![To me, there are two different types of musicians. Those who are display oriented and those who are content oriented, Bill Evans being a prime example of the content orientation. I am not interested in the displayers-guys who want to be playing a lot of notes to try to impress you that they got a lot of things that they can lay in there. I'm more interested in somebody picking something that has some really great feeling and laying it in, in a really good time concept. Jimmy Rowles is a perfectly good example of that. His choice of notes may not be uncommon, but boy where he lays them down is so individual that I will go for that every time. The same thing applies with composers. When you're a young composer and you first have a chance-and this goes with everybody-you write your most complex works when you're a young man. And then, as you get a little bit older, you find that you can lot simpler things [sic] and still enjoy the devil out of what you're doing. (Clare Fischer)](https://cdn.quotesdtb.com/img/quotes_images_webp/42/clare-fischer-bill-bit-864942.webp)
To me, there are two different types of musicians. Those who are display oriented and those who are content oriented, Bill Evans being a prime example of the content orientation. I am not interested in the displayers-guys who want to be playing a lot of notes to try to impress you that they got a lot of things that they can lay in there. I'm more interested in somebody picking something that has some really great feeling and laying it in, in a really good time concept. Jimmy Rowles is a perfectly good example of that. His choice of notes may not be uncommon, but boy where he lays them down is so individual that I will go for that every time. The same thing applies with composers. When you're a young composer and you first have a chance-and this goes with everybody-you write your most complex works when you're a young man. And then, as you get a little bit older, you find that you can lot simpler things [sic] and still enjoy the devil out of what you're doing.
Clare FischerRelated topics
bit boy choice complex composer concept content devil different example find good great impress lay man orientation playing simpler somebody something thing try write young works Evans things NOTESRelated quotes
Some employees in slaughterhouses, she notes, rapidly develop a protective hardness and start killing animals in a purely mechanical way: "The person doing the killing approaches his job as if he was stapling boxes moving along a conveyor belt. He has no emotions about his act.” Others, she reveals, "start to enjoy killing and... torment the animals on purpose.” Speaking of these attitudes turned Temple's mind to a parallel: "I find a very high correlation,” she said, "between the way animals are treated and the handicapped.... Georgia is a snake pit-they treat [handicapped people] worse than animals.... Capital-punishment states are the worst animal states and the worst for the handicapped.” All this makes Temple passionately angry, and passionately concerned for humane reform: she wants to reform the treatment of the handicapped, especially the autistic, as she wants to reform the treatment of cattle in the meat industry.
Oliver Sacks
We should take counsel of both nature and art in the consideration of this question. When the architect intends a grand structure, he makes the foundation broad and strong. We should imitate this prudence in laying the foundations of the future Republic. There is a law of harmony in all departments of nature. The oak is in the acorn. The career and destiny of individual men are enfolded in the elements of which they are composed. The same is true of a nation. It will be something or it will be nothing. It will be great, or it will be small, according to its own essential qualities. As these are rich and varied, or pure and simple, slender and feeble, broad and strong, so will be the life and destiny of the nation itself. The stream cannot rise higher than its source. The ship cannot sail faster than the wind. The flight of the arrow depends upon the strength and elasticity of the bow, and as with these, so with a nation.
Frederick Douglass
What are the choices that we must make if we are now to succeed, and not to fail? [...] Two types of choices seem to me to have been crucial to tipping their outcomes towards success or failure: long-term planning, and willingness to reconsider core values. On reflection, we can also recognize the crucial role of these same two choices for the outcomes of our individual lives. One of those choices has depended on the courage to practice long-term thinking, and to make bold, courageous, anticipatory decisions at a time when problems have become perceptible but before they have reached crisis proportions. [...] The other crucial choice illuminated by the past involves the courage to make painful decisions about values. Which of the values that formerly served a society well can continue to be maintained under new changed circumstances? Which of these treasured values must instead be jettisoned and replaced with different approaches?
Jared Diamond
True there has been more talk of peace since 1945 than, I should think, at any other time in history. At least we hear more and read more about it because man's words, for good or ill, can now so easily reach the millions.
Very often the words are good and even inspiring, the embodiment of our hopes and our prayers for peace. But while we all pray for peace, we do not always, as free citizens, support the policies that make for peace or reject those which do not. We want our own kind of peace, brought about in our own way.
The choice, however, is as clear now for nations as it was once for the individual: peace or extinction. The life of states cannot, any more than the life of individuals, be conditioned by the force and the will of a unit, however powerful, but by the consensus of a group, which must one day include all states. Today the predatory state, or the predatory group of states, with power of total destruction, is no more to be tolerated than the predatory individual.
Lester B. Pearson
There is no doubt that Goya thought that one of the drugs chiefly responsible for the sleep of reason was the Church, and he had the lowest possible opinion of ecclesiastical institutions. However, this did not prevent him from painting religious pictures, completely sincerely because, like all Latin people, however little he believed in Christianity, he felt himself to be within the structure of the Catholic Church. One of his finest works was the decoration of a church near Madrid called S. Antonio de la Florida. He used the kind of device that would have appealed to Tiepolo. He painted a balcony round the drum of a cupola, and behind it he put a crowd of loiterers who are supposed to be watching the saint raise a man from the dead. Very few of them are interested in this unusual event. They are interested in each other or themselves, and show very well the curious tension between the individual and the collective, which is the essence of a crowd.
Kenneth Clark