A Quote by Karen Marie Moning

I don't make sonic booms. I want a whip. I like the idea of walking around making sonic booms everywhere. — © Karen Marie Moning
I don't make sonic booms. I want a whip. I like the idea of walking around making sonic booms everywhere.
Is life less thrilling if your neighbors are rational, if they don’t bomb your power stations whenever they feel you need to be admonished? Is it less rousing if they don’t rattle your windows and nerves with indiscriminate sonic booms just because they can?
An army of experts assured us on a daily basis that this boom couldn't possibly crash like previous booms because this boom was still going on whereas all previous booms had ended.
Most movies, you have to try and forget you're making a movie, because there are trailers and booms and lights and marks, and it's everywhere.
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.
As far as we're concerned, we're always Sonic Youth, and we're always making a Sonic Youth record. We just see it so much more as a continuum than a periodic thing. We're just in the studio making the next record, and we don't relate it to anything other than what's going on at the moment.
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.
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.
Sonic Youth was a collective. There's something fantastic about the idea of making music is a social activity.
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.
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.
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.
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.
Each member does whatever they want with the song and it totally changes it from whatever idea I hear around it. It turns it into a Sonic Youth song and completely away from it being a solo song.
I've always been an acoustic guitar player, and I've pretty much continued to play acoustic guitar throughout all of the Sonic Youth periods. My material for Sonic Youth often started on acoustic guitar.
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