A Quote by Richard Morris

It bothers me when I hear it in a car commercial or some such. But for the most part, it's better than seeing sacred music relegated to the scrap heap. — © Richard Morris
It bothers me when I hear it in a car commercial or some such. But for the most part, it's better than seeing sacred music relegated to the scrap heap.
Every year, there's some band that plays guitar-oriented pop music that has a single, but for the most part, it's kind of relegated to the sidelines.
I need to develop a car and engineer a car in a position that feels comfortable for me, and I don't think anyone can do a better job than I can in that position. The problem for me is if I can't get the car there I do struggle more than some.
I enjoy music that is commercial. I think that in order for music to be heard in a lot of different situations, you have to always consider that. Commercial music, for the most part, is popular music, and you always have to keep that in mind. It's not so much financial as making sure it gets the shot and is heard on the radio.
All the people ought to decide, but now most states are tossed on the scrap heap and ignored
There's a lot of debate on this subject - about what kind of car handles best. Some say a a front-engined car, some say a rear-engined car. I say a rented car. Nothing handles better than a rented car. You can go faster, turn corners sharper, and put the transmission into reverse while going forward at a higher rate of speed in a rented car than in any other kind.
I know that my music is heard a lot in commercial circles. In academia, I think my music is taken in differently but I'm not sure why that is. Some kind of sixth sense tells me that people in that world are thinking differently about it. I don't know if it has to do with the structure of my music, which is probably more apparent to those in the academic world than it is in the commercial world, where people tend not to think of that aspect of music so much. They just listen for pure enjoyment.
I was impossible. I don't know how anyone could have lived with me. For the first time in my life, I was on the scrap heap, an unemployed worker.
Commercial music, for the most part, is popular music and you always have to keep that in mind.
I was criticized by some people for my first album because they said I was taking sacred music. They knew nothing about what I was doing. That was no sacred music; that's music I wrote.
You can't show me an ad on TV with hard bodies and say I have to buy that car. You have to tell me why that car is better and safer than another car.
I think that I am seeing the Internet and seeing technology take and seeing how the work I do through music directly affects people's lives better than any politician I've ever met.
I think the Internet has hurt music more than it has helped it. The idea of giving music away for free just bothers me. And, when one band or artist gives it away, it devalues the rest of the product from those who would like to make some money or a living from it.
Musically, New York is a big influence on me. Walk down the street for five minutes and you'll hear homeless punk rockers, people playing Caribbean music and reggae, sacred Islamic music and Latino music, so many different types of music.
If something bothers me, it bothers me for a long time until I find a way to work it out. Music provided me with a means of working things out.
I hear poetry whenever I turn on the radio. Eminem is a better poet than just about everybody. He's better than Billy Collins; he's better than Richard Wilbur; he's better than me.
My accident was the result of incredible fate, with me spinning in a place I shouldn't have, with a car coming at a speed it shouldn't have, and hitting me with the sharpest and strongest thing that it has, which is the nose, in the most vulnerable part of the car, which is between the side part and the front wheel.
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