A Quote by Saara Aalto
When I release my music I will text Sharon Osborne and ask her about my songs.
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Sharon Osborne, my good friend, sent me to her doctor to have my eyes done in L.A., and it made me look 10 years younger.
With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
Just because I write some songs about bad women, though, that doesn't mean I hate women. I've written songs that show great love and respect for women too. Songs that talk about strong, upstanding women and their pain. I have women working on my music. They understand where I'm coming from. So does my mama. I always play my music for her before it comes out. Why do you think I wrote "Dear Mama"? I wrote it for my mama because I love her and I felt I owed her something deep.
Best strategy for a first date is to ask her questions. Just keeping asking her questions about herself. Her life, her job, her friends, her taste in movies and music and everything. People mostly just want to talk about themselves, so let her do that.
Let’s not ask Barbara Walters about how Muslim women feel. Let’s not ask Tom Brokaw how Muslim women feel. Let’s not ask CNN, ABC, FOX, The London Times, or the Australia Times. Let’s not ask non-Muslims how Muslim women feel, how they live, what are their principles, and what are their challenges. If you want to be fair, ask a Muslim woman. Ask my wife. Ask my mother. Ask a Muslim woman who knows her religion, who has a relationship with her Creator, who is stable in her society, understands her responsibilities. Ask her.
On Sharon Stone (Quick and the Dead): 'She was instrumental about me getting my first American job. Absolutely, without her support, it would not have happened. At the same time, however, was it really about me or her wanting to flex her producerial muscles? I don't want to sound ungallant about the situation. But I didn't find that in working with her, that we clicked on any other level.
I'm talking about the '60s really. People go interview these guys and ask them, "Do you still think music can change the world?" I mean, go talk to Graham Nash about that. What's he going to tell you? Ask David Crosby. These guys are still out there. They're playing their hits at Staples Center and those are really valuable songs. I'm talking about a couple of the guys who got knee-deep into really believing music had a great service beyond radio. I believe it did. And I think a lot of those songs are great.
With vocal and choral music, first and foremost, it's the text. Not only do I need to serve the text, but the text - when I'm doing it right - acts as the perfect 'blueprint', and all the architecture is there. The poet has done the heavy lifting, so my job is to find the soul of the poem and then somehow translate that into music.
My aim is always catchy songs, or songs with meaning and I want to write music people can relate to, about things anyone could go through, just real, honest music... songs that mean something, songs that are inspired by true life events.
Ask the dust on the road! Ask the Joshua trees standing alone where the Mojave begins. Ask them about Camilla Lopez, and they will whisper her name.
As far as spiritual influences in Christian music, I would say Crystal Lewis - a lot of her songs especially. The ministry she has through her songs has really hit me.
There will be slow songs, sad songs, happy songs, songs about boys, and songs about being who you are. I'm making sure I'm happy with all of the songs, because if I am not happy with them, I can't expect anyone else to be, you know?
I always loved writing songs - writing for myself and demo-ing songs, really with no intention of ever letting anyone else hear them. Finally the Foo Fighters stuff happened when I just went to the studio down the street from my house and recorded some stuff in about five or six days, and all these people wanted to release it as an album. I wanted to release it on my own, with no photos and no names on it.
The beauty of Billie Holiday is that she gave every singer after her the license to interpret and perform music in ways that were unique to each of us. Her uniqueness was very much a part of the way she sang the songs, the story she wanted to tell through the songs. I didn't really have a full understanding of Billie until I left home -- until I'd lived a little, shall we say. At different seasons of my life, when I'd sing her songs or listen to her albums, I'd hear things I didn't hear before. Wherever you are in life, you'll hear different things in her songs.
I will release my tax returns - against my lawyer's wishes - when she releases her 33,000 e-mails that have been deleted. As soon as she releases them, I will release.
Theatre is about the collective imagination... Everything I use on-stage is driven by the subject matter and what you might call the text - but that text can be anything, from a fragment of movement or music to something you see on a TV.
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