The subject matter covered in Carmina stays pretty basic: love, lust, the pleasures of drinking and the heightened moods evoked by springtime. These primitive and persistently relevant themes are nicely camouflaged by the Latin and old German texts, so the listener can actually feign ignorance while listening to virtually X-rated lyrics. (Veni Veni Venias! Come, come come now!)The music itself toggles between huge forces and a single voice, juxtaposing majesty and intimacy with ease.
Veni vidi veni iterum! (I came, I saw, I came again!)
Today too, as at her origins, the Church... cries out:“Veni, Sancte Spiritus! Come Holy Spirit, fill the hearts of your faithful, and kindle in them the fire of your love!” Amen.
Is it different to come out now than it was to come out thirty-five years ago? Sometimes. But if you come out now and you come from poverty and you come from racism, you come from the terror of communities that are immigrant communities or communities where you're already a moving target because of who you are, this is not a place where it's any easier to be LGBT even if there's a community center in every single borough.
I start with the subject matter I want to write about. Then I make a musical base for that and create an atmosphere with the music. Once I've done that, the lyrics come last.
Come, come, whoever you are. Wanderer, worshiper, lover of leaving. It doesn't matter. Ours is not a caravan of despair. Come, even if you have broken your vows a thousand times. Come, yet again, come, come.
I thought of the structure as musical. The first piece, for instance, contains the names/subject matter of every person to come in the book. Like a piece of music with themes, etc.
You can't love someone just by looking at them. That is lust. Not saying love can't come fast, but it doesn't come first.
Music should come crashing out of your speakers and grab you, and the lyrics should challenge whatever preconceived notions that listener has.
In most of my films I write the music into the script. I'm listening to songs and lyrics that empower the themes of the film. There's a lot of Indigenous music that has not been heard widely and I love the idea of giving that music to the rest of the world.
I come back to Vegas pretty regularly. Quick visits, and I usually just kind of lay low, see my mom, and then get out of there. But every now and then, I'm able to kind of come for extended stays and see some people.
Veni, vidi, visa - I came, I saw, I charged it.
I don't have a set working style. Some lyrics come really slow, others come in 10 minutes while I'm watching basketball. They're always a surprise to me.
Wisdom will never let us stand with any man on an unfriendly footing. We refuse sympathy and intimacy with people, as if we waited for some better sympathy or intimacy to come. But whence and when: Tomorrow will be like today. Life wastes itself while we are preparing to live.
Carl Orff's Carmina Burana has the ability to take you from placidity to power in one sonic breath. It is music of dignity and strength, with primitive, energetic passages, evoking absolute beauty from the simplest of phrases. It brings up something that has everything to do with significance - squeezing joy and motif that you just can't drop - it stays with you.
Look, I come from vaudeville, I come from burlesque, I come from heartaches, I come from sadness, I come from gladness, I come from work and sweat and respect for the craft.
Between every record, we all split off in our own world and we all end up listening to usually pretty different music on our own. We come together not really knowing what the other people having been really listening to and what's been influencing them.