A Quote by Paul Zollo
Songwriting becomes a conscious attempt to delve into the unconscious. Even those writers who scoff at the concept of a spiritual source for their songs admit that the phenomenon of having them simply arrive feels magical.
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The best indicator of your level of consciousness is how you deal with life's challenges when they come. Through those challenges, an already unconscious person tends to become more deeply unconscious, and a conscious person more intensely conscious. You can use a challenge to awaken you, or you can allow it to pull you into even deeper sleep. The dream of ordinary unconsciousness then turns into a nightmare.
The Americans only like things they can label, even if it kills them. Think of those poor Latin American writers. Some of them are very good. But the "magical realism" label has absolutely ruined them. The critics are like tourists who return from a trip saying they've "done" Machu Picchu: "Okay, we've done magical realism," so now we can throw it out.
I didn't even know the industry of songwriting existed. I thought everybody sang songs and they were only singing the songs that they wrote. So after I found out about songwriting in college, I was like, "Okay, I want to do that."
I use [Heraclitus' discovery of] enantiodromia for the emergence of the unconscious opposite in the course of time. This characteristic phenomenon practically always occurs when an extreme, onesided tendency dominates conscious life; in time an equally powerful counterposition is built up, which first inhibits the conscious performance and subsequently breaks through the conscious control.
When the concept of human spirit is understood as the mode of consciousness in which the individual feels connected to the Cosmos as a whole, it becomes clear that ecological awareness is spiritual in its deepest sense.
Men believe themselves to be free, simply because they are conscious of their actions, and unconscious of the causes whereby those actions are determined.
Personally, the songs that I've written, when they arrive to the Café Tacvba group , they become something more. Some begin to take spiritual aspects, political aspects, aspects that I had not initially put into the song. I think that's something magical that happens in our creations.
For me, the good songs are the ones that come really naturally. There are certain songs that you rework and rewrite and the craft becomes very evident, but a lot of times those aren't my favorite songs. The favorite songs are the ones that I can't even hear my own voice in.
I'm always proud and pleased when people do my songs. It gives me pleasure that they even attempt them, because a lot of my songs aren't that doable.
When writers are self-conscious about themselves as writers they often keep a great distance from their characters, sounding as if they were writing encyclopedia entries instead of stories. Their hesitancy about physical and psychological intimacy can be a barrier to vital fiction. Conversely, a narration that makes readers hear the characters' heavy breathing and smell their emotional anguish diminishes distance. Readers feel so close to the characters that, for those magical moments, they become those characters.
No organism can afford to be conscious of matters with which it could deal at unconscious levels. Broadly, we can afford to sink those sorts of knowledge which continue to be true regardless of changes in the environment, but we must maintain in an accessible place all those controls of behavior which must be modified for every instance. The economics of the system, in fact, pushes organisms toward sinking into the unconscious those generalities of relationship which remain permanently true and toward keeping within the conscious the pragmatic of particular instances.
Spirituality is much wider than any particular religion, and in the larger ideas of it that are now coming on us even the greatest religion becomes no more than a broad sect or branch of the one universal religion, by which we shall understand in the future man's seeking for the eternal, the divine, the greater self, the source of unity and his attempt to arrive at some equation, some increasing approximation of the values of human life with the eternal and the divine values.
I'm not a wildly gifted person; I don't play an instrument or speak another language or have great accomplishments in another field, as many writers do. But writing feels natural to me; the act of it seems to free up my unconscious, so that sometimes I feel that I have access to more ideas and information than my conscious mind could think up.
There's a standard of songwriting that, when you start immersing yourself in those types of songs, it raises your own bar as a songwriter. There's also simplicity in the songwriting. It's much harder to be simple than it is to be complicated.
When students scoff at the idea of a magical relation between a picture and what it represents, ask them to take a photograph of their mother and cut out the eyes.
I bought a Three Dog Night album when I was pretty young, and I remember listening to all those songs. That's just greatly crafted songwriting, and the songs have such great harmonies. I remember marveling over those and trying to figure them out on piano. That was my early education - figuring out records, older records, as a kid.
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