Fusion Music Quotes

We've searched our database for all the quotes and captions related to Fusion Music. Here they are! All 18 of them:

Amy turned to Nellie. "Can you create a diversion to draw the clerk outside?" The au pair was wary. "What kind of diversion?" "You could pretend to be lost," Dan proposed. "The guy comes out to give you directions, and we slip inside." "That's the most sexist idea I've ever heard," Nellie said harshly. "I'm female, so I have to be clueless. He's male, so he's got a great sense of direction." "Maybe you're from out of town," Dan suggested. "Wait–you are from out of town." Nellie stashed their bags under a bench and set Saladin on the seat with a stern "You're the watchcat. Anybody touches those bags, unleash your inner tiger." The Egyptian Mau surveyed the street uncertainly. "Mrrp." Nellie sighed. "Lucky for us there's no one around. Okay, I'm going in there. Be ready." The clerk said something to her–probably May I help you? She smiled apologetically. "I don't speak Italian." "Ah–you are American." His accent was heavy, but he seemed eager to please. "I will assist you." He took in her black nail polish and nose ring. "Punk, perhaps, is your enjoyment?" "More like a punk/reggae fusion," Nellie replied thoughtfully. "With a country feel. And operatic vocals." The clerk stared in perplexity. Nellie began to tour the aisles, pulling out CDs left and right. "Ah–Artic Monkeys–that's what I'm talking about. And some Bad Brains–from the eighties. Foo Fighters–I'll need a couple from those guys. And don't forget Linkin Park..." He watched in awe as she stacked up an enormous armload of music. "There," she finished, slapping Frank Zappa's Greatest Hits on top of the pile. "That should do for a start." "You are a music lover," said the wide-eyed cashier. "No, I'm a kleptomaniac." And she dashed out the door.
Gordon Korman (One False Note (The 39 Clues, #2))
But since death is inevitable we don’t have to deal with it (it’ll deal with us when it decides to). What we do have to deal with is the psychic, physical, and fusion diseases wrought during our so-called lives as byproducts of the elemental clash. In other words we’re all terminally psychotic and no doctor, hospital, pill, needle, book or guru holds the cure. Because the disease is called life and there is no cure for that but death and death’s just part of the set-up designed to keep you terrified and thus in bondage from the cradle to the crypt so ha ha the joke’s on you except there’s no punchline and the comedian forgot you ever existed as even a comma.
Lester Bangs
I am looking at him, I am witnessing a unique physiological phenomenon: John Shade perceiving and transforming the world, taking it in and taking it apart, re-combining its elements in the very process of storing them up so as to produce at some unspecified date an organic miracle, a fusion of image and music, a line of verse.
Vladimir Nabokov
I felt bad because Little Big Tom came in while we were making the tape and was like over the moon because he thought we were interested in his music. We had to humor him and listen to him deliver around six hundred speeches about fusion and the Art Ensemble of Chicago and Chicano and Latino influences on pretentious jazzy pseudorock. I think it was probably the happiest I'd ever seen him. And I also felt bad about the fact that after he left we kind of made fun of the funny way he said Latino, like he was the Frito Bandito or something. I felt bad, but I did it anyway, because I'm only human. I was ashamed of myself and depressed afterward, though, which is human, too, I guess. Being human is an excuse for just about everything, but it also kind of sucks in a way.
Frank Portman (King Dork (King Dork, #1))
Looking back at the first century of jazz's history, its most identifiable trademark may simply be this unwillingness to sit still, this mandate to absorb other sounds and influences, this destiny as a music of flux and fusion.
Ted Gioia (The History of Jazz)
The 'magic' is the known and unknown quiet, spiritual, invisible thread which links and reveals harmonic elements to a universe of high vibrational sensory. And our beloved Bro. Maurice David knew it's undeniable creative power, from within.
T.F. Hodge
He paused, then, I behind him, arms locked around the powerful ribs, fingers caressing him. To lie with him, to lie with him, burning forgetful in the delicious animal fire. Locked first upright, thighs ground together, shuddering, mouth to mouth, breast to breast, legs enmeshed, then lying full length, with the good heavy weight of body upon body, arching, undulating, blind, growing together, force fighting force: to kill? To drive into burning dark of oblivion? To lose identity? Not love, this, quite. But something else rather. A refined hedonism. Hedonism: because of the blind sucking mouthing fingering quest for physical gratification. Refined: because of the desire to stimulate another in return, not being quite only concerned for self alone, but mostly so. An easy end to arguments on the mouth: a warm meeting of mouths, tongues quivering, licking, tasting. An easy substitute for bad slashing with angry hating teeth and nails and voice: the curious musical tempo of hands lifting under breasts, caressing throat, shoulders, knees, thighs. And giving up to the corrosive black whirlpool of mutual necessary destruction. - Once there is the first kiss, then the cycle becomes inevitable. Training, conditioning, make a hunger burn in breasts and secrete fluid in vagina, driving blindly for destruction. What is it but destruction? Some mystic desire to beat to sensual annihilation - to snuff out one’s identity on the identity of the other - a mingling and mangling of identities? A death of one? Or both? A devouring and subordination? No, no. A polarization rather - a balance of two integrities, changing, electrically, one with the other, yet with centers of coolness, like stars. And there it is: when asked what role I will plan to fill, I say “What do you mean role? I plan not to step into a part on marrying - but to go on living as an intelligent mature human being, growing and learning as I always have. No shift, no radical change in life habits.” Never will there be a circle, signifying me and my operations, confined solely to home, other womenfolk, and community service, enclosed in the larger worldly circle of my mate, who brings home from his periphery of contact with the world the tales only of vicarious experience to me. No, rather, there will be two over-lapping circles, with a certain strong riveted center of common ground, but both with separate arcs jutting out in the world. A balanced tension; adaptible to circumstances, in which there is an elasticity of pull, tension, yet firm unity. Two stars, polarized; in moments of communication that is complete, almost fusing onto one. But fusion is an undesirable impossibility - and quite non-durable. So there will be no illusion of that. So he accuses me of “struggling for dominance”? Sorry, wrong number. Sure, I’m a little scared of being dominated. (Who isn’t? Just the submissive, docile, milky type of individual. And that is Not he, Not me.) But that doesn’t mean I, ipso facto, want to dominate. No, it is not a black-and-white choice or alternative like: “Either-I’m-victorious on-top-or-you-are.” It is only balance that I ask for.
Sylvia Plath (The Unabridged Journals of Sylvia Plath)
This fusion of flower power and processor power, enlightenment and technology, was embodied by Steve Jobs as he meditated in the mornings, audited physics classes at Stanford, worked nights at Atari, and dreamed of starting his own business. “There was just something going on here,” he said, looking back at the time and place. “The best music came from here—the Grateful Dead, Jefferson Airplane, Joan Baez, Janis Joplin—and so did the integrated circuit, and things like the Whole Earth Catalog.
Walter Isaacson (Steve Jobs)
After all, across the population there are slight differences in brain function, and sometimes these translate directly into different ways of experiencing the world. And each individual believes his way is reality. To get a sense of this, imagine a world of magenta Tuesdays, tastes that have shapes, and wavy green symphonies. One in a hundred otherwise normal people experience the world this way, because of a condition called synesthesia (meaning “joined sensation”).5 In synesthetes, stimulation of a sense triggers an anomalous sensory experience: one may hear colors, taste shapes, or systematically experience other sensory blendings. For example, a voice or music may not only be heard but also seen, tasted, or felt as a touch. Synesthesia is a fusion of different sensory perceptions: the feel of sandpaper might evoke an F-sharp, the taste of chicken might be accompanied by a feeling of pinpoints on the fingertips, or a symphony might be experienced in blues and golds. Synesthetes are so accustomed to the effects that they are surprised to find that others do not share their experiences. These synesthetic experiences are not abnormal in any pathological sense; they are simply unusual in a statistical sense.
David Eagleman (Incognito: The Secret Lives of the Brain)
approach and technique, or else you risk mixing them together and end with up a style of music called fusion,
Damien Peters (The 5 Day Guitar Solo Method - Everything You Need to Play Guitar Solos Like a Pro)
Meic Stevens, influential in his home country for founding psychedelic labels Sain and Wren and singing mystic troubadour songs in his native Welsh tongue. In autumn 1969 Stevens took part in an event playing alongside the ten-piece Indo-Jazz Fusions, and the following year the group’s sitarist Diwan Motihar and tabla player Keshav Sathe recorded parts on the Welshman’s Warners LP Outlander,
Rob Young (Electric Eden: Unearthing Britain's Visionary Music)
Brian Wilson did do something well before his time- he realized the potential of the studio itself as instrument and the possibilities of recontextualized music; concepts that are very important to me today. So what if he talks out of the side of his mouth and gets a little antsy listening to fusion. Lots of people do.
Todd Rundgren (The Individualist: Digressions, Dreams & Dissertations)
Barrington Pheloung’s introductory theme-music was a splendid opening, with its fusion of a fine melody with the ‘da-ditty-da’ rhythm of the Morse code.
Colin Dexter (Inspector Morse: A Mysterious Profile (Mysterious Profiles))
You probably recall the famous statement at the beginning of Anna Karenina, in which Tolstoy, donning there the cloak of a calm village deity and hovering over the void full of benign toleration and loving kindness, declares from on high that all happy families resemble one another, while unhappy families are all unhappy in their own way. With all due respect to Tolstoy I’m telling you that the opposite is true: Unhappy people are mainly plunged in conventional suffering, living out in sterile routine one of five or six threadbare clichés of misery. Whereas happiness is a rare, fine vessel, a sort of Chinese vase, and the few people who have reached it have shaped and formed it line by line over the course of years, each in his own image and likeness, each in his own character, so that no two happinesses are alike. And in the molding of their happiness they have instilled their own suffering and humiliation. Like refining gold from ore. There is happiness in the world, Alec, even if it is more ephemeral than a dream. Indeed in your case it is beyond your reach. As a star is beyond the reach of a mole. Not “the satisfaction of approval,” not praise and advancement and conquest and domination, not submission and surrender, but the thrill of fusion. The merging of the I with another. As an oyster enfolds a foreign body and is wounded and turns it into its pearl while the warm water still surrounds and encompasses everything. You have never tasted this fusion, not once in your whole life. When the body is a musical instrument in the hands of the soul. When Other and I strike root in each other and become a single coral. And when the drip of the stalactite slowly feeds the stalagmite until the two of them become one.
Amos Oz (Black Box)
Equipped with the right amount of dark matter, computer simulations reveal the formation of large regions of filamentary web-like networks of dark matter and hydrogen gas. At the nodes of these filaments, hydrogen gas coalesces, similar to water droplets on a spiderweb after a rainfall. It is in these regions, called protogalaxies, where hydrogen gas gets gravitationally concentrated into the first stars. Through nuclear fusion, the immense gravitational pressure in the star converts hydrogen into heavier elements. These first-generation stars can be up to one million times more massive than our sun. The first generation of stars lives on the order of one hundred million years and eventually dies through supernova explosions.
Stephon Alexander (The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe)
Waveforms from the early universe formed stars. Stars, in their tumultuous fusion of elements, roduce sounds like tones. They organize themselves into larger structures, such as binary systems or clusters-the equivalent of "musical" phrases. What's more, the millions of stars within galaxies organize themselves into self-similar, fractal structures, like the fractal structure found in Bach's and Ligetti' compositions. I was amazed at the degree to which the organization of cosmic structure mimicked music structure. When an analogy goes beyond your expectations, you can't help but wonder if the analogy is the truth.
Stephon Alexander (The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe)
But when the agricultural villages of the Neolithic expanded into larger towns that grew to more than two thousand inhabitants, the capacity of the human brain to know and recognize all of the members of a single community was stretched beyond its natural limits. Nevertheless, the tribal cultures that had evolved during the Upper Paleolithic with the emergence of symbolic communication enabled people who might have been strangers to feel a collective sense of belonging and solidarity. It was the formation of tribes and ethnicities that enabled the strangers of the large Neolithic towns to trust each other and interact comfortably with each other, even if they were not all personally acquainted. The transformation of human society into urban civilizations, however, involved a great fusion of people and societies into groups so large that there was no possibility of having personal relationships with more than a tiny fraction of them. Yet the human capacity for tribal solidarity meant that there was literally no upper limit on the size that a human group could attain. And if we mark the year 3000 BC as the approximate time when all the elements of urban civilization came together to trigger this new transformation, it has taken only five thousand years for all of humanity to be swallowed up by the immense nation-states that have now taken possession of every square inch of the inhabited world. The new urban civilizations produced the study of mathematics, astronomy, philosophy, history, biology, and medicine. They greatly advanced and refined the technologies of metallurgy, masonry, architecture, carpentry, shipbuilding, and weaponry. They invented the art of writing and the practical science of engineering. They developed the modern forms of drama, poetry, music, painting, and sculpture. They built canals, roads, bridges, aqueducts, pyramids, tombs, temples, shrines, castles, and fortresses by the thousands all over the world. They built ocean-going ships that sailed the high seas and eventually circumnavigated the globe. From their cultures emerged the great universal religions of Christianity, Buddhism, Confucianism, Islam, and Hinduism. And they invented every form of state government and political system we know, from hereditary monarchies to representative democracies. The new urban civilizations turned out to be dynamic engines of innovation, and in the course of just a few thousand years, they freed humanity from the limitations it had inherited from the hunting and gathering cultures of the past.
Richard L. Currier (Unbound: How Eight Technologies Made Us Human and Brought Our World to the Brink)
As a fusion of music and therapy, music therapy is at once an art, a science, and an interpersonal process. As an art, it is concerned with subjectivity, individuality, creativity, and beauty. As a science, it is concerned with objectivity, universality, replicability, and truth. As an interpersonal process it is concerned with empathy, intimacy, communication, reciprocity, and role relationships.
Kenneth E. Bruscia (Defining Music Therapy)