Quotes of All Topics . Occasions . Authors
My music represents walking on train tracks in the middle of the woods, somewhere in the middle of nowhere. You walk down the tracks and you're walking every two tracks, and you've got your headphones on, and on both sides you've got forest, and in your rear is this long line of train tracks that's weaving through the woods. It's a very cool place, to walk along the train tracks because of the rhythm of walking every few feet through the woods. It's a good place to go dream.
Love makes the world go 'round, it's true, but lust stops the world in its tracks; love renders bearable the passage of time, lust causes time to stand still, lust kills time, which is not to say that it wastes it or whiles it aimlessly away but rather that it annihilates it, cancels it, extirpates it from continuum; preventing, while lasts, any lapse into the tense and shabby woes of temporal society, lust is the thousand-pound odometer needle on the dashboard of the absolute.
My story is important not because it is mine, God knows, but because if I tell it anything like right, the chances are you will recognize that in many ways it is also yours… it is precisely through these stories in all their particularity, as I have long believed and often said, that God makes himself known to each of us more powerfully and personally. If this is true, it means that to lose track of our stories is to be profoundly impoverished not only humanly but also spiritually.
If you go to Italy and you drive from the airport to the town, there isn't 30 square feet that isn't planted by someone. Even next to the train tracks, they see the joy of the interaction with the planet as integral to the experience. The idea that you can get free arugula just by planting seeds... because it will regrow itself the next year. We've come a long way from foraging to now planting. The next step of that will be continuing that expansion of planting and really owning the crops.
I think computers have changed things tremendously. At one time, you tended to take the rough with the smooth. But now, because you can go back and stop and start, and have a limitless amount of tracks if anything looks remotely good, we keep it. You've got to go through the agony of sounding very human at first, and then you work on it with the aid of technology. Computers have revolutionized things in many ways allowing me to work to a standard I could have only joked about fourty years ago.
My first album was more about me making a statement, as I felt like I was kind of stuck in the smaller scene of underground House and Techno when the music I produce actually spanned a much wider range of genres, including the more Pop/Trip Hop stuff and more song-based compositions. Comfort was to kind of show that I wasn't just about one thing. Working on Take Flight was my chance to step back and merge the many worlds of music I enjoy working in and showcase it all through a journey of 24 tracks.
I had invented my own system, my own way of making electronic music at the San Francisco Tape Music Centre, and I was using what is now referred to as a classical electronic music studio, consisting of tube oscillators and patch bays. There were no mixers or synthesizers. So I managed to figure out how to make the oscillators sing. I used a tape delay system using two tape recorders and stringing the tape between the two tape machines and being able to configure the tracks coming back in different ways.
Personally, I’ve gotten so that I now use a kind of two-track analysis. First, what are the factors that really govern the interests involved, rationally considered? And second, what are the subconscious influences where the brain at a subconscious level is automatically conclusions in various ways — which, by and large, are useful — but which often malfunction? One approach is rationality… And the other is to evaluate the psychological factors that cause subconscious conclusions — many of which are wrong.
There's a different physiology happening between the sound waves and the body that doesn't happen with music playing off the computer. About five years ago, I got a turntable that hooks up to your computer, and I put the vinyl in there and I listened to it back-to-back with a CD, and it didn't even compare. But people don't have time to go track down vinyl, lower it in, all that. And they probably don't care. It's hard to make music knowing that it's not going to be received by the listener in the way that it should be.
Evolving life must experience a vast range of possibilities, based on environmental histories so unpredictable that no realized route - the pathway to consciousness in the form of Homo sapiens or Little Green Men, for example - can be construed as a highway to heaven, but must be viewed as a tortuous track rutted with uncountable obstacles and festooned with innumerable alternative branches. Any reasonably precise repetition of our earthly route on another planet therefore becomes wildly improbable even in a trillion cases.
I wish I could go out farther from my musical history. I didn't realize how hard it was until I tried to do it. All the basic tracks on Romanian Names were done in my basement, alone, without any of the self-consciousness that comes with being in the studio. It was a completely different process. And those two things definitely made the record sound different. But you want this quantum leap from record to record, and maybe if I did make a quantum leap I'd make an unlistenable album. So maybe I'm lucky that I can't pull it off.
No. Absolutely not.” “Simon,” she said. “It’s a perfectly fine plan.” “The plan where you follow Jace and Sebastian off to some unknown dimensional pocket and we use these rings to communicate so those of us over here in the regular dimension of Earth can track you down? That plan?” “Yes.” “No,” he said. “No, it isn’t.” Clary sat back. “You don’t just get to say no.” “This plan involves me! I get to say no! No.” “Simon—” Simon patted the seat beside him as if someone were sitting there. “Let me introduce you to my good friend No.
Rather than seeking total control, relinquish it. You can't run the world, but you can entrust it to God. This is the message behind Paul's admonition to "rejoice in the Lord." Peace is within reach, not for lack of problems, but because of the presence of a sovereign Lord. Rather than rehearse the chaos of the world, rejoice in the Lord's sovereignty, as Paul did. Sovereignty gives the saint the inside track to peace. Others see the problems of the world and wring their hands. We see the problems of the world and bend our knees.
What's the biggest thing you've zapped with a fireball?' I asked. 'That would be a tiger,'said Nightingale. 'Well don't tell Greenpeace,' I said. 'They're an endagered species.' 'Not that sort of tiger,' said Nightingale. 'A Panzer-kampfwagen sechs Ausf E.' I stared at him. 'You knocked out a Tiger tank with a fireball?' 'Actually I knocked out two,' said Nightingale. 'I have to admit that the first one took three shots, one to disable the tracks, one through the driver's eye slot and one down the commander's hatch - brewed up rather nicely.
Working with the editor on the set means that it is possible to keep track, at every moment, of the exact temperature of the trajectory of the scene - and know precisely what is required to continue, or precede, the action already shot. Like building a giant jigsaw puzzle. This is a freeing procedure because one is divested of all the options that might otherwise hamper one's choices. Clarity is possible. And that means one can relax into each shot, knowing the clear boundaries of where it might end or begin. And with relaxation, comes play.
In any big spectacular, it's really difficult to have enough voices to cover all the vocal parts. To give the audience the complete experience they're expecting, there is some reinforcement, some playback that everybody's hearing. Sometimes it's background vocals, but sometimes it will be actually vocal tracks. It's so hard to ensure, with no safety net ... you're not gonna get another shot at it, you have to have stability. I think it's very naïve of a lot of people to think that when you see someone open their mouth, they're really singing.
The government can now delve into personal and private records of individuals even if they cannot be directly connected to a terrorist or foreign government. Bank records, e-mails, library records, even the track of discount cards at grocery stores can be obtained on individuals without establishing any connection to a terrorist before a judge. According to the Los Angeles Times, Al Qaeda uses sophisticated encryption devices freely available on the Internet that cannot be cracked. So the terrorists are safe from cyber-snooping, but we're not.
So I think the Guru can be a delusion. But everything can be deluding. The thing central about the Guru in the West is that he represents an alien principle of the spirit, namely, that you don't follow your own path; you follow a given path. And that's totaly contrary to the Western Spirit! Our spirituality is of the individual quest, individual realization- authenticity in your life out of your own center. So you must take the message of the East, assimilate it to your own dimension and to your own thrust of life, and not get pulled off track.
Basically, there were three aspects of dub that influenced dubstep. The most important was playing the instrumental versions of vocal garage tracks, which was a little like what dub was to reggae - the instrumental of a full vocal.The second was dub as a methodology, which, for me, is apparent in all dance music: manipulating sound to create impossible sonic spaces using reverb, echo and such. The third is the influence of the genre called dub. (It became a cliché actually, through sampling old Jamaican films and soundtracks, and adding vocal samples.)
We were doing something called telemedicine, where we were using the ultrasound. One interesting application of this ultrasound is the possibility that you could possibly use it to measure critical bone areas during a long space mission and track if you're losing bone in these areas. On Earth, when they check you for bone loss, you get in this big machine. It's the size of a room and it's got a platform with an x-ray that scans your whole body and in critical areas and it takes a while and it just wouldn't be practical to have a machine like that in space.
When it comes to certain kind of rhythm things, particularly like shaker or tambourine tracks. I like the way I can really lock up with my own Hi Hat or Ride Cymbal beat. So a lot of times in recording I'll be asked -- or even volunteer -- to put a shaker or tambourine track on. Just to give it something extra. And it always works great. I hate it when I'm in the studio and I don't have any shakers or tambourines with me. I've been on a few dates when we didn't have anything and tried to improvise shakers out of some uncooked rice in soda cans. It sounded horrible.
Most people tell themselves these excuses - I've always been this way, this is my nature, I can't help it - that are just memes. They're belief systems that keep you from being able to become all that you are intended to become. They're impediments to reaching God-realization, or Tao-centeredness. People lose track of their purpose, because they are so back there - living in their past. Byron Katie speaks about this: Who would you be without your story? Carlos Castaneda used to say if you don't have a story, you don't have to live up to it. So get rid of your story.
There is one sure way to identify your greatest potential for strength: Step back and watch yourself for a while. Try an activity and see how quickly you pick it up, how quickly you skip steps in the learning and add twists and kinks you haven't been taught yet. See whether you become absorbed in the activity to such an extent that you lose track of time. If none of these has happened after a couple of months, try another activity and watch-and another. Over time your dominant talents will reveal themselves, and you can start to refine them into a powerful strength.
Writing a story starts out as a puzzle in your mind, of "What is it I'm fantasizing about right now that makes me think this is going to be worth years of work?" And you just keep pushing and trying to figure it out, and once you've hit on these resonances... Then as a screenwriter, it can be dangerous if you get too hooked on just finding things that resonate with each other, because then you risk getting into stuff that's too neat, and becomes stifled as storytelling. But you do feel like you're on the right track when you start to have a sense of what goes with what.
The positive thing about collaborating is that I cannot get distracted by coding work, because I cannot waste the other collaborator's time in the same way as I can my own. And it's always good to learn how the other person works, learn about techniques, learn social things like: how do you communicate with another person? The music I make with other people I'm much more confident about, I'm a little bit less judgemental of the outcome than with my own stuff because I know it's not only me, it's a more outside of me. Sometimes I even like them better than my own tracks.
If we were a culture of high-risk alcoholics, and suddenly we had Jack Daniels piped into our houses, we would be feeding that fire. Social networking, and the internet as a whole, seems to have simply landed in an extremely fertile place in an extremely fertile time in history, when we all have these narcissistic tendencies anyway - you can go further back into the self-esteem movement, and Dr. Spock, and the 'everybody gets a ribbon at the track meet' sort of thing, which preceded the internet - and then you drop the internet into the middle of this, and we've all gone haywire.
You might tell me that you have been engaging in some deep questioning and theological rethinking.1 You can no longer live with the faith you inherited from your parents or constructed earlier in your life. As you sort through your dogma and doctrine, you’ve found yourself praying less, less thrilled about worship, scripture, or church attendance. You’ve been so focused on sorting and purging your theological theories that you’ve lost track of the spiritual practices that sustain an actual relationship with God. You may even wonder if such a thing is possible for someone like you.
A winner, a champion, will accept his fate. He will continue with his wheels in the dirt. He will do his best to maintain his line and gradually get himself back on the track when it is safe to do so. Yes, he loses a few places in the race. Yes, he is at a disadvantage. But he i A winner, a champion, will accept his fate. He will continue with his wheels in the dirt. He will do his best to maintain his line and gradually get himself back on the track when it is safe to do so. Yes, he loses a few places in the race. Yes, he is at a disadvantage. But he is still racing. He is still alive
In one horrible moment the last piece of the prophecy became clear. So bid him take care, bid him look where he leaps, As life may be death and death life again reaps. He had to leap, and by his death, the others would live. That was it. That was what Sandwich had been trying to say all along, and by now he believed in Sandwich. He put on a final burst of speed, just like the coach taught him in track. He gave everything he had. In the last few steps before the canyon he felt a sharp pain in the back of his leg, and then the ground gave way under his feet. Gregor the Overlander leaped.
