A Quote by Steve Aoki
When I work with artists, I give them a general guideline of what my vision is. Then they're going to speak their minds on how they view it, too. The song that defines 'Neon Future' the best is the title track. I wrote that with Luke Steele of Empire of the Sun. It's through his words. We had an amazing songwriting session together, connecting.
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There's a stone I had made for Luke at the top of the hill road, where the pasture opens wide and the setting sun highlights the words carved into its face. "That'll do, Luke, that'll do." The words are said to working dogs all over the world when the chores are done and the flock is settled: "That'll do dog, come home now, your work is done." Luke's work is done too. He took my heart and ran with it, and he's running still, fast and strong, a piece of my heart bound up with his, forever.
I wrote a song called 'Four Times A Lady' for Destiny's Child, and it was perfect. But then I had to spin it back and change all the lyrics to a guy's point of view cos I thought the track was too good to give away, heh heh. It's Craig David now.
"My Trigger" is the best combination of song and track. "Heart Is Full" is maybe the best song we've done as a song, and that's why we try to play it in different ways, too, because I think for a lot of people the track was a bit distracting from the song.
I give Bill Gates an A for vision because, as a business person and a strategist, he's brilliant. His flaw is that his view is not informed by a humanistic or compassionate vision of how to make computers work for people.
What can I do if the director and producers comes to me with a certain demand for a vision for a song? I will try my best to give them a song that matches their vision.
If I want people to connect to my words and my stories, I need to tell them where they came from. Because then, when you break into song, they have kind of a blueprint for why I wrote that song, so they can come to it with something they went through that helps them connect to it.
I was invited to L.A. when I was 16 for a weekend-long songwriting session by a writer I had met through my voice teacher in Pittsburgh. My first hit, 'Hide Away,' was one of the songs written during those sessions. It was played for a radio rep who then started a new label; the song got a pretty organic start at radio and then took off.
What the Sozo session leader must do is to help open their minds, hearts and spirits to another method of connecting with God. We can do this by a number of methods, principally by leading the Sozoee through a series of simple exercises to expand their repertoire of sensing, hearing, feeling and connecting with God.
Luke rose to his feet. "I'm taking five minutes for some air. I'll be back. " He felt them watching him as he made his way to the front doorsall of them, even Amatis. Senhor Monteverde whispered something to his wife in Portuguese; Luke caught "lobo", the word for "wolf", in the stream of words. They probably think I'm going outside to run in circles and bark at the moon.
Each person who ever was or is or will be has a song. It isn't a song that anybody else wrote. It has its own melody, it has its own words. Very few people get to sing their song. Most of us fear that we cannot do it justice with our voices, or that our words are too foolish or too honest, or too odd. So people live their song instead.
For not by art does the poet sing, but by power divine. Had he learned by rules of art, he would have known how to speak not of one theme only, but of all; and therefore God takes away the minds of poets, and uses them as his ministers, as he also uses diviners and holy prophets, in order that we who hear them may know them to be speaking not of themselves who utter these priceless words in a state of unconsciousness, but that God himself is the speaker, and that through them he is conversing with us.
When "Here Comes the Sun" started, what happened? No, the sun didn't come out, but Mom opened up like the sun breaking through the clouds. You know how in the first few notes of that song, there's something about George's guitar that's just so hopeful? It was like when Mom sang, she was full of hope, too. She even got the irregular clapping right during the guitar solo. When the song was over, she paused. "Oh Bee," she said. "This song reminds me of you." She had tears in her eyes.
'Sally' is just a song that I wrote talking to my alter ego. When I write, I don't really consciously say, 'This is what I've been going through in my life, and I'm gonna put this into words.' It's just a song that I kinda went in and did. Then, listening back to it, I realized, 'I'm talking to myself.'
I'm so lucky to play Sugar because she does get the best wardrobe. Sugar is always in something fluffy, feathery, animal print-y, sparkly she doesn't ever stop with the amazing wardrobe. There's a neon number I thought, when I saw the wardrobe in my trailer, that everyone was going to be wearing neon, but no - just Sugar. And it was fantastic it was so fun, I love neon!
The moment the door opened, Jace seized up a yellow pencil lying on the desk and threw it. It sailed through the air and struck the wall just next to Luke's head, where it stuck, vibrating. Luke's eyes widened. Jace smiled faintly. "Sorry, I didn't realize it was you." ... Luke indicated Simon and Clary with a wave of his hand. "I brought some people to see you." Jace's eyes moved to them. They were as black as if they had been painted on. "Unfortunately," he said, "I only had the one pencil." -Jace & Luke, pg.43-
I got a new 4-track cassette recorder a year or so after high school. For a while I would just stare at it thinking, how am I going to do this if I don't play guitar or keyboards? How am I going to write and record a song if I don't know how to play any instruments? I mean, I played the violin, but I didn't know anything about how to work a 4-track.
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