A Quote by Vanessa Morgan

I'm working on my music - I've taken a little break from it and want to get back into that. — © Vanessa Morgan
I'm working on my music - I've taken a little break from it and want to get back into that.
I break my back for music because it's something that I love, but I'm not going to break my back for a bank. I wouldn't want to be an ATM repairman; there are some things that just aren't worth it.
Most of the time, I'm making music. There'll be moments of my life where I feel like I gotta to take a break and come back to the music. It's hard to explain, but you need to get a break from it and then come back to it. It's like you gotta lose something to appreciate it.
It felt good to get out there, move a little and break a couple of tackles and get back to myself to get ready for Week 1.
All teenagers want to rebel a little and break away. But I think you are always going to want to go back to your parents for that safety they provide.
Girls groups tend to break up more because sometimes it's hard for women to get along. And everybody is like, 'They're breaking up over silly stuff.' That's not the silly thing to me - to break up. The silly part is that you couldn't get back together. It's about working out, because everyone has their differences.
If I can get that DAM trio back together again - "get the band back together" - and put on a concert of David Bowie's electronic music, that's the way I want to remember David, moving forward into the future of music.
Sometimes I start with music on and then I get distracted because I'm working to a different rhythm; I'm not working to myself. So, I don't have music on when I'm working.
Chad was in the right spot. He got a little aggressive with the third shot there. He probably didn't want that putt he had there for the par. And you don't want to put it back there where Casey and Sergio did because you have 20 feet of break there.
People get caught up in making music with a trend. You're time stamping your music and I'm guilty of it to. But, I want to make music where five, ten years from now it brought back a memory or brought an emotion out of them they want to feel.
After 1999, I thought that I needed a break. As a senior composer, I didn't like the trend of three music directors working on a single film. But after a few quiet years, I was back for good.
Most of the time when I'm in Australia I'm not really working, it seems. I'm just at home, getting on with renovating my house or writing music or whatever. So I get back to doing all the stuff that I naturally do. Whereas if I'm away working, that's all there is to do, is to concentrate on the work.
It's weird with making music - you can have no vibe while you're working on something and recognize that the music was special afterwards. And it happens to me while I am working on my own music, as well! One minute you hate it, and then a few years you're obsessed with a little beat you did, and the opposite.
As soon as my brain starts working on reading a book, my dreams get a little more exciting, and music comes a little more naturally for me.
The rule is, you can protest all you want. Make all the noise you want. Carry all the signs you want. The minute you throw a rock, you get arrested. The minute you break a window, you get arrested. The minute you break into a store, you get arrested.
Sometimes you start a little further back from the starting line. And you're going to have to work a little bit harder, and push it faster to get to the finish. I'm willing to put in the work, to compensate for other things, to get ahead, to get to where I want to be.
I like the idea of a kind of eternal music, but I didn't want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. 'Discreet Music' was like that, and 'Music for Airports.' What you hear on the recordings is a little part of one of those processes working itself out.
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