A Quote by Alan Parsons
Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!
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Tape machines are effects boxes as well because each tape machine has its own sound. You can over-load a tape machine or you can bump it a certain way so it compresses or makes a sound, tape saturation.
We get real picky about frequencies. Put it on a tape, start on tape, and it's kind of locked to how it sounds. Which would have been a very interesting thing to have done, but we were very aware that we wanted a bizarre kind of production value on the record.
If you were to come in to my house, I have archived every fan letter I've ever been given, boxes and boxes and boxes and boxes of them.
Black art is not some kind of a magic wand: there still has to be a humble heart attached that's listening to it. And I know it's not a wand because plenty of fans love to turn on us as soon as they realize we are actual black people, with black concerns in our black lives.
People simply don't have room, physical room, to keep, for instance, 2-inch tape in the sort of quantities that are required to hold a full archive. It's not just a matter of having three or four boxes, it's 40, 90 boxes of 2-inch tape, and very few people have the resources that sort of stuff properly.
(memory is) A strange echo, which stores its replicas according to some other acoustic than consciousness or expectation.
History is a continuum, it's not these separate moments. That's how we look at it. In the 1700s in Virginia before there were police officers - there were these groups of men who would wander the countryside - and if they saw a black man or a black woman they would presume that that black man or woman was a slave. If you didn't have the kind of pass that you were supposed to have, then you could be whipped, you could be enslaved, you could be taken into custody - even if you were free. And as I'm reading this I find myself thinking, "How is this any different from stop-and-frisk?"
There was a guy named Ed Mishell. He was this grandfatherly guy who did all the illustrations for the catalogs and reviewed magic effects for the magic magazines, so all of the magic dealers would send him magic effects for free-it was a great deal. His basement was full of this stuff. He took me under his wing, and he would sneak me into the Society of American Magicians meetings in New York. It's the world's oldest magic organization.
If they were real, then maybe the world was big enough to have magic in it. And if there was magic — even bad magic, and Zach knew it was more likely that there was bad magic than any good kind — then maybe not everyone had to have a story like his father's, a story like the kind all the adults he knew told, one about giving up and growing bitter.
The unicorns were the most recognizable magic the fairies possessed, and they sent them to those worlds where belief in the magic was in danger of falling altogether. After all there has to be some belief in magic- however small- for any world to survive.
In the early 1970s. 1971, '72. The rooms were closing down, record labels weren't signing acoustic acts any more. Although they had been pretty much been getting out of that for some time before that.
Another thing to do with the blues is how they were recorded. They were done on the quick, and some of that stuff was made on wire, not even tape, let alone digital.
Wallace and Gromit's contraptions are created purely for gags, but we all have the urge to invent - especially children. If they're bored, kids will make something from cardboard boxes, yoghurt pots, tape and elastic bands. Often, those constructions are the best.
Black Girl Magic is a radiant revolution against misogynoir - misogyny directed towards Black women and internalized hatred. Black women are subject to so many societal messages that tell them they are not beautiful, smart, or capable. Black Girl Magic is the conscious unraveling of those toxic concepts through self-love and acceptance. It preaches that despite the pressures I face, I glow more than ever before.
When we were growing up and saw a Ray Harryhausen movie, we were interested in how it was done. But thank God we got to go through the magic of seeing it before we knew how it was done. You were able to get this beautiful, pure, visceral response to something without knowing too much about it.
A Murphy [Eddie Murphy] movie is like a Sidney Poitier comedy - he's that intensely good... He revolutionized acting. He's literally black Brando. Before Eddie Murphy, there were two schools of acting for a black actor: Either you played it LIKE THIS or youplayeditlahkdis. He was the first black guy in a movie to talk like I am talking right now. That did not exist for black actors before him.
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