I changed my hopes to being a singer [when I was a child] and sat around with my hair in my face droning Mac Davis songs. Writing was sort of a last stand. Come to think of it, it was the only "talent" I had that anyone asked for more of.
We know what hair smells like when a hot comb hits it. That's a cultural thing. We know what that smells like on Sunday mornings, usually church-related or something. In my house, it was getting ready for church and your sister was getting her hair fried.
I felt that there could be some anger. There could be some frustration that he has the tendency to take over the room, but I wanted all of those things to show in the grays of her hair and the fact that her hips are much wider than they probably were when she met him. I wanted it to show in the fact that her hair is not done up all the time. I wanted it to be a part of that every day that wasn't in your face. Because then for me, that's overacting. To me, that's not "being." I wanted Rose [in "Fences"] to be many things.
There are women in makeup and hair and wardrobe, but not in camera, not in sound, you know, and not in special effects. It's all men.
Certainly for me, when punk exploded in the 1970s, it was just great. We had these wonderful clothes to wear. We could do great things with our hair. We had protest badges that read "I belong to the Blank Generation." It was such a great time to be a kid.
Nobody's tried to touch my hair in like, in decades.
Since I've had a career, my hair has been more or less professional.
Rick Rubin had his hair - I don't think it's ever been cut and very - dresses like a hobo, usually - clean but . Was the kind of guy I really felt comfortable with, actually. I think I was more comfortable with him than I would have been with a producer with a suit on.
You can play guitar in your canteen, you know, your hair might be longer, but there's a lot more to playing than travelling around universities and things.
When I was in Mecca I noticed that their, they had no color problem. That they had people there whose eyes were blue and people there whose eyes were black, people whose skin was white, people whose skin was black, people whose hair was blond, people whose hair was black, from the whitest white person to the blackest black person.
When I wouldn't leave home without my blue contacts or when I was bleaching my hair, I didn't have the language to articulate that I was trying to assimilate to whiteness. If anything, I was trying to "look normal."
I love to shake my hips, my hair, and my boobs. It's all about having fun and sharing your spirit with other people.
The idea that [Jeff Sessions] is the man who is going to end the progress on the drug war makes me want to rip my hair out, every carefully nurtured curl on my head.
With me, it's clothing and makeup and hair and all that stuff that inform how the character moves and feels.
In reality, Mom just really hates me having short hair.
I've always had weird hair, and it's never looked good.
I'm always trying to change things - change my character, change my look, change my hair, change my facial hair, change my costumes, or implement different jackets or catchphrases. I try to keep myself fresh.
You have to connect with the crowd. If you can't do that, I don't care how good a wrestler you are, or how much muscle you have or how cool your hair is. You have to connect with the crowd. The guys who I like are the ones who have that connection.
When you are on the set, you have different departments - you got camera, sound, props, hair, makeup, catering, executives. Imagine each one of those are spokes on the wagon wheel. All the spokes come into a hub: the hub is the director. The wood the spokes go into are distribution and promotion; the steel wheel around the hub is the film. None of these have anything in common with each other.
I started modeling myself on [ Buckminster Fuller], like with the hair. I reached an age where I sort of, kind of, looked like him a little bit, you know? I thought it was great.
Around the corner [ of the Carnegie Delicatessen] is the Russian Tea Room, which is now out of business. Which is awful. I remember going in there and seeing the ballerinas trotting in there like they were prize horses, with their hair, their sunglasses. Really amazing. They were all White Russians. This is where [Leon] Theremin met a lot of people, and where the KGB eventually picked him up.
Before you go into what is essentially a competition, you have to have that confidence. You have to ask yourself, "Are they looking for a guy my height? My age? I've got a shot." And if there are nine guys auditioning and they're all gorgeous, I have an advantage, because gorgeous guys are a dime a dozen. But if they need someone else - like a goofy guy with bad hair who is just okay - then that's me. And finally, the other 2 percent who audition are geniuses that I could never touch.
In retrospect, I think a lot of '80s fashion shoots are the ones that look the most modern. The fitness-based ones that are really minimal. It's clean, healthy, t-shirt, beach hair... it's athleisure.
[My grandmother] was the assistant pastor at Palma Ceia Baptist Church in Hayward - my grandmother, Evie Goines. And so my mother was doing - I remember when my mother graduated from beauty college, so I was about 5, and so I guess she was about 21. And I just remember being there, taking the pictures and seeing her get her diploma and everything. But she was doing hair for many years. during that time, she kind of started to discover or tap into her religious studies. It was around the time I was starting to go through puberty and hitting, like, 12, 13.
I really hate my hair when it's not braided because it's so big when it dries. When it's wet it looks cool, but when it dries it gets all in my mouth during a match and I hate it. I wouldn't mind shaving it off.
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