Even if I wasn’t in music, even if my father was a carpenter, some guy in Jamaica would go ‘You’re just like Bob. You’re just like your father.’ That happens in Jamaica all the time.
My great-grandfather Melvin had been a carpenter – so was my father – and they taught me the value of tools: saws, hammers, chisels, files and rulers. It all dealt with conciseness and precision. It eliminated guesswork. One has to know his tools, so he doesn’t work against himself.
Where I’m from, you go to college, become a carpenter or something, and stay in the district.
Whatever it is, if you draw, you paint, you’re a carpenter, you play football, the more you do it, you’re a journalist, the more stories you write, the more people you interview and navigate your way through these different personalities to get your story, the better you’re going to get at it. Acting’s no different.
When I was in Chicago, I was working as a carpenter while I was doing plays. I thought it’d be a fun set construction job, but it turned up to just be a straight-up factory.
When I was a carpenter, I built sets for small storefront Chicago companies. Like, I built sets for friends of mine at The House Theater.
It is the accuracy and detail inherent in crafted goods that endows them with lasting value. It is the time and attention paid by the carpenter, the seamstress and the tailor that makes this detail possible.
When you’re a carpenter making a beautiful chest of drawers, you’re not going to use a piece of plywood on the back, even though it faces the wall and nobody will ever see it. You’ll know it’s there, so you’re going to use a beautiful piece of wood on the back.
If I was a carpenter, and I was trying to maintain my father’s musical legacy, then I guess it would be a burden because it wouldn’t be natural to me to be dealing in music when my natural ability is in woodwork or whatever. But because my natural talent is also music, it kind of makes it much easier.
I would have to say that my very first encounter with the arts was when my mother bought me my first record player when I was six years old as well as a Karen Carpenter record.
I come from an ordinary family – my dad is a carpenter, a roof-maker – and we’ve always loved racing together.
I worked as a truck driver, carpenter’s assistant, doing whatever it took to keep bread on the table for the family.
It was seventh grade or something like that when we started falling in love with stuff like Sam Raimi and Wes Craven and John Carpenter. Also, our filmmaking skills were getting a little more polished, so we thought we could actually make something that was not funny.
I have a brother who’s a schoolteacher, a sister who’s a graphic artist, a brother who is a lawyer. I have a brother who’s a carpenter.
I have a brother who’s a schoolteacher, a sister who’s a graphic artist, a brother who is a lawyer. I have a brother who’s a carpenter.
If you think of the guys that I was in the ring with, when I looked across the ring at the other guy, whether it be Randy Savage, Ric Flair, Rick Rude, Don Muraco or Jake Roberts, a carpenter is only as good as the tools he has to work with.
I grew up listening to country music. I got into traditional stuff later, but I listened to the commercial stuff of the ’90s, especially the women who were so strong, like Mary Chapin Carpenter and Kathy Mattea. It’s a great art form.
It was seventh grade or something like that when we started falling in love with stuff like Sam Raimi and Wes Craven and John Carpenter. Also, our filmmaking skills were getting a little more polished, so we thought we could actually make something that was not funny.
I have a brother who’s a schoolteacher, a sister who’s a graphic artist, a brother who is a lawyer. I have a brother who’s a carpenter.
If you think of the guys that I was in the ring with, when I looked across the ring at the other guy, whether it be Randy Savage, Ric Flair, Rick Rude, Don Muraco or Jake Roberts, a carpenter is only as good as the tools he has to work with.
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