As a writer you're holding a dog. You let the dog run about. But you finally can pull him back. Finally, I'm in control. But the great excitement is to see what happens if you let the whole thing go. And the dog or the character really runs about, bites everyone in sight, jumps up trees, falls into lakes, gets wet, and you let that happen. That's the excitement of writing plays-to allow the thing to be free but still hold the final leash.

I'm trying to discover - invent, I suppose - an architecture, and forms of urban planning, that do something of the same thing in a contemporary way. I started out trying to create buildings that would sparkle like isolated jewels; now I want them to connect, to form a new kind of landscape, to flow together with contemporary cities and the lives of their peoples.

Music itself is going to become like running water or electricity. So it's like, just take advantage of these last few years because none of this is ever going to happen again. You'd better be prepared for doing a lot of touring because that's really the only unique situation that's going to be left.

Nobody wanted your dance, Nobody wanted your strange glitter, your floundering Drowning life and your effort to save yourself, Treading water, dancing the dark turmoil, Looking for something to give.

When Basquiat was hanging out with Madonna and Fab Five Freddy, and all those worlds were colliding, people have to realize hip-hop and the arts were like this 'cause we both were outcasts: we wasn't allowed inside the galleries or inside Yankee Stadium. We were writing in the street and making music.

The sculptor, the painter the musician the dancer, or any artist, if he can first obtain celebrate in Paris, acquires very easily the esteem and eulogy of other countries.