You can't kill the past by denying the past. You can kill it only by making it obsolete. And even in that, you have to find honor in the past. You can't hack off pieces of yourself, and expect them to grow again.
Jeff BuckleyRead
I became a human jukebox, learning all these songs I'd always known, discovering the basics of what I do. The cathartic part was in the essential act of singing. When is it that the voice becomes an elixir? It's during flirting, courtship, sex. Music's all that.
Interpretation
The quote reflects the transformative power of music and singing in human experiences, especially in love and connection.
Jeff Buckley expresses how becoming immersed in music allows one to rediscover their innate abilities while also emphasizing the emotional release and joy that singing brings. He links the act of singing to personal connections such as flirting and courtship, suggesting that music serves as a vital element in human relationships and affection.
In practice
A musician might use this quote to inspire their audience during a live performance.
You can't kill the past by denying the past. You can kill it only by making it obsolete. And even in that, you have to find honor in the past. You can't hack off pieces of yourself, and expect them to grow again.
Critics... They're like traffic cops. They say what they have to say, then leave, and another guy moves in ,and he has his say - and it's often just the opposite. The result is either critical acclaim or critical murder, and neither has any bearing on my music or direction.
Grace is what matters. In anything. Especially life, especially growth, tragedy, pain, love, death. About people, that's what matters. That's a quality I admire very greatly. It keeps you from reaching for the gun too quickly; it keeps you from destroying things too foolishly; it sort of keeps you alive and keeps you open for more understanding.
I've always felt that the quality of the voice is where the real content of a song lies. Words only suggest an experience, but the voice is that experience.
I don't see people. I don't see men and women at all. When I see them, I see... their mothers and fathers. I see how old they are inside. Like when I look at the president, or anybody in a record company, or a store owner, I may see a little boy behind the counter with the face of an old man. And that's who I talk to.
I'm lying in my bed, blanket is warm, this body will never keep me safe from harm. I still feel your hair, black ribbons of coal. Touch my skin to keep me whole. If only you'd come back to me. To feel you at my side, wouldn't need no Mojo Pin to keep me satisfied.
The dignity of the artist lies in his duty of keeping awake the sense of wonder in the world.
I was attracted by the curve — the liberated, sensual curve suggested by the possibilities of new technology yet so often recalled in venerable old baroque churches.
The deepest quality of a work of art will always be the quality of the mind of the producer...No good novel will ever proceed from a superficial mind.
Listen to the great guitarists of the Fifties. They didn't do that nasty sort of industrial distortion. They played musical compositions as solos - Scotty Moore, Cliff Gallup, Django Reinhardt. There wasn't a bad note in any of those solos. I listened to that and stayed with those rules.
I came to poetry through the urgent need to denounce injustice, exploitation, humiliation. I know that's not enough to change the world. But to remain silent would have been a kind of intolerable complicity.
Iconic clothing has been secularized. . . . A guardsman in a dress uniform is ostensibly an icon of aggression; his coat is red as the blood he hopes to shed. Seen on a coat-hanger, with no man inside it, the uniform loses all its blustering significance and, to the innocent eye seduced by decorative colour and tactile braid, it is as abstract in symbolic information as a parasol to an Eskimo. It becomes simply magnificent.
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