As any competent student of literary composition knows, the more natural and casual a voice sounds in print, the more likely it is to have been edited time and again.
Yazoo was Vince's sound ultimately. At the time Vince and I got together he had only recorded one album with Depeche and Depeche were to go on to greater things.
I have been an XL fan of Devo since I was in high school in the 1970s. Their records only sound better with time.
Politicians have always been required to be fake, but now the career havoc wrought by a stray, flying sound bite means they have to sustain their fakeness all the time.
I think I'd just like to get in a time machine and travel and never come back. The '20s would be an incredible place to be, dressing up in tuxedos with fancy cars. That sounds incredible.
When I first sat down with my oncologist the day before Thanksgiving, and she told me I would need 8 rounds of chemo, one of my first questions admittedly was: 'Will I lose my hair?' It sounds shallow, I know, but it was a very scary image to me.
You have to relax, write what you write. It sounds easy but it's really, really hard. One of the things it took me longest to learn was to trust the writing process.
Luigi: We shall call him... Zatarra. Edmond: Sounds fearsome. Luigi: It means, "driftwood."
Honey: You sound ghastly, like some 90-year-old woman.
[Marcel is beating up a sound technician] Shosanna Dreyfus: [brandishing an ax] Bring that fucker over here!
Batman: Bruce Wayne? Uh... who's that? Sounds like a cool guy.
Ellis: He's not dangerous. Neckbone: [sighs] Sounds like a shitload of state troopers thinks differently.
Harmonica: When you hear a strange sound, drop to the ground.
Dutch: [directing his team into the jungle] We move, five meter spread, no sound.
Apollo Creed: Apollo Creed vs. the Italian Stallion. Sounds like a damn monster movie.
I don't even know what sound is, much less what it's for. It isn't to make money that's for sure. I've never made any.
A system of capitalism presumes sound money, not fiat money manipulated by a central bank. Capitalism cherishes voluntary contracts and interest rates that are determined by savings, not credit creation by a central bank.
We can't afford big symphonies but we commission works that sound rich and symphonic because of the nature of the instrumentation and the people we work with.
Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.
As a jazz musician, you have individual power to create the sound. You also have a responsibility to function in the context of other people who have that power also.
The phrase 'off with the crack of the bat', while romantic, is really meaningless, since the outfielder should be in motion long before he hears the sound of the ball meeting the bat.
