If you wanna get away with murder, all you gotta do is shoot somebody in the head and put a demo tape in their pocket! 'This is a rap killing! Let's get outta here!'
The process always starts with detailed conversations with the director, followed by a spotting session (deciding where the music goes and doesn't go in the film, and what the music should be saying or not saying) in each scene. This is followed by sending the director demos of each cue for feedback.
France had shown a light to all men, preached a Gospel, all men's good; Celtic Demos rose a Demon, shriek'd and slaked the light with blood.
System uptime, data protection, and identity theft are weighty issues. It takes real ingenuity to out-think the fraudsters who are trying to steal identities and hack into enterprise systems. The 12 smart companies that debuted security solutions today at DEMO have designed serious, and seriously clever, innovations.
There is only one Steve Jobs, but if you want a shot at being the next Steve Jobs, learn to communicate using stories, demos, and pictures.
I actually produced other people's vocals for a long time when I first signed my publishing deal and I had just sort of decided that I only wanted to be a writer. I would be in all of these writing sessions, and a lot of times my publisher would say, "You should get a demo singer to sing it because then it doesn't identify as a Solange song."
I entered a songwriting competition, I didn't win, and one of the judges on the panel was an A&R man at a record label that had no other acts and I signed to them. We sent my demo out to five people and David Kahne got back to me that day, and said I think you're amazing I want to start with you tomorrow. He was like my Harvard reach school, I couldn't believe it. I was really excited. It was the first time anyone of any importance said I was good and I ran with that validation for a long time.
At fourteen, I started sending out demo tapes.
I'd done recordings, little demos, since I was in college, which I used to get gigs. But I never thought I'd have a record label.
I started writing when I was around 6. I say 'writing,' but it was really just making up stuff! I started writing and doing my own thing. I didn't really know what a demo was or anything like that, so I started getting interested in studio gear and started learning about one instrument at a time. My first instrument was an accordion.
I thought eventually I'd have a family and I really didn't want to be a loser like that guy in his 40s still shopping his band's shitty demo tapes around.
I have been a harmony enthusiast since I was a child, singing in choir and with friends growing up. I always put a ton of harmonies on my demos.
The first two songs that I wrote, produced and demoed with my voice on it was that song and then Akon's "Sorry, Blame It On Me." The first two demos I ever wrote and demoed, the two biggest artists at the time took them.
Most of my early records were not cohesive at all, just collections of demos recorded in different years. 'Odelay' was the first time I actually got to go in the studio and record a piece of music in a continuous linear fashion, although that was written over a year.
Demo: presentation of a specific set of capabilities needed to solve the customer's critical business issue.
For a business plan written when the hardware was a wire-wrapped board and the software was three demos on a graphics substrate, it was pretty close.
I don't make demos. I don't have the interest or the energy or the time.
Through skateboarding, I have an open line of communication, some common ground and common ground is big man. That enables me to travel around the world and no matter where I am, or who I'm with, connect with other young people, and I can have an instant dialogue and an instant relationship based on the fact that we skateboard, and when I'm doing appearances and demos, that's not lost on me.
I was 12 or 13, and I had seen a demo about origami at the Brooklyn Botanic Garden. My dad, my step-mom, and I were at the Japan pavilion of Epcot, and my dad was going to get me an origami book. They had these really sick origami books with an overleaf, but those packs can sometimes blow, because they give you, like, eight sheets.
I started as a writer and when I sent my demos out everyone wanted to know who was singing and if that person wanted a record deal.
You can always pound out demos and send them to record companies, but most of the successful bands I've seen are the ones that can sustain themselves.
The hard part was when I went into the studio with co-producer Eric Broucek, and he started slashing my demos. I always sweat that.
So when I was working with Amy Winehouse on "Back To Black," you know, she had all these beautiful songs, incredibly well-written and just her on an acoustic, nylon-string guitar. And she'd play them for me, and then I would kind of drum up my idea of what I thought - make a demo with what I thought the drums should be doing, the guitars - like, quite a crude demo.
I think the true test of a pop song, for me, and I've talked to a lot of other writers about this, is you take your demo, you pop it in your car and you drive down Sunset Blvd. to Santa Monica, and that's the Hollywood car test.
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