Reaching a conclusion has to start with what the parties are arguing, but examining in all situations carefully the facts as they prove them or not prove them, the record as they create it, and then making a decision that is limited to what the law s...
While what I write is always largely consistent with the records that remain I freely admit that where historical fact proves a barrier to invention, I simply move a detail a little one way or another.
I was about seven or eight years old when I first heard West Side Story, and it had a huge impact on me. If you look at the elements of that record, it contains many of the things I enjoy doing today.
I'm a lot less concerned with Bill Clinton's escapades decades ago than I am with Hillary Clinton's consistently wrong record when it comes to foreign policy, when it comes to domestic policy.
So I'll set a cycle in motion and pop it into record and I'll lay down a drum pattern, a bass line, a keyboard and guitar part, and once the groove is going I launch into the song and sing my song over the top.
Since I was 9 years old, I have been working, hustling to find my own projects - from telenovelas to record deals, etc. etc. Way before I met my husband.
People used to recordings believed every piece of music had a definitive sound, its emotional context trapped in amber, a butterfly pinned to a board; beautiful, but dead. Live music was just that. Alive.
If I hear a conversation and somebody says something intriguing, my first thought is, 'Is that a song?' I write all year long, and at the end of the year I pull these forty or fifty things out and say which of these things do I want to record.
I just get focused on whatever is in front of me. When I was filming Crossroads, it had all my focus. Now I'm all focused on finishing my recording so I can get that out. It's just day by day.
Sir Gordon Richards was the most successful jockey - flat or jumps - there's ever been: champion jockey for 26 years. He set a record of 269 winners in the season 55 years before I broke it. That was my greatest achievement.
The first record we put out on Fueled by Ramon, 'The Papercut Chronicles,' we had no idea what the term 'producer' meant. It was just us writing songs, and we are trying to go back to that - singing in a room and vibing off each other.
So, the point was to be able to have a medium that would record all the connections and all the structures and all the thoughts that paper could not. Since the computer could hold any structure in any form, this was the way to go.
I aspire to make a record that sounds better 10 listens in than it does after two, and still, at 50 listens, you're picking out things that add a depth and a thoughtfulness to it; there's enough in there that you can still be extracting pieces out of...
I can still make a living with touring. And maybe you buy a t-shirt. And I would rather 10 million people get my record and listen to it for free than 500,000 that I coerced to pay $15 for it, you know?
I used to buy vinyl. Today, if you do put out a record on a label, traditionally, most people are going to hear it via a leak that happens two weeks - if not two months - before it comes out. There's no real way around that.
The 'Downward Spiral' album was a record all about beating everybody up - and then 'Hurt' was like a coda saying maybe I shouldn't have done that. But to make the song sound impenetrable because I thought it was a little too vulnerable, I tried to la...
I remember auditioning for record labels and having them tell me, 'Well, the country-radio demographic is the thirty-five-year-old female housewife. Give us a song that relates to the thirty-five-year-old female, and we'll talk.'
I'm a walking advertisement for PBS and for the Discovery Channel. All of my DVR settings are pretty much set to record anything that's on the Discovery Channel. I'm a big fan of 'MythBusters' and 'Deadliest Catch,' and I'm constantly watching 'Moyer...
The one thing I will say for digital, and you won't hear me say that many complimentary things about it, is that it's cheap. It pretty much enables anybody to record as long as you can deal with the sound.
I can make the argument that people who don't have the biggest ranges but have very unique voices, even if they may be pitchy at times... with the right record that's really unique and distinct, they can have big hits.
At the Isle of Wight, the sound went out and kind of kept on going. And I wasn't... when I came off stage I was kind of unhappy about how we had played. But now, I listen back to those recordings and it's not bad.
