I don't like streaming. I hate all that crap. I'd rather be a fan and have the piece in front of you where you could read the liner notes and everything about it instead of just consume. Enjoy it that way. It's just a digital file.
Trios aren't really geared for slide unless you're gonna play chords, or play that simple George Thorogood style. It gets pretty thin when you play single note lines.
Schiller never wanted to replace the moral with the aesthetic but he did want the moral to be one part of the aesthetic. He rightly notes the aesthetic dimension of morality, that we use concepts like grace to characterise people who do their duty with ease and pleasure.
Western philosophers gained access to Asian and African traditions initially by noting similarities and differences. But that, as A.C. Mukerji, of Allahabad, was to note in 1932, is not to do philosophy, but is at best a preparation.
I didn't use anybody's story. I used the context and the structure of the situation. People were so, so desperate to tell their story and begin to digest their experience - like turning it into a story - that after the fist few weeks I could go with a pad and pencil and take notes. People didn't seem at all bothered by that.
The beauty of string theory is the metaphor kind of really comes very close to the reality. The strings of string theory are vibrating the particles, vibrating the forces of nature into existence, those vibrations are sort of like musical notes. So string theory, if it's correct, would be playing out the score of the universe.
Read Mann's notes, which contain precise accounts of cholera and its symptoms, and observe how careful he is throughout his fiction in getting medical details straight - then you might begin to wonder whether cholera is the only candidate for the cause of Aschenbach's death. What results from this, I think, is a deeper appreciation of Mann's brilliance in keeping so many possibilities in play. The ambiguity is even more artful than people have realized.
In fact, now for whatever reason, if we're recording in the same room, I get a little distracted because I'm watching the actor instead of listening to the actor. The way we do it now, they're on the phone, and we're sitting here with scripts in front of us taking notes seriously and marking takes and doing some adlibs. I can really focus on the words and not the surroundings.
Almost no one as I think most leadership books are a joke. They are, as I note in Leadership BS, frequently based on wishes and hopes rather than reality, on inspiring stories rather than systematic social science, and on "oughts" rather than "is."
When you're coming up with your philosophy and approach to performing comedy, you take special note of the things you disagree with as much as the things you agree with.
This [9/11 event] was bloody-minded destruction for no other reason than to do it. Note that there was no claim for these attacks. There were no demands. There were no statements. It was a silent piece of terror. This was part of nothing.
I started using Notes [on my iPhone] but I do a lot of hand written notes. It's a very slow, accumulative thing.
I could definitely rock out to Kraftwerk's "Tour De France," Tubeway Army, or Gary Numan. All of that stuff has an infectious beat, but with "Oh Yeah," I can't even identify what's going on. It sounds like typewriter keys, a couple of synth notes and then this really deep "Oh yeah," which I always picture as Andre The Giant on vocals.
I love the lower ranges of my new voice. I really enjoy that. It's a challenge, and I accept the challenge. I sort of enjoy it now to reach notes that maybe four years ago I couldn't reach. I don't mean to grumble about it. I'm past that critical period and have gone on to a whole new field. And we go everywhere. We travel around the world, and I learn songs from every place we go, and it's a joyful process.
An example I love: Diwata auditioned for the school play by doing a big number from Once Upon A Mattress. I went home and my boyfriend plunked out the notes for me, and I had to learn and prepare that song just so I could learn and know how that feels. I've never had that kind of detail in a rehearsal process. Jason Moore is absolutely unbelievable.
I actually prefer it if I don't know what I'm supposed to do. If you've got an equal temperament piano keyboard, then you know what you're going to get if you play certain chords. But I actually like it if you don't know where the notes are, because then you do it intuitively. You're working out a new language, basically. New rules.
After years of touring, my voice has gotten a lot stronger. I used to just blow out after two or three shows, so I've definitely trained my voice, because I can now hit notes that I couldn't hit before.
I'm less interested in uniqueness than in goodness. I see so many concerts where the program notes are more interesting than the music. I remember talking to one composer who went through the most complicated mathematical algorithm to generate some material from scratch. It took weeks and weeks, and he came up with a C major chord. For me, honesty is more interesting than originality.
Sometimes I'll hit a note and sometimes I don't. Why not at least try?
I began to get notes from people saying they were sorry to hear I'd left ministry. And for a while, I halfway believed they were right, that I'd left.
I can't help but note that God is being useful to a lot of people trying to do harm to one another.
I don't feel that I've accomplished anything. I feel that it'll be better when I won't care as much, but it's so difficult to let go and accept all the wrong notes.
I wasn't quite used to writing a diary - I didn't understand why people did it - but I wrote down notes and they went into a poem.
You hit a guitar, you hit a note, you hit a drum, you hit an organ. Meat and potatoes. Simplicity. Not getting too caught up in little tweezers of perfection.
I don't judge people who just hit "play," but I would judge myself if I did that. I wouldn't feel like I was earning my money, I'd feel like I was putting one over on people. I have to play the notes.
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