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
What I'm trying to do is just sing what comes to my body in the context of the song. And if you go by the emotion of the song, it's almost like stepping into a city. Cities have certain customs and rules and laws you can break, and that's what I was doing.
Interpretation
The quote emphasizes the intimate connection between music and emotion, likening the experience of singing to navigating a city with its own rules.
In this quote, Jeff Buckley expresses his creative process of singing, suggesting that he channels the emotions of the song as if he were exploring a city. Each song has its own unique emotional landscape, akin to the customs and rules found in a city, allowing him to break conventions and express himself authentically through his music.
In practice
This quote could be used in a speech about the power of music in our lives.
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.
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.
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.
Originality is not seen in single words or even in sentences. Originality is the sum total of a man's thinking or his writing.
I'd been making music that was intended to be like painting, in the sense that it's environmental, without the customary narrative and episodic quality that music normally has. I called this 'ambient music.' But at the same time I was trying to make visual art become more like music, in that it changed the way that music changes.
Inscribe all human effort with one word, artistry's haunting curse, the Incomplete!
What was any art but a mould in which to imprison for a moment the shining elusive element which is life itself - life hurrying past us and running away, too strong to stop, too sweet to lose.
I passionately hate the idea of being with it; I think an artist has always to be out of step with his time.
Music is well said to be the speech of angels.
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