A Quote by Eberhard Weber
Orchestra had a little brass ensemble on two tracks as well, but the rest was me. I knew I couldn't continue in this direction, even if people liked it, because I can only duplicate myself.
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I didn't mean for it to cause such a furor, but I was the first guy to ever do the national anthem with a guitar. Everyone else had the big brass band. Nowadays it's tracks that they sing to, but in my day, we had no tracks. And I was the only orchestra that I knew that was the best orchestra and that was me and my guitar.
I've done a lot of pictures that are ensemble, and I've not always liked the people I was working with, but that doesn't make any difference because you do the job, and often it turns out to be a great ensemble even if you didn't particularly really like anybody.
Alice had begun with 'Let's pretend we're kings and queens;' and her sister, who liked being exact, had argued that they couldn't, because there were only two of them, and Alice hand been reduced at last to say, 'Well, you can be one of them then, and I'll be the rest.
Back then, Pro Tools only had four or eight tracks, so we couldn't actually hear all the tracks. We could only hear eight at a time, so if a song had 25 or 30 tracks, we wouldn't be able to hear it until we went into the studio an put it all on tape. The process was a little bit backwards.
See, because I played behind the scenes so much I already knew what to expect. So I started getting myself ready. I was creating work for myself to do. People were telling me to take a rest and saying "damn, you already acting like you going on MTV or something." In my mind I was because I knew it was what I'd have to do in the near future.
"Only write what you know" is very good advice. I do my best to stick to it. I wrote about gods and dreams and America because I knew about them. And I wrote about what it's like to wander into Faerie because I knew about that. I wrote about living underneath London because I knew about that too. And I put people into the stories because I knew them: the ones with pumpkins for heads, and the serial killers with eyes for teeth, and the little chocolate people filled with raspberry cream and the rest of them.
I could send myself right back to the day that I wrote "Angel Of The Morning," how it felt. I had a buzz through me that morning that was so powerful. I knew I had done something that meant something, because of that feeling. It wasn't a question of whether other people liked it ... I loved it. To me, it had to be one of the most important love stories of all time.
There was only so much space between us, not even a real distance if measured in miles or feet or even inches, all the things that told you how far you'd come or had left to go. But it was a big space, if only for me. And as I moved forward to him covering it, he waited there on the other side. It was only the last little bit I has to go, but in the end, I knew it would be all I would truly remember. So as I kissed him, bringing this summer and everything else full circle, I let myself fall, and was not scared of the ground I knew would rise up to meet me.
I'm only involved really right now with the Art Ensemble of Chicago and the Brass Fantasy.
I only had one focus and one direction, and I knew where my spirit and heart lived, and it was in singing and dancing and acting, being that. I know a lot of young people dream that, but it's good that it worked out for me because it was all I ever wanted to do.
I nodded. I liked Augustus Waters. I really, really, really liked him. I liked the way his story ended with someone else. I liked his voice. I liked that he took existentially fraught free throws. I liked that he was a tenured professor in the Department of Slightly Crooked Smiles with a dual appointment in the Department of Having a Voice That Made My Skin Feel More Like Skin. And I liked that he had two names. I’ve always liked people with two names, because you get to make up your mind what you call them: Gus or Augustus? Me, I was always just Hazel, univalent Hazel.
I knew that to find and to feel Yoav again would be terribly painful, because of what had become of him, and because of what I knew he could ignite in me, a vitality that was excruciating because like a flare it lit up the emptiness inside me and exposed what I always secretly knew about myself: how much time I'd spent being only partly alive, and how easily I'd accepted a lesser life.
Before I started touring, I worked with someone to help me, even physically, because I was so shy. And you can't be shy going onstage. So I had to push myself in a direction that wasn't myself.
Well, it's a little odd, the path I took, because when I was young, I wanted to be a cattle rancher. That was what I knew and that was what I liked.
I liked it when people relied on me... because then I knew I had something different to offer.
My children didn't when they were little because I thought that they had to be of a certain age. I hoped they liked me well enough not to want to see me in that sort of a spot.
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