A Quote by Zooey Deschanel
Modern recording has made it so that people can spend forever taking shortcuts and making everything uniform, but that strips music of what makes it exciting.
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The problem with making an extrinsic reward the only destination that matters is that some people will choose the quickest route there, even if it means taking the low road. Indeed, most of the scandals and misbehavior that have seemed endemic to modern life involve shortcuts.
I'm making music the way I would have done before modern equipment and music recording.
My advice to young people wanting to make music and to be in this industry is to really spend your time making music. Make so much music you have no friends. Make music. Figure out what it is you love, and... because if you're making cool art, then everything else will fall into line.
I always tell people that this is a really simple deal: Work hard. If you work hard, follow what's required and set your priorities right, then you can really perform without taking shortcuts. If you're taking shortcuts, you can't be free.
Taking risks and making choices is what makes life so exciting.
... people made the imaginary real all the time: taking the music they heard in their head and recording it, seeing a house in their imagination and building it. Fantasy was always only a reality waiting to be switched on.
The modern world’s tech-giddy control and facilitation makes us stupid. Awareness atrophies. Dumb gets dumber. Lists are everywhere – the five things you need to know about so-and-so; the eight essential qualities of such-and-such; the 11 delights of somewhere or other. We demand shortcuts, as if there are shortcuts to genuine experiences. These lists are meaningless.
If I think about music in the future, I imagine it often as not involving electricity, in some dystopian, post-apocalyptic future. And that's what I get from Penderecki: people making music by taking these instruments out of boxes and playing them. That's a very bizarre and modern thing.
everything is ambiguous. It's exciting, in a way, if you can tolerate ambiguity. I can't, but I'm taking a course where it's taught, in the hope of acquiring the skill. It's called Modern Living, and you get no credit.
There are no shortcuts. I approached practices the same way I approached games. You can't turn it on and off like a faucet. I couldn't dog it during practice and then, when I needed that extra push late in the game, expect it to be there. Very few people get anywhere by taking shortcuts.
I wouldn't have known when I was a teenager that when I was coming up to being a sixty-year-old woman that I'd be making music, I'd be recording music, talking about music, and incorporating my views on the world into the music-making. So it's a very rarefied place to be, and I'm very grateful for that.
I don't have any particular goals in making a recording. In a way the recording is itself the goal. The music comes into my mind, and from there the main job is to give form to it.
Sheet music, recording, radio, television, cassettes, CD burners, and file sharing have all invalidated, to some extent, the old model of making a living making music.
Recording interviews is like magic. a) It stops you from taking notes in the middle and b) you can play that recording for people.
When I see the Bill Shankly statue, I look at the sentiment on the base. It says: 'He made the people happy’. Well now the modern Liverpool is making the fans and the city happy. And that makes me so proud.
Mainly, I don't like it when music is made solely to impress people or in order to please business people; it doesn't sound good to me. If you're making music in order to become famous or loved by the masses... that's not what I'm about. When somebody's making music for the wrong reasons, I hear it right away.
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