a man caught by himself.
Charles Darwin
