Songwriters From The United States

"I have always thought about how stupid and boring violence seems in this world where we could just listen to more stories instead, right? We could ask people who trouble us, Could you tell me your story? Usually I have found when you ask someone to do that, you end up feeling closer to them, even if their story in no way mirrors yours. Find a better thing to do."

"It is really hard to be lonely very long in a world of words. Even if you don't have friends somewhere, you still have language, and it will find you and wrap its little syllables around you and suddenly there will be a story to live in."

"I keep feeling so much gratitude for what we are given in our lives. All of us, by way of accident, by way of things we couldn't have selected ourselves. The worlds we are born into, the people we are related to, the landscapes we learn to love wherever we are."

"I hope you feel as I do that it wouldn't be that hard for the United States to have two friends. You know, to have only one good friend seems like the dark side of junior high school. Every time President Obama or any president says, "Israel, you are our enduring friend forever," I think, Okay that's fine, but couldn't you have two friends? What about, "Palestine, you are our friend too." Why not?"

"I kept thinking, as did millions of other people, what can we do? Writers, believers in words, could not give up words when the going got rough. I found myself, as millions did, turning to poetry. But many of us have always turned to poetry. Why should it be any surprise that people find solace in the most intimate literary genre? Poetry slows us down, cherishes small details. A large disaster erases those details. We need poetry for nourishment and for noticing, for the way language and imagery reach comfortably into experience, holding and connecting it more successfully than any news channel we could name."

"I keep thinking, we teach children to use language to solve their disputes. We teach them not to hit and fight and bite. Then look what adults do!"

"Call me thy foe in thy passion; claim me in peace for thy friend; Yet bethink thee by lowland and upland, wherever thou wiliest to wend, I am thine Angel of Judgment; mine eyes thou must meet in the end."

"Though earth be but an outpost of delight, Heaven"s wild frontier by tragedy beset, Only a Shakespeare may her gifts requite. Only a happy Raphael pay his debt. Yet I, to whom, even as to these, are given Cascading foam, emblazoned butterflies, The moon"s pearl chariot through the massed clouds driven, And the divinity of loving eyes, Would make my peace now with mine hostess Earth, Give and take pardon for all brief annoy, And toss her, far beneath my lodging"s worth, Poor that I am, a coin of golden joy."

"Because the years are few, I must be glad; Because the silence is so near, I sing; "Twere ill to quit an inn where I have had Such bounteous fare nor pay my reckoning. I would not, from some gleaming parapet Of Sirius or Vega, bend my gaze On a remembered sparkle and regret That from it thanklessly I went my ways Up through the starry colonnades nor found Violets in any Paradise more blue Than those that blossomed on my own waste ground Nor vespers sweeter than the robins knew."

"Never was there lovelier town Than our Falmouth by the sea. Tender curves of sky look down On her grace of knoll and lea."

"Here is princely interchange Of the gifts of shore and field, Starred with treasures rare and strange That the liberal sea-chests yield. Culture here burns breezy torch Where gray captains, bronzed of neck Tread their little length of porch With a memory of the deck. Ah, and here the tenderest hearts, Here where sorrows sorest wring And the widows shift their parts Comforted and comforting. Holy bell of Paul Revere Calling such to prayer and praise. While a hundred times the year Herds her flock of faithful days!"

"Greetings to thee, ancient bell Of our Falmouth by the sea! Answered by the ocean swell, Ring thy centuried Jubilee! Like the white sails of the Sound, Hast thou seen the years drift by, From the dreamful, dim profound To a goal beyond the eye."

"O beautiful for patriot dream That sees beyond the years Thine alabaster cities gleam Undimmed by human tears. America! America! God shed His grace on thee, And crown thy good with brotherhood From sea to shining sea."

"That which thou wouldst be thou must be, that which thou shalt be thou art; As the oak, astir in the acorn, the dull earth rendeth apart, Lo thou, the seed of thy longing, that breaketh and waketh the heart."

"O beautiful for pilgrim feet Whose stern impassion'd stress A thoroughfare for freedom beat Across the wilderness. America! America! God mend thine ev'ry flaw, Confirm thy soul in self-control, Thy liberty in law."

"Still thy mellow voice and clear Floats o'er land and listening deep, And we deem our fathers hear From their shadowy hill of sleep. Ring thy peals for centuries yet, Living voice of Paul Revere! Let the future not forget That the past accounted dear!"

"O beautiful for heroes prov'd In liberating strife, Who more than self their country loved, And mercy more than life. America! America! May God thy gold refine Till all success be nobleness, And ev'ry gain divine."

"I am the drawn sword barring the lanes thy mutinous feet Vainly covet for greenness. Loitering pace or fleet, Thine is the crag-path chosen. On the crest shall rest be sweet."

"O beautiful for spacious skies, For amber waves of grain, For purple mountain majesties Above the fruited plain! America! America! God shed His grace on thee, And crown thy good with brotherhood From sea to shining sea!"

"I am the cry of the night wind, startling thy traitorous sleep; Moaning I echo thy music, and e"en while thou boastest to reap Alien harvests, my anger resounds from the vehement deep."

"By the promise of noon"s blue splendor in the dawn"s first silvery gleam, By the song of the sea that compelleth the path of the rockcleaving stream, I summon thee, recreant dreamer, to rise and follow thy dream."

"In the inmost core of thy being I am a burning fire, From thine own altar-flame kindled in the hour when souls aspire, For know that men"s prayers shall be answered, and guard thy spirit"s desire."

"I am the solitude folding thy soul in a sudden embrace. Faint waxes the voice of thy fellow, wan the light on his face. Life is as cloud-drift about thee alone in shelterless space."

"I am thy strong consoler when the desolate human pain Darkens upon thee, the azure outblotted by rush of the rain. All thou dost cherish may perish; still shall thy quest remain."

"Do you smile to tempt a lover, Mona Lisa? Or is this your way to hide a broken heart? Many dreams have been brought to your doorstep They just lie there, and they die there Are you warm? Are you real, Mona Lisa? Or just a cold and lonely, lovely work of art?"

"Mona Lisa, Mona Lisa, men have named you You're so like the lady with the mystic smile."

"City sidewalks, busy sidewalks, dressed in holiday style In the air there's a feeling of Christmas Children laughing, people passing, meeting smile after smile And on every street corner you hear Silver bells, (silver bells), silver bells, (silver bells) It's Christmastime in the city Ring a ling, (ring a ling), hear them ring, (hear them ring) Soon it'll be Christmas Day"

"When I was just a little girl I asked my mother, what will I be Will I be pretty? Will I be rich? Here's what she said to me Que sera, sera Whatever will be, will be The future's not ours to see Que sera, sera What will be, will be."

"We all have natural human tendency to take the safe route—to do the thing we know will work—rather than taking a chance. But that's the antithesis of jazz, which is all about being in the present. Jazz is about being in the moment, at every moment. It's about trusting yourself to respond on the fly. If you can allow yourself to do that, you never stop exploring, you never stop learning, in music or in life."

"I came back to New York looking for a piano player. I found him in Herbie Hancock. I had met Herbie about a year or so earlier when the trumpet player brought him by my house on West 77th Street. He had just joined Donald's band. I asked him to play something for me on my piano, and I saw right away that he could really play. When I needed a new piano player I thought of Herbie first and called him to come over. I was having and over so I wanted to know how he would sound with them. They all came over and played every day for the next couple of days, and I would listen to them over the intercom system I had hooked up in my music room and all over the house. Man, they sounded too good together. On around the third or fourth day, I came downstairs and joined them and played a few things. [...] I knew right away this was going to be a motherfucker of a group."

"A few months ago, Wayne Shorter and I were being interviewed after performing in a quartet at the . Before any questions were asked, the interviewer remarked that in previous interviews, responses from Wayne "tripped him out" so much that he would be discovering new meanings in Wayne's words for several days. He said that it wasn't just what Wayne said but how he said it that did the trick, and that he was looking forward to another mind-blowing experience. Even though I was the other interviewee, I was also looking forward to Wayne's profoundly creative and thought-provoking reactions to the questions. Reactions, not just answers, that are chock-full of wisdom. In his jovial way, and with an innately uncanny sense, Wayne says what a person needs to hear in order to expand himself. No, it's even better than that. It's more like, you feel that Wayne has gleaned deeper meaning from a question by using it as a springboard for an answer that will blow your socks off and perhaps change your life for the better. As a matter of fact, you might start to think, Wow, I didn't know my question had so much in it."

"redefined swing for modern jazz pianists for the latter half of the 20th century up until today. I consider him to be the major influence that formed my roots in jazz piano playing. He mastered the balance between technique, hard blues grooving, and tenderness. You'll find Oscar Peterson's influence in the generations that come after him. No one will ever be able to take his place."

"Tony would lead the tempo, and Herbie was like a sponge. Anything you played was cool with him; he just soaked up everything. One time I told him that his chords were too thick, and he said, "Man, I don't know what to play some of the time." "Then, Herbie, don't play nothing if you don't know what to play. You know, just let it go; you don't have to be playing all the time!" He was like someone who will drink and drink until the whole bottle is gone just because it's there. Herbie was like that at first; he would just play and play and play because he could and because he never did run out of ideas and he loved to play. Man, that motherfucker used to be playing so much piano that I would walk by after I had played and fake like I was going to cut both of his hands off."

"[B]y the time I actually heard , I started picking that stuff out; my ear was happening. I could hear stuff and that's when I really learned some much farther-out voicings – like the harmonies I used on ' – just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... he and Bill Evans, and and , finally. You know, that's where it came from."

"A lot of times I would let Herbie play no chords at all, just solo in the middle register and let the bass anchor that, and the shit sounded good as a motherfucker, because Herbie knew he could do that. See, Herbie was the step after and Thelonious Monk, and I haven't heard anyone yet who has come after him."

"I didn't know whether Wayne was crazy or a genius. I knew something was there, but I couldn't get a handle on it. We were playing some club outside of Boston. After the gig, I got a bottle of cognac and went back to his hotel room and we drank. And we talked for hours. And I began to see that there were word games that Wayne would play. His whole approach was much more like poetry, if anything, than how we normally perceive standard conversation. His way of speaking was on a much higher plane. I did come to the conclusion that he was a genius, not crazy."

"Though Herbie Hancock has the chops to share a stage with Miles Davis and to create such jazz classics as Watermelon Man and Cantaloupe Island, he may forever be remembered for a one-off novelty track called “Rockit”, a song that (along with its groundbreaking video) was all over MTV in the network’s early days. As cracking a track as Rockit is, it is not indicative of Hancock’s style of electrified jazz. However, it does showcase that he was that rare jazz performer who did not shy away from the wonders of technology. It received criticism from purists, but Hancock was used to it. He’d gotten the same sort of guff when his Headhunters group crossed the line into pop and funk music in the early ‘70s. Nevertheless, the man’s playing is impeccable."

"Hey, man; I would never dare to sing alone and unaided. I mean, nobody would want to hear the sound of my natural voice. But by singing through this new machine, I can mix what I sing with what I play on the synthesizer and it comes out sounding like you hear it on Sunlight. [...] What it all means is that I can sing "I love you, baby" down while playing different notes with the same rhythm up on the synthesizer ... Now any keyboard player who can coordinate his playing with his singing can sing anything he wants to ... and be able to do all the things singers can't do that instrumentalists can."

"I remember we were at some club in Detroit, and playing all kinds of crazy things behind George, while behind Miles we played really straight. And Miles said afterward, "Why don't you play like that behind me?" That's when Tony and I began playing our little musical game behind Miles. After only four days, it turned around and he was leading us. And Miles began playing different after that. It was the most uncannily rapid adaptation I could ever imagine."

"I realized I could never be a genius in the class of Miles, Parker or Coltrane, so I might just as well forget about becoming a legend and just be satisfied to create some music to make people happy. I no longer wanted to write the Great American Masterpiece."

"I'm not a chauffeur. Nobody would have bought any of my records if I were. I'd have had nothing to say. I'm supposed to be presenting things to the public, not accepting requests. I call the shots. They don't have to like it. I really wanted to develop my career in such a way that I have the freedom to do what I want to do, and not have that considered bizarre. I think I'm finally at that point. People are no longer surprised when I come out with something different. I've done it enough now. That's what I've wanted all this time."

"The growth of the creator economy has accelerated much faster than I ever could have dreamed of when we began this journey eight years ago. We are at a critical inflection point and I’m excited to partner closely with Tiffany to scale our teams to power our next phase of growth."

"But discovery is not terrible for creative people. I open the Patreon app, and it says 'you’re subscribed to these four creators, here are two more just like them. You can push the button and subscribe here.' That seems like a very natural thing to want to do."

"If you're judging any creative effort, longevity is the reward."

"I think there's something unspoken that whenever something emanates from you, you're going to get it back. And the fact is that it's emanated from a real place of friendship. I think that's translated. You can be down with a solo artist. You can be like, "I'm Ice Cube" — but you see two dudes on stage and you don't know why the fuck they're friends, you don't know how it happened and it doesn't require explanation. It allows people to feel a part of it, and they can be. At shows we see little five foot versions of us, fucking chubby white and black kids showing up with RTJ banners that they had made at their fucking house."

"When you’re not fed with a silver spoon you learn to lick it off a knife."

"Don’t listen to the people on the sidelines. Pay attention to the actual players."

"We say that 'Black Lives Matter’ Well truthfully they really never have. No one ever really gave a fuck. Just read your bullshit history books. But honestly it ain't just black. It's yellow, it's brown, it's red. It's anyone who ain't got cash. Poor whites that they call trash."

"I had an aunt that used to say, “You keep using the same recipe, You’re gonna keep baking the same cake. “You’ve gotta change the ingredients if you want a different outcome.""

"Don't mess with my Phil."