A Quote by Taylor Dayne

I'm not looking to go out there and make a rhythmic Timbaland track. — © Taylor Dayne
I'm not looking to go out there and make a rhythmic Timbaland track.
Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender.
I love the comparison with Aaliyah and Timbaland, because Aaliyah is a legend, and there is a large cinematic feel to Timbaland's sound, but what I do is different.
American music has become really heavily stylised and focused on production. With producers like the Neptunes and Timbaland, it's so much about the backing track rather than the song.
I'm a producer and not a rapper. So I can make any style of music I want. I can make an EDM beat. I can put an EDM track out one day and I can put a grungy hip-hop track out the next day, like, it doesn't matter.
Much of my playing is rhythmic and choppy; I use a lot of double stops. The wah just accents all those stops and chops and brings out the rhythmic aspect that much more.
It's Messiaen's Turangalila Symphony I'm really looking forward to. Simon Rattle does it perfectly: he understands its primal rhythmic life force, and he and the wonderful Berliners make it a sheer riot of orchestral colour.
I've never went into the studio looking for a certain direction for my next production. I make music that I enjoy and whatever flows in my head when I'm in the studio is how the track is going to turn out.
I used to always sit in church looking out the windows at the boys, wondering if I could make an excuse to go out and, you know, go to the bathroom because all the outdoor toilets. But anyhow, I was only going out to see the boys.
I like creating these rhythmic patterns. These interlocking rhythmic things are really fun.
Normally doing an album you go from track to track and go, 'Let's not work on this one today, let's go work on the other one,' and I think you tend to get more self-indulgent that way.
Well, the most important thing in choreographing for a specific tune is to get the story line and try to make your movements, rather than just actual movements, let them become more or less a physical drama to, to what they were singing about. And uh, also, uh, honor the beat and the rhythmic pattern of the musical track.
It fascinates me that there is a variety of feeling about what I do. I'm not a premeditative photographer. I see a picture and I make it. If I had a chance, I'd be out shooting all the time. You don't have to go looking for pictures. The material is generous. You go out and the pictures are staring at you.
When these Asians go out looking for a victim, they don't go looking for Asian victims. They don't go mugging Asian grandmas, they don't go stabbing each other, they don't go trying to solicit sex off little Pritesh or little Sanjita, they go straight to the whites because they are trying to destroy us and they are the racists.
Isn't Timbaland a make of shoe? It's a producer? I don't know who that is. Oh well.
There's no other place I'd rather have it than here in Mexico. It's a race track that I was looking forward to going to from the time we were here last year. This track just fits my driving style perfectly.
My plan was to put him on a go-kart track when he was six years-old but he was with his mum at a track in Genk and he called me up crying because he saw a younger guy driving on the track. He said to me 'Daddy, I want to do this,' so when I got home from the Canadian GP, I bought him a go-kart and that's how he started.
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