A Quote by Billy West

It's very hard to take a character out of nothing, and put a hook on it, especially because it's only sonic. Futurama is a sonic world, and everyone's attention is focused on that sound and that little cartoon image. You can change it.
Every kid has a laptop; everyone can make music, so in order to stand out, I think it's important to find that sonic identity, I think my sonic identity - and mine is finding these weird sounds that may not necessarily sound that musical, and make them sound musical.
The collision of hail or rain with hard surfaces, or the song of cicadas in a summer field. These sonic events are made out of thousands of isolated sounds; this multitude of sounds, seen as totality, is a new sonic event.
I wrote my sonic meditations and started using them with students. I took a bunch of UCSD students out to Joshua Tree and we did the sonic meditations on the boulders.
When I was really little, we used to play Sega Genesis, and my older brother would play 'Sonic The Hedgehog 2,' and he'd be playing as Sonic, but he'd leave an unplugged controller for me to play with, and the whole time I thought I was playing as Tails.
We are fascinated by the club and the dancefloor; we are also fascinated by very nuanced sonic experiences, and somehow we are convinced that we can bring together these two contradictory forces and create some kind of sonic supernova. This would be the candle that has always been at the center of our project.
I don't make sonic booms. I want a whip. I like the idea of walking around making sonic booms everywhere.
One of the key guitars in my career has been an early-Seventies Fender Telecaster Deluxe that I had before Sonic Youth started and that I played pretty much throughout Sonic Youth.
It's about the stories. If I write 14 stories that I love, then the next step is to get the environment of music around it to best envelop the story, and all kinds of sonic goodness - sonic goodies.
We allow the sonic qualities themselves to develop their own momentum. It's a kind of humbling experience to put the sound first instead of the statement.
Sonic Youth has a very democratic process for the most part. It almost doesn't matter who brings in an initial idea; everything gets worked over by the band and kind of co-written by everyone in the end because everyone's ideas get contributed to it.
I always have looked at "indie" as a term of "independence." Never associated a sonic gesture with that in the same way that pop music has always meant "popular" to me it didn't define a sound. And I think now that has been the context for things. If something is indie, it almost has this sonic association with it, or pop has become this term of shame almost, like, bubblegum sweet pop.
Sonic Youth was not a singer-songwriter band. It was an electric collective. And, whatever else people's perceptions of Sonic Youth were, it was always about putting together a time-based composition - and that is exactly what songwriting is, in its classic form.
With animated film, you have to create the sonic world; there's nothing there. You get to color things in more and you're allowed to overreach yourself a little bit more, and it's great fun.
I don't know what the vintage Sonic Youth sound is.
To me, the grotesque is like a sonic manifestation of reality. I don't know how you could look out onto our world and see only beauty. And I like beautiful things. I like the aesthetically harmonious. But I am much more attracted to something that is off-kilter. It is a truer reflection of not only nature, but the human spirit - the state of the world. I just think everything feels a little off.
During the whole time in Sonic Youth, I was happy to put my energy into that. It would have been very difficult to do a solo project.
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