Track Quotes - Page 40

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I've been very lucky in that the studios really respect me and they give me all my creative freedom. But nevertheless, they are inputs, they have opinions. It's the same thing for me as if you're in a shower and you're coming up with a tune, with a melody, but there are 70 people trying to sing their own melody at the same time. So you have to focus and concentrate, and not lose the track of your melody.

The person who wins the Nobel Prize is not the person who read the most journal articles and took the most notes on them. It's the person who knew what to look for. And cultivating that capacity to seek what's significant, always willing to question whether you're on the right track - that's what education is going to be about, whether it's using computers and the Internet, or pencil and paper, or books.

I used to do more melodic stuff, and I used to do more actual rap - like traditional hip hop vocals. I think my method of storytelling has led me to this point, at which I want to pare down my style. I think I give the lyrics more thought, and then when I try to perform the lyrics over the track I'll try it over and over again, and eventually the lyrics will sink into the track by the way I project them.

I wrote, in total, about 50 or so songs (finished and unfinished) in the 2 and a half years leading up until this moment, and trying to decide what songs to include on the Mini-Album was super difficult, because there were so many different sound/mood roads I could have gone down. But, after going through everything, these tracks seemed to fit together and communicate a similar sentiment and mood the best.

I say you are a coward and you are; I think you hunt only to reassure yourself that you are not what you are: the weakest thing to ever walk the Earth. He will come for me and then we will be gone, and you will be helpless for all your hunting, because Westley and I are joined by the bond of love and you cannot track that, not with a thousand bloodhounds, and you cannot break it, not with a thousand swords.

We're, as Carlos Petrini says, we're on a train and it's going off the edge of the cliff. We have to stop the track and get off. Now we're in a jungle. We don't know how we're going to get out but we'll find a way. I've always believed in people power. I saw it happen when we organized around the AIDS crisis... We made an AIDS quilt that covered the entire mall. Everybody had a part in it and we can do this.

Several times in my life I've gone through long periods without sex or any other kind of physical contact. The hunger it produces is deep and low; it's possible to lose track of it, to forget or fail to perceive how it's emptied everything out of you and made the world papery and thin. Touch starved, you brush against existence like a stick against dry leaves. You become insubstantial yourself, a hungry ghost.

I would have said that during the early days of my life there was never a moment when I wasn't fit. We worked extremely hard on the beekeeping line, and both my brother and I used to compete, particularly when we were collecting honey. We would each have an 80-pound box of honey and we would race up the hill on the Tuakau track and race back down. We just raced all the time, and we used to keep very fit indeed.

I got hit up for a tampon commercial and so I asked [JD and Jo] if they had anything. Jo sent that over and I was like, "I love this track. Oh my god. It's so upbeat. It's so positive. It would be so great for a tampon commercial." That commercial never came through, so then I just had it. I was like, "That would be great for a Hillary [Clinton] song." I think it's so funny that it could be a tampon commercial.

Perhaps of all our untamed quadrupeds, the fox has obtained the widest and most familiar reputation.... His recent tracks still give variety to a winter's walk. I tread in the steps of the fox that has gone before me by some hours, or which perhaps I have started, with such a tip-toe of expectation as if I were on the trail of the Spirit itself which resides in the wood, and expected soon to catch it in its lair.

There was always this sort of weird process in the development and pre-production, thinking, 'How do we get the studio tracks that Joy Division recorded that are so clean and pristine but sound rough and live and how do we get the live versions to actually sound clear enough so you can make out what they're saying?' That was sort of the frustration with Anton Corbijn and myself, figuring out how we make that work.

There are a lot of hackers today, you know, and they perform their work in such a filigreed and delicate manner and they can show their "tracks" anywhere and anytime. It may not even be a track; they can cover their activity so that it looks like hackers operating from other territories, from other countries. It is hard to check this activity, maybe not even possible. Anyway, we do not do that at the national level.

It should come as no surprise that writers take an interest in punctuation. I have been told that the dying words of one famous 20th-century writer were, "I should have used fewer semicolons" - and although I have spent months fruitlessly trying to track down the chap responsible, I believe it none the less. If it turns out that no one actually did say this on their deathbed, I shall certainly save it up for my own.

Well, the first thing I do is I try to listen to whatever rapping is already on the track. I listen for cadence and melody to see how the track's already been written, and to make sure that whatever flow or flows I decide to run with, or patterns or melodies that I decide to put into the song, that they're not already in there. Then I try to see if there's a different part of the subject matter that I can talk about.

A fantastic analogy for the power of focus is racing cars. When your car begins to skid, the natural reflex is to look at the wall in an attempt to avoid it. But if you keep focusing on what you fear, that's exactly where you'll end up. Professional racers know that we unconsciously steer in the direction of our focus, so with their lives on the line, they turn their focus away from the wall and towards the open track.

You can't really explain competing in Olympic event to someone. You can say, "Oh, that was really tough." And that literally means nothing to someone. If you can give some sort of comparison, because that's really all track and field is about any way....Usain Bolt runs a time and you get to see what everybody else's time is. It would just be interesting to compare Olympians to somebody who doesn't train their whole life.

The fact that these scientific theories have a fine track record of successful prediction and explanation speaks for itself. (Which is not to say that I don't directly discuss the work of those philosophers who would disagree.) But even if we grant this, many will argue that scientific knowledge in humans, and, indeed, reflective knowledge in general, is quite different in kind from the knowledge we see in other animals.

I've got pages and pages of snippets of stuff, and if Max [Hershenow] sends me a track to write to I'll go through all the stuff and the initial reaction of gut and how it makes me feel and I'll sort of go from there and start pulling my favourite pieces of my lyrics and that will be a very literal word collage and from there I'll sculpt it for and whatever reason the song sort of presents itself. It's a bizarre process.

I became interested in the delay, having sounds recorded and played back and then come back. I did many different configurations of sending signals from one track back to another track, or to the same track, or crisscrossing them and so forth. I worked on masking the delays so when I played into the machine, I would make long tones and collect sounds in such a way that you didn't hear the delay, although sometimes you did.

I test the movies a lot, and if the audience says they love the movie, we know we're on the right track. And if they tell me they hate it, I try to figure out what I've done wrong. But every time out, the audience wants me to go deeper, they want to know more about the characters, and they don't want these movies to be shallow. So they really urge me to tell them a complicated story, and then when I do so, they're thrilled

I don't care if Trump has $100 billion. He's earned it. He's had a job. There are ways you can track what he has earned. The Clintons don't want to admit how they've earned their money. They love to brag about their wealth, but how did they get it? Making speeches, $750,000 for one speech from a firm that now has close ties with Mrs. Clinton as a secretary of state and potentially as president? It's $750,000 for one speech.

I always tell people that I have never ever gone dancing in my life. But that's the point. It's the point of dreaming of doing it, imagining doing it. My music is like a fantasy version of it, not a practical version of it. With the way a club DJ would make a track - they are in the club, they know how to get people excited. I don't know how to get people excited. I'm just imagining euphoria; I'm not necessarily feeling it.

You're limited to one image, but you can have 50 audio tracks. It's something you'd be foolish not to experiment with. So I'm also very interested in sound that happens offscreen. I think that's a way to expand the scope of the movie. And it's all very planned out from the script stage. For me, sound design is a major part of the narrative. I think that's what makes working with certain people on the producer level difficult.

Chyerti—that’s us, demons and devils, small and big—are compulsive. We obsess. It’s our nature. We turn on a track, around and around; we march in step; we act out the same tales, over and over, the same sets of motions, while time piles up like yarn under a wheel. We like patterns. They’re comforting. Sometimes little things change—a car instead of a house, a girl not named Yelena. But it’s no different, not really. Not ever.

There is always the working out of things, and you have to have sort of a gut response to it. And an intellectual response. And an aesthetic response. All that comes from having done this for a long time. Instead of saying, "That's a really good rock track, and that will do," I'm looking for something that is more original and fresh. There are a lot of elements to get into it: a level or sophistication, passion and excitement.

I was listening to a lot of really early house music tracks. Like Chicago house and Detroit. And Marshall Jefferson has a track probably from 1980 - somewhere around there - that doesn't actually have any electronic instruments, no drum machines, nothing. Just a drummer and a piano player and they're playing this house music, but they're actually playing it. I really love that aesthetic and wanted to bring that into the album.

To get started, track your expenses for a couple of months. Then you should be able to start filling in your estimated debits and deposits for the next few months. Once you get it rolling for a while, you will be able to see your budget for the upcoming months reflected in the estimated totals. You can even notice year-to-year trends, like bonuses, tax bills, etc. that come up routinely and it will help you budget accordingly.

For all the sophistication of GPS, there still remain numerous problems with their use. The most obvious problem in this context is the problem of landmines. For example, when the French troops went into Kosovo they were told that they were going to enter in half-tracks, over the open fields. But their leaders had forgotten about the landmines. And this was a major problem because, these days, landmines are no longer localized.

I think everybody knows that Africa is in a very deep crisis. There is economic misery and social deprivation and that Africa needs help but the question then is how. And also we have to make sure that we don't repeat old mistakes; this help is only short term. It doesn't address Africa's long-term fundamental needs and how to put Africa on the right track to development. What Africa needs to do is to grow, to grow out of debt.

I think I'll be a clown when I get grown,' said Dill. Jem and I stopped in our tracks. Yes sir, a clown,' he said. 'There ain't one thing in this world I can do about folks except laugh, so I'm gonna join the circus and laugh my head off.' You got it backwards, Dill,' said Jem. 'Clowns are sad, it's folks that laugh at them.' Well I'm gonna be a new kind of clown. I'm gonna stand in the middle of the ring and laugh at the folks.

Luckily Ryan Murphy has a great track record of really having his finger on the pulse of pop culture in a way that very few people do. And he is able to work things into stories in a ridiculously timely way - sometimes, before anybody else thinks it's going to be a thing, he is able to create these moments on television. I was thrilled to get to work with him, and I knew he would be able to tell that story with that same energy.

If you're having a bad day the main thing on the mental side is realizing that I'm having a bad day and thinking about why and then just kind of re-prioritizing and saying, "I'm going to let myself have this bad day, but tomorrow I'm going to get back on track." That's pretty much it. We all have them. You do have to let yourself have them and then go within and figure out why you're having it and prevent it from happening again.

Nothing very new. By taking good care of yourselves you are of service to me and my family as well as yourselves, no matter what you do, even if you don't think so at present. But if you neglect yourselves and are unwilling to live, as though following tracks, in accordance with what we now say and have said in the past too, then no matter how much or how seriously you agree with me at present you will accomplish next to nothing.

Underground comics were striking in that they seemed largely unedited - in a typical book, with stories by five to ten creators, some stories would be shockingly bad, and others would be startlingly brilliant. This was a lively and exciting combination. The artwork and stories, good and bad, were all so different - I'd stare at the pages and lose track of time. This was a world where anything could happen, and I wanted to go there.

Don't keep forever on the public road, going only where others have gone. Leave the beaten track occasionally and dive into the woods. You will be certain to find something you have never seen before. Of course it will be a little thing, but do not ignore it. One discovery will lead to another, and before you know it, you will have something worth thinking about to occupy your mind, and really big discoveries are the result of thought.

Most of our competitor nations around the world have a national education system and America is the only major nation in the world that operates off of local school boards. They receive very little direction from state boards of education or from the nation. So local school boards direct basically what happens and too often they're not willing to track or to do the supervision of the education system that will make it world competitive.

Anti-Semitism is dangerous for the toilers, for it is a false track which diverts them from the proper road and leads them into the jungle. Hence, Communists, as consistent internationalists, cannot but be irreconcilable and bitter enemies of anti-Semitism. In the U.S.S.R., anti-Semitism is strictly prosecuted as a phenomenon hostile to the Soviet system. According to the laws of the U.S.S.R. active anti-Semites are punished with death.

A person filled with gumption doesn’t sit about stewing about things. He’s at the front of the train of his own awareness, watching to see what’s up the track and meeting it when it comes. That’s gumption. If you’re going to repair a motorcycle, an adequate supply of gumption is the first and most important tool. If you haven’t got that you might as well gather up all the other tools and put them away, because they won’t do you any good.

In an election like this one [in 2016], not only are voters dissatisfied, but where the foundations of our economy, our democracy, our ecosystem, and international war and peace are really crumbling and are really at grave risk for failing in many ways, we need desperately to have an honest public conversation about both the track record of where we've been, what are the critical problems we are facing and what it will take to solve them.

To be honest, I'm usually totally stuck in my own bubble when it comes to the music I produce and the music I listen to, so I don't often have much of an interest about what's on trend or find myself having those conversations. I do find it interesting though, and you definitely hear batches of releases that all sound exactly the same released around the same time, and you can tell that a certain distinct type of track does especially well.

For the nerd in me, I prefer full quality digital files as they give a truer representation of the source mix, the studio in fact. From these files I can quite often tell what kind of set up made the tracks. For the music lover in me, vinyl is more woosey, richer, more alive, more real, more imperfect and somehow becoming more like life itself. But I don't prefer it per se. The mastering engineer in me always loves to hear it as it was made.

I think you can maintain two tracks. I think you have to. That's what this kind of filmmaking is about. If you're not aware of the limitations of what you're up against... it's like a general: you have to know your artillery and you have to know your infantry. You have to know what you have. You have to marshal your forces and use them well. It comes down to the personal and the intimate, but at the same time you have to have the big picture.

But that's the beauty of life: time is yours to keep and to change. Just a few minutes can be sufficient to carve a new road, a new track. Just a few minutes, and the void is kept at bay. You will live forever with that new road inside of you, stretching away to a place suggested, barely, on the horizon. For the shortest time, shorter than the shortest second's breath, you get to stand up to infinity. But eventually, and always, infinity wins.

The first track is the end of a string. At the far end, a being is moving; a mystery, dropping a hint about itself every so many feet, telling you more about itself until you can almost see it, even before you come to it. The mystery reveals itself slowly, track by track, giving its genealogy early to coax you in. Further on, it will tell you the intimate details of its life and work, until you know the maker of the track like a lifelong friend.

The Fitchburg Railroad touches the pond about a hundred rods south of where I dwell. I usually go to the village along its causeway, and am, as it were, related to society by this link. The men on the freight trains, who go over the whole length of the road, bow to me as to an old acquaintance, they pass me so often, and apparently they take me for an employee; and so I am. I too would fain be a track-repairer somewhere in the orbit of the earth.

Vinyl is so outdated nowadays. I can make a track in my hotel room today, and play it for the crowd tomorrow. That never happens with vinyl. I played a lot of acetates at the end of my vinyl period - I used to make tracks and get them pressed in four or five days - but the quality was always so bad and they would skip all the time. The vinyl days for me are over. I still buy vinyl, but only albums, and just to play. For DJing, vinyl is a nightmare.

The Internet, you know, 10 or 15 years ago sort of felt like the wild West. You could go out there and do anything and search for things, and, you know, find out about stuff. Now always in the back of my mind, you know, whether it's email or whatever else, it's like, well, is this going to show up somewhere? Is someone going to keep track of this and, you know, know I was searching for - maybe it's an embarrassing disease, maybe it's a weird hobby?

It's amazing. It's actually build from old Siemens Telefunken transistors from the 60ties. There is like 10 in there. It's the most powerful distortion you can have. It does not only do distortion, it does so many weird things. You can't control it, it's sound different all the time. But it's an endless source for fantastic sounds. For example the track "Transit" is entirely made with this box. You have to put the guitar sound in. It's like a pedal.

Fear is a normal human emotion. It is not in itself a killer. We can learn to be aware when fear grips us, and can train to operate through and in spite of our fear. If, on the other hand, we don't understand that fear is normal and has to be controlled and overcome, it will paralyze us and stop us in our tracks. We will no longer think clearly or analyze rationally. We prepare for it and control it; we never let it control us. It if does, we cannot lead.

The biggest reason was that when I started deejaying, I'd said that the other DJs in Japan were like salaried employees who I really didn't want to emulate because they didn't even know the titles of the songs they were playing - just that they were playing a hot track or whatever - which I didn't appreciate at all. I realized that I had become just like the kind of DJ that I used to hate, with no knowledge, so I decided that I needed to be honest with myself and quit.

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