A Quote by Marilyn Hacker
What I like about Sapphics is the music of a non-iambic metric in English.
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The normal metric of measuring progress has actually been the rate of growth, OK? It's not a wrong metric, but it's not a full metric.
I felt like, I need to do English music; I speak better English than I do Korean. I think the fans enjoy it as well, so let's start making music in English.
People say my music is English. I don't know what it is. Maybe it's not me writing English music, but that English music is becoming more like me.
The iambic pentameter owes its pre-eminence in English poetry to its genius for variation. Good blank verse does not sound like a series of identically measured lines. It sounds like a series of subtle variations on the same theme.
I think the metric by which television is considered liberal is literally based on the metric of liberalism in each person's soul. Peoples' senses of humor tend to go about as far as their ideology.
The iambic line, with its characteristic forward movement from short to long, or light to heavy, or unstressed to stressed, is the quintessential measure of English verse.
A lot of the demos I write are all in English, so releasing music in English isn't translating to English, it's just keeping them in English.
We are all human, and we are all able to listen to music that we cannot understand. I used to listen to English music like Notorious B.I.G., and I didn't know what he's talking about in all of his tracks, but I'm a fan. It's rhythm and a groove that makes me dance, so I'm convinced that my music can work in the U.S.
English is like music. The English language is really fit for singing. The notes match the feelings, and it makes sense.
You could imagine a language exactly like English except it doesn't have connectives like 'and' that allow you to make longer expressions. An infant learning truncated English would have no idea about this: They would just pick it up as they would standard English.
When I was a young teenager, it was all about The Clash for me and that sort of English punk stuff. Then the Clash led me to all these other kinds of music: classic rock, Stevie Wonder, world music, and Brazilian music. I got serious about jazz when I was probably about 14 or 15.
Think about Elizabethan English, where the entire English language behaved pretty much like molten lava, like a volcano in mid-eruption. Modern Hebrew has some things in common with Elizabethan English. It is being reshaped and it's expanding very rapidly in various directions.
I learned to stop being English about things like love. If you make a film in England about love, it's hugely complicated. It's all about saying what the weather is like, and you're secretly telling someone you love them. You know what the English are like; they're very repressed people. You don't get that in India. India is incredibly un-cynical about love. It's a not a complicated thing. It's me, you, love. Let's go.
I'd like to pursue music back home because I still tend to express myself better through my mother language - English - and it's something I've been dreaming about and would like to achieve.
When I work in English, I'd say I don't see a big difference in my rapport with my team or the actors. When I work in English or French, the music of the language is different, but beyond that music, in the depths, it's the same.
The people have no ear, either for rhythm or music, and their unnatural passion for pianoforte playing and singing is thus all the more repulsive. There is nothing on earth more terrible than English music, except English painting.
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