People want to hear clean sounds; they don't want to hear coughing in the background, pages turning.
Jazz is not about getting and playing whatever notes you want. It is about reworking themes in a manner that sounds good, that can be followed by the other musicians and that the audience enjoys. You cannot do that without first acquiring skills.
The head of a record label sets up structures, but he also defines the sound of the label, which is to describe what is desirable, what fits and what is quality for that label and then to create an environment where that sound can thrive.
The conventional asset-allocation method is like sheet music. It is prescribed, it has right answers and wrong answers and it sounds about the same every time. But jamming is different. Jamming is when you make the music. When you improvise and adapt to conditions. When you are creative.
As strange as it may sound, I think I'm a lot more at peace with the fact that you can't guarantee you're going to be all right [at] any time.
I realized that I really didn't like the sound of the ukulele so much so I started playing the guitar.
The latest trend seems to be these DJs doing pre-recorded sets, in perfect pitch with the lights & acts on stage. Everything is centred around the action from the stage. It doesn't even demand action coming from the crowd! Passive consumerism or something. Mayhem with an overwhelming sound that isn't actually good music. More like diarrhoea.
Of course I knew disco and dub from years before but I never heard such a radical new sound like house. It blew my mind!
There are so many layers of bullshit and everything sounds the same.
It sounds kind of flighty, filmmaker-y, but I believe films are a piece of art. They are meant to be what they're meant to be, and sometimes the artist is informed by the film of what it needs to be.
It didn't feel organic and [Tito] Gobbi was one of the artists that was able to, along with Maria Callas, incorporate not just the sound, but the emotion, the technique of the singing.
My daughter [Ariana], she's a sweet, lovely girl, but she doesn't have the drive or the belief in herself. As it says in the film, I get touched up thinking about it, no one can give you a career. You have to have that inner drive. She wants it, but she doesn't know how to go for it, she's too shy. To see her perform and come on stage and feel comfortable, you know, she has talent - that was very touching, very moving, for me. She has a really beautiful sound and voice. She's a young girl still, 26, and innocent. She was kind of sheltered.
It might sound trite, but happiness is a decision not a destination, and my choices now are all based on whether not a particular action will get me closer to my goals. It's something I'm quite ruthless about, and it helps me avoid the aforementioned wild goose chases!
Ah, current music. What would that be? Ah, really, a lot of it sounds defective to me. It makes me restless.
We're going to make America wealthy again, because if you don’t do that, it just - it sounds harsh to say, but we have to build up the wealth of our nation.
Of course, I was a little concerned about it being over two hours [in "Aquarius" ]. "Neighboring Sounds" was two hours and eleven minutes. This is two hours and twenty-five minutes, and I did try bringing it down. For instance, I considered cutting out the sequence with the family looking at pictures.
I think the film [Aquarius] comes from that original feeling I had 18 years ago, when I was in a São Paulo supermarket. I was in line to pay for something, and when I looked up, I saw the little windows of a projection booth. That's when I realized the supermarket used to be a movie theater. They didn't even bother to change the walls. Years ago, "The Sound of Music" could've been playing in that space.
First of all, there are those who simply don't care for [Bob] Dylan, or at least, don't think he's that great. Some of the former sound very much as if they are afflicted with the kind of contrarianism inevitably bred by cultural orthodoxy - Dylan is overwhelmingly rated a giant and a marvel, the acclamation of whom they feel to be de rigueur; and rather than judge for themselves, they embrace the opposite view.
Plenty more of the Nays sound perfectly sincere, though. They may genuinely dislike [Bob] Dylan; they may even enjoy or admire him, but just don't think he's all that. Fair enough. The reaction of such folk seems to be chiefly amazement tinged with befuddlement: they've given him what? You're kidding me.
It's a very odd thing with Hollywood, where you do stand-up, you're good at it, then they go, "How would you like to be a horrible actor?" Then you say, "All right, that sounds good. I'll do that."
I can't be naturalistic enough to make it sound real. So instead, I just wander around aimlessly knowing that I'll be funny enough with stream of consciousness until I get to the actual explosively funny part.
Unlike many Sixties rockers,[Bob] Dylan sang about getting old, about broken dreams. His return to roots music pointed the way for many of his contemporaries to forsake trying to sound 'current' and to instead make music that would stand the test of time.
The most recent incarnation of [Bob] Dylan has been the traveling journeyman/ charlatan who sings roots music, snarls dark lyrics that make "All Along the Watchtower" sound like a Disney tune, hosts an old-school radio show, and turns up in some unusual places, like ads for Chrysler and Victoria's Secret.
Not to sound cliché or anything, but with the downtime that I have and the possible platform that my work could give me, I'd like to figure out a way to give back and make a difference, you know?
If the act of writing is the act of putting aside the masculine, then you might in that way, it may sound almost crazy to say this, say that the act of writing, for a woman, could be a homosexual act.
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