A Quote by Dar Williams
I remember doing "As Cool As I Am" and Steve Miller, the producer, saying "I really hear a drum loop here. I want to play it for you." When I wrote it, I thought, "This isn't going to sound very folky. I don't think it's going to go with mandolins and banjos." Then he played the loop for me and it sounded right.
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I think of every double-decker loop as another loop towards my death. And that is why I've always thought of the double-decker loop as - each loop as a continuous and individualized search for perfection.
'Swagger' would be the word for 'Dirt On My Boots.' With the real funky drum loop and the ganjo rolling down, and then the fiddles and the guitar and steel, it really took an old school style where it's fiddle, steel, guitar, and mixed it with a drum loop.
Sometimes there are times you actually don't want to be in the information loop on some rumors; because once you're in the loop, then if something leaks, you're one of the people in the loop.
The darned thing about mandolins is they're really hard to turn up as loud as you would need to be to play with a drum set. They cease to sound like mandolins.
It's a weird sound [ "Animals"] inspired by a hip hop drum loop. I listen to a lot of hip hop tracks and it's not used quite often in House currently. I chopped up the loop and edited it so you wouldn't recognize the original.
If you think of the way a composer or say a pop arranger works - he has an idea and he writes it down, so there's one transmission loss. Then he gives the score to a group of musicians who interpret that, so there's another transmission loss. So he's involved with three information losses. Whereas what I nearly always do is work directly to the sound if it doesn't sound right. So there's a continuous loop going on.
There was a play that was written by who I think is America's greatest playwright, and he wrote a small part in it for me. It was going to open in Chicago, and then go to New York. But then, he died. It was Arthur Miller. That was the reason I turned Lost down.
It's like creating an artificial loop saying, 'You didn't play the game the way I wanted you to play, so now you're punished and you're going to come back and play it again until you do what I want you to do.' In an action game, I can get that – why not? It's all about skills. But in a story-driven experience it doesn't make any sense.
Well, things hold up even if they sound dated. It can be very difficult to listen to 80s pop songs with really, really gigantic smashed drum sounds. You just want to turn that gated reverb down on the snare. It sounds wrong now. It sounds amateurish. And ugly. But at the time it sounded state-of-the-art. So yeah, I think it's important not to sound state-of-the-art in a way that anybody else is going to sound. Or you'll quickly sound like yesterday's state-of-the-art.
I like to separate the music- and lyric-writing processes if I can. I'll sort of noodle around on my keyboard and my computer until I have a beat or a chord progression, I'll record it as a loop, export it to iTunes, then walk around with the loop and sort of talk to myself in the loop, and that's how I get the lyrics.
This was totally influenced by me and the direction that I am writing about and the stuff that I am writing about. There is just no way that you can be as intense as what I have been through in my life over a drum beat machine, sample, or loop; it's just not going to happen.
Oh, my gosh, I've never seen a film unless, you know, if I have to go and do ADR, loop-loop. But I don't watch after. I'm too critical.
Miles Davis came in a couple of days and said, "Oh, man, I love that. Keep going." So he said, "Let me know when you need trumpet." And he came in, and he was sitting there, and I was very intimidated, because now he's going to play the trumpet on something that I wrote." He starts to play, and I go, "That's not right, but I don't know how to tell him it's not right." Finally he goes, "When are you going to tell me what to do?" He said, "This is your music. I know you know how it's supposed to sound. Stop fooling around. We don't have time."
My father played in high school. My uncles played. From age five or six, I remember watching all the games. And I remember saying to my mom and dad even then that I was going to play in the NFL, and buy them a house and a car.
I never thought then I'd be doing what I'm doing now. At my high school, being on the girls soccer team was the cool thing to do, but that was definitely never going to happen for me, so I played music. Not because everyone thought it was awesome, but for the love of it.
The Grand Prix Final is an opportunity for me to go out and experience new jumping passes in competition. I put in a triple loop-half loop-triple Salchow in the second of the program. It's a very difficult jumping pass so this is a chance for me to try out the new elements and the adjusted jumping layout to get prepared for nationals.
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