As cheesy as it sounds, I feel like I do write a lot, not necessarily for a message to be taken away. I feel like it is a little bit egotistical to be like, "I hope they are a better person after listening to my song."
If I were to peruse a survey of label options, as they exist now, they either sound like a time bomb disorder or manic depression or Bipolar divide or mental illness. How can I find an identity in that? It certainly isn't something I can bring up in conversation, without a reaction of judgement or even fear.
Everything - design and technology and materials - has changed since the World Trade Center was built. A lot of it has to do with computers, which allow us to be far more efficient as well as structurally sound.
It became a bit of a challenge to make an album that is essentially quite alternative sounding, and has a lot of sounds that could be guitar - for instance on "Overjoyed," there's what sounds like guitar but is actually a lot of keys.
You got to get away from words if you want to understand any animal. It thinks in pictures, it thinks in smells, it thinks in touch sensations - little sound bites like, it's a very detailed memory.
I don't feel like the real, transcendental sound experiences I've had in my life have anything to do with intellect.
It always sounds kind of trivial, but when I was a kid I was always so impressed by how serious the comic books were. I always liked how they were half way between literature and the cinema. I liked the visuals and I liked the simplicity of a certain type of moral dilemma.
I sound like a church nut, but look at the role of the churches in the civil rights movement in the States. People are brought together in other ways that can become drivers of change.
If the question is, how do we best produce business people who can succeed in the post-Great Recession era, then I think the MBA programs and their connection to large companies remains intact but it's not the path to a "Business Brilliant" life. It's a path to a middle-class existence marked by large stretches of security and comfort with occasional eruptions that you're probably ill-prepared to handle. Do I sound too cynical?
If you get mad about how your voice sounds when it comes out of your own mouth, it's not really my fault. Go ahead and be yourself.
Like, the smells and the sights and the sounds. As an artist, you want to sort of be able to engage that and get that down in some way. This is - this is a type of familiarity but a type of radical difference at the same time.
A lot of good ideas are actually bad ideas because, since they sound good, everybody's already doing them.
I think I have a pretty good take on popular culture that maybe makes up for the fact that I'm not a sound-bite politician for the nightly news.
A universal sound is about having everybody be able to relate to it whether you're in New York, LA, London or Australia. You have to be able to universally be brought back to a place where they can relate to you as an artist.
I know that sounds really extreme, but if you just look at the history, you will find Harry Anslinger [first U.S. commissioner of the Bureau of Narcotics] going on about satanic swing and how reefer will make black people think they're as good as white people - which to him, obviously, was a very horrible outcome. This is the basis of our drug laws.
It sounds almost unreal, but I was born and raised on old castlegrounds - Kenmure Castle.
I don't have a six-pack. Maybe I don't even want a six-pack. It doesn't sound very appealing.
We sing a lot of the soundtrack in this film [Swiss Army Man] - me and Paul Dano - and on the last day of filming we had to just get into the back of our sound mixer's van and record a really crappy, rough version of the singing then. For some reason that was one of the most fun days.
I spent the '80s in the Soviet Union and when I came to America it was '89 and I was in an immigrant bubble and we didn't have MTV or cable, so I kind of discovered the '80s when I was already older, maybe in college. And I continued to have this romantic obsession with all those films and there's this sound I hear in my head and it's kind of this bittersweet romantic, dark sound.
For the first time [with the Bible] - I know this sounds so corny - but I knew love. I had such an empty love tank. I had all the questions to life that didn't make sense. Two and two didn't add up to four. From my father's death - if you loved me, why did you leave me? Why did you kill yourself? And so when this happened, it took my life in a completely different direction.
I hate to sound cliché, but it would probably be the day my daughter was born. That was a pretty amazing experience.
I've never played a character that is just beautiful, but sometimes you can read scripts that sound so shallow, like women are objects. I've never done something like that, though.
I have much clearer memories of my time in Egypt: songs on the radio, the rhythms that accompanied belly dancers, the sound of the adhan - the Muslim call to prayer. I just soaked it all up.
In Western classical music the idea of holiness, purity, perfection, and total beauty is expressed through clarity of sound - a bell-like sound. Obviously, that has its own place, and it's a beautiful way of doing it. But I don't think I am the first to point out that in Africa, the more buzzing the sound is, the more it indicates the other world - the spirit world.
I think I prefer singing in falsetto. I like the way it sounds. It doesn't sound like my natural voice. It sounds like a character.
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