musicians-from-kentucky

"At that time the army had just been integrated in the States. And it was one of the few industries that offered black people the possibility of advancement if you did a good job. Most industries didn’t have that then: you were the last hired and the first fired. He was in Vietnam and we were sitting waiting, and we were luckier than some because he was able to come home and live a pretty good life."

"It’s like a fairy tale…[Fairy tales] give you a context in which to talk about some things that you’re experiencing in your day-to-day. Theatre works in the same way—if it’s good theatre. When it’s well-crafted, well-honed, it opens wounds for the purpose of encouraging conversation while also giving us the tools with which to have that conversation."

"I am the white woman character, black woman character. I am the black man character, the white man character…I have to stand in that person’s shoes."

"Black people have had to become great at seeing ourselves where we are not present because that’s where we grew up. I see myself in Downton Abbey. Even before they introduced the black character, I was right there. Some weeks I was upstairs, some weeks I was downstairs! But it is different when you have a character who looks like you, so I’m glad to have plugged that gap a little bit."

"To make something beautiful is revolutionary (not low class, not easy, not a sign of low intelligence)."

"My own mystic bent leads me to believe that musical variations, collage, reiteration and process, or evolution, are beautiful. Life is worth living and beauty is worth making."

"The idea that beauty is revolution is a revelation to me. I once believed that the concept of the music was more important than the sound, that the politics of the notation was more important than the time limits of the rehersals and therefore, more important than the sound of the performance"

"I've rediscovered the part of my brain that can't decode anything, that can't add, that can't work from a verbalized concept, that doesn't care about stylish notation, that makes melodies that have pitch and rhythm, that doesn't know anything about zen eternity and gets bored and changes, that isn't worried about being commercial or avant-garde or serial or any other little category. Beauty is enough."

"Beauty means perfect to me, but it also has an additional meaning having to do with being pleasurable, rather than painful. Beauty is hard to make. The making is painful, and involves a certain amount of craft, and a relaxation of the part of the brain that says, "Don't write that. X wrote those four notes in 1542 or 1979 or 1825 or whatever period you are worried about being influenced by.""

"Real music soars above class society."

"I used to be obsessed with this idea that odd numbers are masculine and even ones are feminine. So I wrote pieces that used even numbers, as in:"

"::1 2 3 4 5 6 7 8 9"

"::a b c d e f g h i"

"::j k l m n o p q r"

"::s t u v w x y z"

"I have never been able to understand women composers who do not wish to be called women composers. I understand their argument but it seems so superficial to me. Our strength lies in our identification with women and music."

"To be simply a poorly paid or seldom played composer seems so tragic to me. But to be a woman composer with all the trials and tribulations that seem to go along with being a woman composer, puts everything in perspective. The struggle becomes heroic--not pitiful. The success becomes a success for all of us in the cause, not something merely egoistic."

"At the start of the twenty-first century, composer Beth Anderson is one of the most exciting personalities on the American classical music scene, bucking trends of formalism and attempting to make touch with her inner self, tastes and identity in her music."

"Beth Anderson writes pretty music - the prettiest music I know of, after Schubert, Faure, Debussy, and a few long-dead white males. Her prettiness is not an intellectual deficiency, but a political stance. "To make something beautiful," Anderson likes to say, "is revolutionary." Her web page lists her as a "neo-romantic, avant-garde composer," and she may be the only composer in the world who could justify both contradictory labels. Her music has the simplicity of that of Erik Satie or, even more, Virgil Thomson. It is listenable, melodic, fun to play. Such qualities often bring her into conflict with other composers. On one 12-tone-heavy musical festival, she says, after her lullaby was performed "everyone quit speaking to me." And yet her music is no throwback to an easy past, but radical on its own terms."

"By the early 1980s, however, Anderson had moved away from text-sound music and conceptualism toward a chamber music style of great beauty, generally simple tonality, and luminous textures. She adopted a deceptively unmilitant motto—“To make something beautiful is revolutionary”... Even today, however, her chamber music betrays its twentieth-century roots in its pervasive use of collage. Her preferred form, and one she invented herself, is the swale: a term for a meadow or marsh in which a lot of plants grow together, and by extension a musical piece in which diverse musical ideas and even styles grow side by side. (The interest is curiously anticipated in a 1979 text-sound piece that runs, “Clover and daisies, alfalfa, and Queen Anne’s lace, hegemony, hodge-podge, and heliotrope... ” However, Anderson didn’t discover the word until a horse named Swale won the 1984 Kentucky Derby.)"

"The relationship of feminism to my work and the evolution of the form of my music are in violent flux."

"Regarding my childhood, my grandmother could play by ear and she loved to hear me practice and would say after every piece, "That was pretty. Play that one again." She was a booster. I had two women piano teachers who encouraged me to compose--Margie Murphy and Helen Lipscomb. Helen was also a composer and we used part of my lessons for composition. When I was in high school, I read John Cage's books and fell in love with the ideas and the excitement of the avant garde. My music, as a result, moved over to what has been called post-Cagian, non-academic. That lasted until about 1979 at which point I changed. My music is now quite lyrical, sometimes called neo-Romantic, and full of cut-ups/collage of newly composed materials. Since 1985 I have been composing mostly swales for various instrumental combinations. A swale is a meadow or a marsh where there is nourishment and moisture and therefore, a rich diversity of plant life. My work, since 1984, has been made from swatches (of newly composed music, rather than found music) which are reminiscent of this diversity..."

"I play myself all the time... on camera and off. What else can I do?"

"Joy, happiness, good, bad, all those terms are meaningless to me. If you think of yourself as a separate soul, you're fucked."

"You want people walking away from the conversation with some kernel of wisdom or some kind of impact."

"I’m a late bloomer. It’s just a matter of how you evolve; of what your pace is. Hopefully, the older you get the more you grow. So, that has been my speed, the beat of my drum. I march to the beat of a different drum … you’ll pardon me for using this expression."

"No movie featuring either Harry Dean Stanton or M. Emmet Walsh in a supporting role can be altogether bad."

"Another day goes by Still the children cry Put a little love in your heart."

"Her hair is Harlow gold Her lips a sweet surprise Her hands are never cold She's got Bette Davis eyes"

"There can be a new tomorrow There can be a brighter day There can be a new tomorrow Love will find a way"

"I can feel a something pounding in my brain Just any time that someone speaks your name Trumpets sound and I hear thunder boom Every time that you walk in the room."

"She'll turn her music on you You won't have to think twice She's pure as New York snow She's got Bette Davis eyes"

"If you want the world to know We won't let hatred grow Put a little love in your heart."

"Most of the time I sit down with my guitar or at the piano, and I play for awhile until I get a new riff or groove that I like a lot. Then I'll concentrate on building around that line of thought by adding words and textures. At first I'm only trying to please myself, and hopefully what I like will appeal to others."

"I've always been careful to put out the very best work I can. One of the things I value the most is the love and faith that people have given me over the years, so I try to live up to their expectations and my own standards of what I'm capable of."

"When I was writing songs or performing or producing or dabbling in movies or even putting my career on hold to go to art school, I was just following my muse. A woman who did that then was criticized for having no direction. Today they call it versatility."

"What the world needs now is love, sweet love, It's the only thing that there's just too little of. What the world needs now is love, sweet love, No not just for some but for everyone."