A Quote by Jean-Michel Jarre

Early music in all kinds of movements is always a mixture of innocence and ambition. — © Jean-Michel Jarre
Early music in all kinds of movements is always a mixture of innocence and ambition.
The characteristic of 'Oxygene' is a mixture of innocence and ambition, of trying to do something different in a different way.
The snapshot has no pretense or ambition. Innocence is the quintessence of the snapshot. I wish to distinguish between innocence and ignorance. Innocence is one of the highest forms of being and ignorance is one of the lowest.
I can sing very comfortably from my vantage point because a lot of the music was about a loss of innocence, there's innocence contained in you but there's also innocence in the process of being lost.
It started so early, it all runs together. But what made a huge impact on me was when I went to Europe at 15 or 16 years old. All I knew before that was music on the radio and TV. When I went over there I realized there are all different levels of music. There are people who do blues, jazz, classical, working in film, TV and all kinds of places. You might not see them on MTV but there are lots of needs and uses and opportunities for all kinds of music.
I think that Rodney Stark studies of new religious movements in the modern world give us some insights into the kinds of questions that we can ask about early Christianity.
Musically, I have little ambition. The only real ambition I have is to make music and do music whenever I feel like it, without any real ambition or planning.
My earliest memories of music are probably my dad listening to a bunch of outlaw country, but also old R&B and Ray Charles, Aretha Franklin. But, you know, I had rock phases and liked more modern R&B acts. I've always listened to all kinds of music, and I like all kinds of music.
Who among us has not, in moments of ambition, dreamt of the miracle of a form of poetic prose, musical but without rhythm and rhyme, both supple and staccato enough to adapt itself to the lyrical movements of our souls, the undulating movements of our reveries, and the convulsive movements of our consciences? This obsessive ideal springs above all from frequent contact with enormous cities, from the junction of their innumerable connections.
I have always been pretty flexible. I could always jump and do all kinds of dangerous movements. In opera, I like to do it because it's fun, as long as it fits the role.
I'm a real big electronic music nut; when I was young I listened to musique concrète, German music from Cologne in the early 50s, all kinds of stuff.
There are no moments more painful for a parent than those in which you contemplate your child's perfect innocence of some imminent pain, misfortune, or sorrow. That innocence (like every kind of innocence children have) is rooted in their trust of you, one that you will shortly be obliged to betray; whether it is fair or not, whether you can help it or not, you are always the ultimate guarantor or destroyer of that innocence.
The innocence of those who grind the faces of the poor, but refrain from pinching the bottoms of their neighbour's wives! The innocence of Ford, the innocence of Rockefeller! The nineteenth century was the Age of Innocence--that sort of innocence. With the result that we're now almost ready to say that a man is seldom more innocently employed than when making love.
My father was always playing the piano. He played all kinds of music - Gershwin, all kinds of stuff.
American music is always best when it comes from a mixture of things.
My father was always playing the piano. He played all kinds of music - Gershwin, all kinds of stuff. He was really a hugely encouraging force to me when I was little.
Humans aren't built to sit all day. Nor are we built for the kinds of repetitive, small movements that so much of today's specialized work demands. Our bodies crave big, varied movements that originate at the core of our body.
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