Joe Quotes

Mike Dukakis? He's the salt of the earth.

In my neighborhood, when you've got something to say to a guy, you look him in the eye and you say it to him.

You're not a real Texan till you've been kicked out of every decent state in America.

In some European theaters, it's still not uncommon to have a late start and three LONG intermissions, because people actually eat and drink and converse during the intermissions.

There is no post-9/11. Everything from now until the end of time is post-9/11.

I made the mistake of watching "A.I." on cable the week they showed it about 792 times, and I ended up watching it every time it was on.

Speaking of things that'll make your head explode, "Dragon: The Bruce Lee Story" finally made it to the drive-in

Almost every venerable tradition at a men's club starts out as a joke.

Not a lot of people can say they are in a job they love to do. I am very fortunate to be able to do that and I thank everyone around me every day for the fact that I am able to do it.

The best part of my job is that it really isn't a job at all, it's a labour of love. Every night is different, the people that you work with are all tremendous individuals.

The worst part about the job is the travel, which takes you away from family and friends and important dates and hockey games and tournaments that your kids are in and things like that.

I think painting has that unique potential to project opposing viewpoints.

Technology's always changing. There was a time where oil painting was a new technology. That changed painting.

Paintings exist in the present tense, yet somehow, because of how it's structured, it can move backwards through time as well.

It's a funny semantic turn - when someone paints a landscape, no one says they "borrowed" it, only that they painted it.

Painting has this ability to send the viewer [backward], but it's also this physical object in the room with you. It's always knocking you back into the present moment, which I find very pleasurable.

The era of television in which I grew up was much simpler than now. Its conventions were quite transparent and fun to think about. Who could ever remember the plot of those shows?

I guess I have no motivation to make an abstract painting, even if they sometimes read as abstract. I think, with abstraction, it's easy to fall into a sort of pastiche.

There's art that I think is pretty silly, but it doesn't get under my skin like it used to.

I always like being surprised and sort of caught off guard by other people's work. So it doesn't cause me any anxiety to explore different avenues.

Money issue looms so large in art now. And it has absolutely nothing to do with art.

I'm not interested in popular culture, particularly. I'm not against it, I'm not avoiding it, but I'm not interested in it as a force in life.

There's something retro about the pop culture references in the paintings, so I'd imagine it's not as much a pop culture reference as a pop art reference.

People weep at music all the time, because music gives form to some abstract level of integration.

I've always liked the fact that galleries are free to visit in New York.

I don't really get excited about good things happening to me.

I'm also interested in something that can happen later in life. In midstream, you can suddenly take what looks like a detour; I'm sure I've taken many detours.

I'm not a planner. I should be more articulate about what the imagery means, but I don't have a good reason for it; it's just there.

I love looking at sculpture, but there's some sort of spell that's broken with it.

I think that time moves slower in painting. And maybe that accounts for a lot of the anxiety around painting in the last 40 or 50 years.

I remember looking at books when I was in high school, but I don't think I really stood in front of a genuine painting or sculpture until I was out of high school.

I suppose some people find their voice later than others, but it's interesting to look back at really early work to see that there's some kernel or a Rosetta Stone, in a way.

Getting even throws everything out of balance.

We're not all robots. There are emotions that creep in.

I'm the luckiest guy in the world to be my parents' son.

No fat batboy is invisible.

If you're prepared, you can be relaxed.

You have to trust yourself.

I think I enjoy my job more now than I did when I started. When I started in 1996 on a national level, I was 27 and part of me was scared to death.

I think when you do radio there's a certain amount of freedom that when you walk in and sit down and turn the mic on, it's you. It's all you.

Anytime you go digging around on the internet and into your world, maybe you don't want to find out where your name pops up.

The camera is really the play-by-play person.

I got hired by the Cards when I was 21, and I could handle the job, but for the most part, I got hired because I was somebody's kid. When you start that way, you have a lot to prove.

I think most people associate me with my dad.

I have more fun now doing a game on a Saturday or Sunday than I've ever had. I love the fact that every year, it's gotten more and more fun.

Part of me was always trying to prove that I belonged and prove that I deserved the job and prove that I could handle it. And that takes the fun out of it.

You can make an editorial comment about the play while it's going on. You don't have to be bogged down by the details because the camera is showing the groundball to short.

There's a little bit more of a freedom when you're doing radio play-by-play as opposed to television. I prefer the television side of it.

One of my best friends is Paul Rudd, and he's been in just about every one of Judd Apatow's movies.

I think he [Tony LaRussa] legitimately believes what he says. I don't agree with him. But I think he's being as honest as he can be.