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'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.
Interpretation
The essence of a song is conveyed through the quality of the voice rather than just the words.
Jeff Buckley emphasizes that in music, the emotional depth and true experience of a song stem from the singer's voice, which goes beyond the mere lyrics. While words can provide a framework for understanding, it is the voice that truly brings the song to life and communicates its feelings.
In practice
In a discussion about the impact of music in a concert review.
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 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 pain passes, but the beauty remains.
The moment of creative impulse is what an artist gives you. You look at a Pollock, and it can't give you the tools to do a painting like that yourself, but in doing the work, Pollock shares with you the moment of creative impulse that drove him to do that work.
Certainly, I was typed. But what is typing? It is a trademark, a means by which the public recognizes you. Actors work all their lives to achieve that. I got mine with just one picture. It was a blessing.
On the whole, dialogue is the most difficult thing, without any doubt. It's very difficult, unfortunately. You have to detach yourself from the notion of a lifelike quality. You see, actually lifelike, tape-recorded dialogue like this has very little to do with good novel dialogue. It's a matter of getting that awful tyranny of mimesis out of your mind, which is difficult.
You see a child play, and it is so close to seeing an artist paint, for in play a child says things without uttering a word. You can see how he solves his problems. You can also see what's wrong. Young children, especially, have enormous creativity, and whatever's in them rises to the surface in free play.
I am not immune to the lure of a signed record, flier or set list. The fact that your music heroes potentially had, in their own hands, the record you now have in yours is kind of cool. When the musician has departed, it can give the thing a unique power.
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