A Quote by Chris Cornell
When I was eight, my piano teacher played seven or eight notes, and I sang them. She stopped and looked at me in shock! That was the first time I'd gotten that reaction. I'd had looks of horror, but never shock in a positive way.
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I went through eight years of classical piano lessons without being able to read notes. I only have to hear a melody to be able to play it. It used to freak my piano teacher out when he finally noticed that notes don't make any sense to me and that I played by ear.
Anything that you can shock somebody with. The only way to change something is to shock it. If you want your muscles to grow, you have to shock them. If you want society to change, you have to shock them.
When Mahavishnu came out in '71, the unbelievable reaction to the band was a real shock to me. It was a shock to everybody.
I played the piano as a boy for six years, from the time I was six to 12 years old. My piano lessons ended when my father died because our family had no more money. I used to have a mestiza teacher. She'd come once a week to teach me piano lessons, and she'd bribe me each time with an apple; otherwise, I wouldn't play.
When I was eight, my mum found me humming to myself and scribbling on a scrap of paper. When she asked me what I was doing, I got shy. I was writing a Christmas song, and I had never shared my music with anyone before. Reluctantly, I sang it for her... and she loved it. Of course she did - she's my mum.
I've had this song in a drawer for a long time, maybe seven or eight years. Every time I'd do an album, I'd take it out and listen to it, and always liked what it had to say. Plus when Garth came in and sang on it, that made it really special.
At seven, I played centre-back. When you're so young, though, it's more to enjoy the training and to get a feel for the game. It's not heavy on tactics of a position. We were playing on a half pitch, seven against seven or eight against eight, so they say you're a centre-back, but it's not like the real definition.
In order to produce learned fear, you take a neutral stimulus like a tone, and you pair it with an electrical shock. Tone, shock. Tone, shock. So the animal learns that the tone is bad news. But you can also do the opposite - shock it at other times, but never when the tone comes on.
Sam Fuller and 'Shock Corridor' can only be conjured as a mantra. 'Shock Corridor' is a classic work of art - it's unique. It comes from the unique experience of being Sam Fuller and yes, there's always that element of 'Shock Corridor' hovering around the picture, but never specifically. In fact, I didn't even screen it because it's in us. It's in me anyway. It's in me. It was a way of conjuring up support just by saying the name, 'Shock Corridor,' as I was going to shoot. Poor Sam [Fuller]...
The only way to change something is to shock it. If you want your muscles to grow, you have to shock them. If you want society to change, you have to shock them.
The first thing I learned was the 'St Louis Blues' when I was eight. Both my grandmothers, my mother and uncle played the piano. This was post-war Britain, and they played boogie woogie and blues, which was the underground music of the time.
In different hours, a man represents each of several of his ancestors, as if there were seven or eight of us rolled up in each man's skin, - seven or eight ancestors at least, and they constitute the variety of notes for that new piece of music which his life is.
My mother was the only musician. She played piano and she sang. She also played saxophone. And she played at home a lot.
I played a bee! It was a Polish fairy tale we performed at school when I was seven or eight. I had wings fixed to me.
When my dad died, I was eight. Becky was seven. My mum had cancer, the first of two bouts that she's fought and beaten.
In the late '60s, I was seven, eight, nine years old, and what was going on in the news at that time that really excited a seven, eight, nine year old boy was the Space Race.
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