A Quote by Montserrat Caballe
You are born with a sound; everyone is, less or more. And this sound has to be developed. I am not talking about vocal technique; I am not talking about how to sing. I am talking about how to produce a sound.
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When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic - here on Sixth Avenue, for instance - I don’t have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound... I don’t need sound to talk to me.
That's what I was trying to say when we were talking about sound. I think that every person, whether they play music or don't play music, has a sound - their own sound, that thing that you're talking about.
This may sound a little West Texan to you, but I like it. When I'm talking about.. when I'm talking about myself, and when he's talking about myself, all of us are talking about me.
I am not talking about you being a spectator, I am talking about involvement. I am talking about involving yourself into life in such a way that you dissolve into it.
People often ask me how I developed my vocal sound, and the answer usually disappoints them: 'It's just the way I sound when I sing.'
People often ask me how I developed my vocal sound, and the answer usually disappoints them: Its just the way I sound when I sing.
I am disappointed because nobody is talking about food and agriculture. They're talking about the diets of children, but they're talking about Band-Aids. We're not seeing a vision.
I don't think so much about verbal comedy. I always think about visual comedy. I was raised watching silents, and I'm always thinking about how to make cinema, not good talking - although I want good talking. I'm much more interested in framing, composition, and orchestration of bodies in space, and so forth. My goal is always what Chuck Jones wanted his Warner Brothers cartoons to be, which was if you turn down the sound, you could still tell what's going on. I think if you watch most of my films with the sound off, you could still tell what's going on.
Street politics is what happens in our everyday life, living in the bando. It's the environment around us and what we doing in the streets. We [Migos] talking about how many snakes there are in the grass and talking about how people can hurt you, and talking about how that can help you gain knowledge.
In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.
Whatever the press is talking about, they want to keep talking about it. So instead of asking yourself, 'How can I get them to start talking about me?', figure out a way to get yourself involved in what they're already talking about.
You cannot reform your society or institution without opening your mind. So the core issue is how to open the mind, the whole society, and this means everybody in society including everyone. I am not talking about the state or average or common people. I am talking about everybody; because when you close your mind as an official you cannot upgrade and vice versa.
I always think about visual comedy. I was raised watching silents, and I'm always thinking about how to make cinema, not good talking - although I want good talking. I'm much more interested in framing, composition, and orchestration of bodies in space, and so forth. My goal is always what Chuck Jones wanted his Warner Brothers cartoons to be, which was if you turn down the sound, you could still tell what's going on.
I am talking and really talking on this very entrenched power structure, and what we're doing is we're talking about the power structure, we're talking about its entrenchment. As a result, the media is going through what they have to go through to.
Chronicle Books is a wonderful book company. I love how everything represents who I am. The Diva Rules! is not an autobiography in the sense that I am talking about my life but more about my journey as to where I am now. People told me I would never make it. I was staring in the face of adversity and did it anyway. I chronicle it through the years. It is about finding your strength.
I don't mean to be arrogant and I really appreciate my fans but talking about what I am doing is not something I'm good at. I do what I do and that's it. I want to get back to my work and do more of it instead of talking about it.
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