A Quote by Dorothy L. Sayers

It's very inconvenient being a sculptor. It's like playing the double-bass; one's so handicapped by one's baggage. — © Dorothy L. Sayers
It's very inconvenient being a sculptor. It's like playing the double-bass; one's so handicapped by one's baggage.
We had a band called the Grainers. In our 12-year-old minds, this was like a double entendre for like being annoying and being a delicious donut. I got kicked out of the band for playing bass incorrectly. Like, I was playing it like a guitar. I was just so like twee and British, even as like the little 12-year-old boy.
I was a bass guitarist first before I started playing double bass - and I only started playing it because my teacher said I'd get twice as much work, as there's not enough players out there.
I wouldn't want to hear Beethoven without beautiful bass, the cellos, the tuba. It's very important. Hip-hop has thunderous bass. And so does Beethoven. If you don't have the bass, it's like being amputated. It's like you have no legs.
We all come to the theater with baggage; The baggage of our daily lives, the baggage of our problems, the baggage of our tragedies, the baggage of being tired. It doesn't matter what age you are. But if our hearts get opened and released - well, that's what theater can do, and does sometimes, and everyone is thankful when that happens.
I don't look at my instrument as having one specific role; I was raised to go as far as you can. But Raphael Saadiq hated my bass. He told me to throw it away. And playing in Snoop's band, there was a time when my bass was more annoying to everyone than helpful. They would get on my case: 'Can you make your bass sound like more of a bass?'
I could be just as happy playing a Beatles song as I am when I'm thrashing out the double bass stuff with Adrenaline Mob.
I just think that playing bass, like punk rock bass with a pick, wasn't meant to be done for 25 years.
I hate playing the bass, bro. I've been playing the bass because it's there and I don't want anyone else to play it.
Later in high school, I met Hillel Slovak, who was the original guitar player of the Chili Peppers, and we became really close. We had a band, and we didn't like the bass player, so I started playing bass, and I got a bass two weeks later.
I think a double bass for me would be too much effort. But the cello, you're really engaged and the sound is kind of right here. So, it feels like being merged, married to an instrument.
In 1972, I got my first electric bass and started playing the kind of instrument I play now. I found that the majority of musicians couldn't bear that. They are not used to listening to the bass because they think the bass is in the background to support them.
A lot of other bass players have told me I'm the only bass player who plays with a pick but sounds like he's playing with the thumb and fingers, which is a great compliment.
When you listen to a symphony orchestra, and the basses don't - there's no bass part, there's not that much depth. That's why I'm attracted to the instrument, the bass. It brings depth. It's like playing in a rainforest.
There was a time when fast playing and fretboard pyrotechnics on the bass were important to me and when I am recording a bass track, that is still very important to me.
When I started playing the bass, I became kind of fascinated by it and started investigating various styles of bass playing, and I was really struck with funk music, mainly American funk music - Stanley Clarke, Funkadelic and that kind of stuff. That comes out in a couple of songs like 'Barbarism Begins at Home.'
At the time, I didn't know that bass would not be enough for me. I'm not a bass player because bass is always a background instrument even to this very day.
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