Top 753 Tracks Quotes & Sayings - Page 13

For the nerd in me, I prefer full quality digital files as they give a truer representation of the source mix, the studio in fact. From these files I can quite often tell what kind of set up made the tracks. For the music lover in me, vinyl is more woosey, richer, more alive, more real, more imperfect and somehow becoming more like life itself. But I don't prefer it per se. The mastering engineer in me always loves to hear it as it was made.

Faced with the potential of mass atrocities and a call for help from the Libyan people, the United States and our friends and allies stopped Gadhafi's forces in their tracks. A coalition that included the United States, NATO and Arab nations persevered to protect Libyan civilians. So this is a momentous day in the history of Libya. The dark shadow of tyranny has been lifted, and with this enormous promise the Libyan people now have a great responsibility: to build an inclusive and tolerant and democratic Libya that stands as the ultimate rebuke to Gadhafi's dictatorship.

I love music/sounds that have a passion, a fire, an energy I can connect with. I love angry sounding beat tracks, dark sounds for sure but I also love delicate sounds, they both connect I think. Discharge back in 1980 was a big explosion in sound for me to hear the anger and the energy, still an influence on me. Miles Davis has been an influence, as much as John Coltrane, Brian Eno, John Hassel. So much around me has influenced me: my everyday life, everything around me, the family, etc.... It has an impact.

Donald Trump moves in two parallel tracks at the same time. There's the controversial political guy that's always out there with his tweets. He comes from a showbiz background, as well as a very successful career in finance and real estate. He loves sometimes the controversy more than some people - the press thinks they're totally aggravating him. He sometimes thrives on the public controversy and the hitting back. Meanwhile, he's very results-oriented. He knows that the American people are going to judge him by his performance on the economy, on jobs, on national security.

The difference between the truth of God and revelation is very simple. Truth is where God's been. Revelation is where God is. Truth is God's tracks. It's His trail, His path, but it leads to what? It leads to Him. Perhaps the masses of people are happy to know where God's been, but true God chasers are not content just to study God's trail, His truths; they want to know Him. They want to know where He is and what He's doing right now.

He also tried to block the doorway when she left him. My mother ducked under his arm, ran to her car, and drove away. I remember thinking that this was somehow romantic, as it pinpointed the actual memory of my mother's departure, something you don't see a lot of in television. Real people don't slam doors without opening them five minutes later because it's raining and they forgot their umbrella. They don't stop dead in their tracks because they realize they're in love with their best friend.They don't say, "I'm leaving you, Jack," and fade to a paper towel commercial.

Another train will come. Why rush? Why worry? Why go crazy? Another train will come. And sure enough, another train going my way was pulling into the station. My bad mood evaporated. I entered the car smiling, certain that there would be more missed trains in my life, more closed doors in my face, but there would always be another train rumbling down the tracks in my direction.

Daytona is a restrictor-plate race and, unlike Daytona, guys can't get in a line at Phoenix and go to the front. Daytona and Talladega (Ala.) have always just been two different forms of racing. With the draft being so important at those two tracks, it's more of a team deal than an individual deal. What happens at Phoenix and the races after that has to be done on your own. You can't help each other at Phoenix. You just have to go race.

To be truthful, some writers stop you dead in your tracks by making you see your own work in the most unflattering light. Each of us will meet a different harbinger of personal failure, some innocent genius chosen by us for reasons having to do with what we see as our own inadequacies. The only remedy to this I have found is to read a writer whose work is entirely different from another, though not necessarily more like your own—a difference that will remind you of how many rooms there are in the house of art.

We underestimate teenagers at our peril. Even the dismissive thing out on the street--look at what they're wearing. Then we'll hear stories about how a toddler fell on the tracks, and it's often a teenager who comes to the rescue and walks away because he or she doesn't want any credit. I recognize it because I've written books for teenagers--it's basically that they feel things more than adults do. They want things more than you think. They want things with greater depth than you think they do. Teenagers have got a lot of soul that adults have forgotten they have within themselves.

I had invented my own system, my own way of making electronic music at the San Francisco Tape Music Centre, and I was using what is now referred to as a classical electronic music studio, consisting of tube oscillators and patch bays. There were no mixers or synthesizers. So I managed to figure out how to make the oscillators sing. I used a tape delay system using two tape recorders and stringing the tape between the two tape machines and being able to configure the tracks coming back in different ways.

Legends of the Silver Stallion had been told for years now, whenever mountain stockmen met round the campfires or on the winding hill tracks. Songs were sung about him to the cattle and both songs and tales had become even stranger since his supposed death when he vanished through the wind and the night over a great cliff. Tales kept cropping up of a ghost horse seen, or imagined, roaming over the mountains at night, of stockmen waking in a hut at midnight, hearing the tremendous stallion’s cry which could only be Thowra’s

Well, Smoke n' Mirrors has very much a world music flavor and it doesn't park itself in one country. It borrows heavily from the Brazilian angle, which is dear to my heart, and I recorded several albums with that flavor. Probably even more so than the Brazilian flavor, there's an African, South African and West African influence and on a couple of other tracks there's some Latin flavor and there's some Indian tables on one track, all centered around my jazz guitar and acoustic guitars, and very much a Lee Ritenour sound.

He was weary of himself, of cold ideas and brain dreams. Life a poem? Not when you went about forever poetizing about your own life instead of living it. How innocuous it all was, and empty, empty, empty! This chasing after yourself, craftily observing your own tracks--in a circle, of course. This sham diving into the stream of life while all the time you sat angling after yourself, fishing yourself up in one curious disguise or another! If he could only be overwhelmed by something--life, love, passion--so that he could no longer shape it into poems, but had to let it shape him!

Ever bike? Now that's something that makes life worth living!... Oh, to just grip your handlebars and lay down to it, and go ripping and tearing through streets and road, over railroad tracks and bridges, threading crowds, avoiding collisions, at twenty miles or more an hour, and wondering all the time when you're going to smash up. Well, now, that's something! And then go home again after three hours of it... and then to think that tomorrow I can do it all over again!

From the place by the railing at the edge of the tracks on the summer evening I return across the city to my own room. I am vividly aware of my own life that escaped the winter on the boat. How many such lives I have lived. Then I only made a dollar and a half a day and now I sometimes make more than that in a few minutes. How wonderful to be able to write words. ... Again I begin the endless game of reconstructing my own life, jerking it out of the shell that dies, striving to breathe into it beauty and meaning. ... I wonder why my life, why all lives, are not more beautiful.

Basically, there were three aspects of dub that influenced dubstep. The most important was playing the instrumental versions of vocal garage tracks, which was a little like what dub was to reggae - the instrumental of a full vocal.The second was dub as a methodology, which, for me, is apparent in all dance music: manipulating sound to create impossible sonic spaces using reverb, echo and such. The third is the influence of the genre called dub. (It became a cliché actually, through sampling old Jamaican films and soundtracks, and adding vocal samples.)

What's the biggest thing you've zapped with a fireball?' I asked. 'That would be a tiger,'said Nightingale. 'Well don't tell Greenpeace,' I said. 'They're an endagered species.' 'Not that sort of tiger,' said Nightingale. 'A Panzer-kampfwagen sechs Ausf E.' I stared at him. 'You knocked out a Tiger tank with a fireball?' 'Actually I knocked out two,' said Nightingale. 'I have to admit that the first one took three shots, one to disable the tracks, one through the driver's eye slot and one down the commander's hatch - brewed up rather nicely.

I think I'll be a clown when I get grown,' said Dill. Jem and I stopped in our tracks. Yes sir, a clown,' he said. 'There ain't one thing in this world I can do about folks except laugh, so I'm gonna join the circus and laugh my head off.' You got it backwards, Dill,' said Jem. 'Clowns are sad, it's folks that laugh at them.' Well I'm gonna be a new kind of clown. I'm gonna stand in the middle of the ring and laugh at the folks.

I wish I could go out farther from my musical history. I didn't realize how hard it was until I tried to do it. All the basic tracks on Romanian Names were done in my basement, alone, without any of the self-consciousness that comes with being in the studio. It was a completely different process. And those two things definitely made the record sound different. But you want this quantum leap from record to record, and maybe if I did make a quantum leap I'd make an unlistenable album. So maybe I'm lucky that I can't pull it off.

When it comes to certain kind of rhythm things, particularly like shaker or tambourine tracks. I like the way I can really lock up with my own Hi Hat or Ride Cymbal beat. So a lot of times in recording I'll be asked -- or even volunteer -- to put a shaker or tambourine track on. Just to give it something extra. And it always works great. I hate it when I'm in the studio and I don't have any shakers or tambourines with me. I've been on a few dates when we didn't have anything and tried to improvise shakers out of some uncooked rice in soda cans. It sounded horrible.

Jem gave a reasonable description of Boo: Boo was about six-and-a-half feet tall, judging from his tracks; he dined on raw squirrels and any cats he could catch, that's why his hands were bloodstained - if you ate animal raw, you could never wash the blood off. There was a long jagged scar that ran across his face; what teeth he had were yellow and rotten; his eyes popped, and he drooled most of the time.

This morning, as Charlotte approached the brick facade of Hartnett, she found herself overcome with a great sense of dread. It hit her with a strange and sudden force, and she had an overwhelming urge to turn back, get into bed and not go out for about three weeks. She stopped in her tracks. The feeling itself was alarming to Charlotte - was she sensing something? Something dangerous? And was it something supernatural or just middle school? Sometimes it was hard to tell the difference.

Are you such a dreamer To put the world to rights? I'll stay home forever Where two and two always makes a five I'll lay down the tracks Sandbag and hide January has April's showers And two and two always makes a five It's the devil's way now There is no way out You can SCREAM and you can shout It is too late now Because... You have not been Payin' attention! Payin' attention! Payin' attention! Payin' attention! You have not been paying attention!

In Advance of All Parting is a tough, unsentimental examination of marital grief. Musically elegant and inventive, understated and passionate, the poems give us a profound glimpse into how the events of a life can form a center of gravity that fixes the self in its force field. Theres a cold, truth-telling clarity about them that makes them as unsettling as they are beautiful. Ansie Baird has created a richly-drawn world in which this elemental drama plays out, and the result is vivid, startling poems in which pain has left its indelible tracks.

I couldn't help but think, as I watched him, of the barrels of toxic fluids that had accrued behind Hal's bike shop where the scrub lining the railroad tracks had offered local companies enough cover to dump a stray contaner or two. Everything had been sealed up, but things were beginning to leak out. I had come to both pity and respect Len in the years since my mother left. He followed the physical to try to understand things that were impossible to comphrehend. In that, I could see, he was like me.

The positive thing about collaborating is that I cannot get distracted by coding work, because I cannot waste the other collaborator's time in the same way as I can my own. And it's always good to learn how the other person works, learn about techniques, learn social things like: how do you communicate with another person? The music I make with other people I'm much more confident about, I'm a little bit less judgemental of the outcome than with my own stuff because I know it's not only me, it's a more outside of me. Sometimes I even like them better than my own tracks.

Whoever is born in New York is ill-equipped to deal with any other city: all other cities seem, at best, a mistake, and, at worst, a fraud. No other city is so spitefully incoherent. Whereas other cities flaunt there history - their presumed glory - in vividly placed monuments, squares, parks, plaques, and boulevards, such history as New York has been unable entirely to obliterate is to be found, mainly, in the backwaters of Wall Street, in the goat tracks of Old and West Broadway, in and around Washington Square, and, for the relentless searcher, in grimly inaccessible regions of The Bronx.

I could be inspired by something I see or something I hear and write down or send to a friend or a writer or whether I have instrumental tracks or just a couple chords recorded on my phone. If I have a couple sessions set, I'll go into the studio with the people I'm lucky enough to call my friends because I feel like I can talk to them and then suddenly our conversations turn into these songs you hear on the radio. I still don't understand how it happens but I talk about my experiences and my situations and everything and then they turn into these amazing pop songs.

Lara walked along the tracks following a path worn by pilgrims and then turned into the fields. Here she stopped and, closing her eyes, took a deep breath of the flower-scented air of the broad expanse around her. It was dearer to her than her kin, better than a lover, wiser than a book. For a moment she rediscovered the purpose of her life. She was here on earth to grasp the meaning of its wild enchantment and to call each thing by its right name, or, if this were not within her power, to give birth out of love for life to successors who would do it in her place.

My first album was more about me making a statement, as I felt like I was kind of stuck in the smaller scene of underground House and Techno when the music I produce actually spanned a much wider range of genres, including the more Pop/Trip Hop stuff and more song-based compositions. Comfort was to kind of show that I wasn't just about one thing. Working on Take Flight was my chance to step back and merge the many worlds of music I enjoy working in and showcase it all through a journey of 24 tracks.

Think of two people, living together day after day, year after year, in this small space, standing elbow to elbow cooking at the same small stove, squeezing past each other on the narrow stairs, shaving in front of the same small bathroom mirror, constantly jogging, jostling, bumping against each other’s bodies by mistake or on purpose, sensually, aggressively, awkwardly, impatiently, in rage or in love – think what deep though invisible tracks they must leave, everywhere, behind them!

I'm looking forward to Phoenix. I ran well there last year in the Nationwide Series, and it was one of the tracks I made four Sprint Cup starts at last season. In the Cup race last year, I had a good run going for it being my first time there in a Cup car, and unfortunately got damage from an accident. It's not a restrictor plate race, so this will be the first time this season that I will run a lot of laps in practice. It's also the first race for the new qualifying format, so it will be interesting to see how that works out. Overall, I just want to have a solid run in the BRANDT Chevy.