David Foster
David Foster
David Walter Foster, OC, OBC, is a Canadian musician, record producer, composer, songwriter, and arranger. He has been a producer for musicians including Alice Cooper, Christina Aguilera, Andrea Bocelli, Toni Braxton, Michael Bublé, Chicago, Natalie Cole, The Corrs, Céline Dion, Jackie Evancho, Kenny G, Josh Groban, Whitney Houston, Jennifer Lopez, Kenny Rogers, Seal, Rod Stewart, Donna Summer, Olivia Newton-John, Madonna, Barbra Streisand, and Westlife. Foster has won 16 Grammy Awards from 47 nominations. He is the chairman of Verve Records...
NationalityCanadian
ProfessionMusic Producer
Date of Birth1 November 1949
CityVictoria, Canada
CountryCanada
Footnote: 79) The anchor is gigantic and must weigh a hundred tons, and -- delightfully -- it really is anchor-shaped, i.e. the same shape as anchors in tattoos.
All I'm saying is that it's shortsighted to blame TV. It's simply another symptom. TV didn't invent our aesthetic childishness here any more than the Manhattan Project invented aggression.
Psychotics, say what you want about them, tend to make the first move.
It's all very confusing. I think I'm very honest and candid, but I'm also proud of how honest and candid I am -- so where does that put me?
Hal Incandenza has an almost obsessive dislike for deLint, whom he tells Mario he sometimes cannot quite believe is even real, and tries to get to the side of, to see whether deLint has a true z coordinate or is just a cutout or projection.
In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it.
Literary fiction and poetry are real marginalized right now. There's a fallacy that some of my friends sometimes fall into, the ol' "The audience is stupid. The audience only wants to go this deep. Poor us, we're marginalized because of TV, the great hypnotic blah, blah." You can sit around and have these pity parties for yourself. Of course this is bullshit. If an art form is marginalized it's because it's not speaking to people. One possible reason is that the people it's speaking to have become too stupid to appreciate it. That seems a little easy to me.
You have decided being scared is caused mostly by thinking.
I have filled 3 Mead notebooks trying to figure out whether it was Them or Just Me.
The lives of most people are small tight pallid and sad, more to be mourned than their deaths. We starve at the banquet: We cannot see that there is a banquet because seeing the banquet requires that we see also ourselves sitting there starving-seeing ourselves clearly, even for a moment, is shattering. We are not dead but asleep, dreaming of ourselves.
This might be one way to start talking about differences between the early postmodern writers of the fifties and sixties and their contemporary descendants.
We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life "outside" the story changes the story.
Pleasure becomes a value, a teleological end in itself. It's probably more Western than U.S. per se.
The key is the ability, whether innate or conditioned, to find the other side of the rote, the picayune, the meaningless, the repetitive, the pointlessly complex. To be, in a word, unborable... It is the key to modern life. If you are immune to boredom, there is literally nothing you cannot accomplish.