The truth is somewhere in the middle of funny and serious.
Everything was sensory and I never saw the structure in anything.
I just saw the emotion in everything, so I got to feel everything that was going on and that I was viewing, but I couldn't think in terms of structure, which is the whole point of deep focus.
In other words, DC was never harmed by the paper shortages.
If I had one quality that really ruined me and at the same time helped me, it was the fact that I never stopped looking, and by that time I was really working at it.
I was not too smart and constantly mouthed off and didn't know anything.
I was hired to do as many Boy Commando, Newsboy Legion, and Sandman stories as I could.
I just saw an ad the other day that I couldn't believe. There was this woman-and I think it's degrading to womankind-she was going out of her mind over a new product called "A Thousand Flushes. " Here she was in her toilet, saying, "Oh, I love this product!" and, "My life is complete!" Good God-if your joy depends on "A Thousand Flushes," you're sick!
He who sows courtesy reaps friendship.
If I'm playing someone who's smart, suddenly every character I've played is smart. If I'm playing a bad guy, every character is a bad guy. I suppose it's that thing where people want to see a through-line to understand you. I mean, you know, I have played pretty ordinary people too.
A good way to work on alternate picking is to choose three or four notes, and work on those. Too often, players who are trying to improve their right hand dexterity get hung up by playing too many notes with the left hand. I hear a lot of players running whole scales from the sixth string to the first , and playing them really sloppy. Keeping it very basic-and using only a few notes-and playing slowly with perfect rhythm is a task in itself.