“I'd like to see people try to sample the sound less and try to sample the style a bit more. Some people see this sort of 'copying' as offensive… I'm inclined to think the opposite - all music is built on imitation and expansion.”

Static Line interview, 1998

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Andrew Sega52

musician from America 1975

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“Basically, the whole thing of the project is to take it back to my old sound, the old DJ Paul sound. Before Three 6 Mafia when I was just DJ Paul and it was just me and my brother Lord Infamous. It was like a mix of songs and it was either me or members of my crew and some of it would be my signature “Crunkstrumentals” which would be instrumentals with crunk chants and sampled hooks and this and that on it. I brought those back a little bit on my last album Yots (Year Of The Six) Pt. 2 that dropped last quarter of last year, 2016. So, there will be more of those on there, like I said it’s just the original OG Paul sound that’s what the fans been asking for and I see that what a lot of people are back into these days, there using that old three six sounds and a lot of people are sampling it and clear samples from me. They sampled the creator it takes the king to bring it back himself. I never left it alone, to be honest with you, but I just didn’t do full albums of it. It would just be a track on my albums or mixtapes, not a single but this whole Volume 17 mixtape is going to be like that.”

DJ Paul (1977) American rapper and record producer

Interview with Three 6 Mafia Founder DJ Paul http://therapfest.com/behind-lyrics-interview-three-6-mafias-founder-dj-paul/

“When final contact was made, they would try to secure samples by drilling or laser spectroscopy”

Arthur C. Clarke (1917–2008) British science fiction writer, science writer, inventor, undersea explorer, and television series host

2010: Odyssey Two (1982), Ch. 43: Thought Experiment
1980s
Context: Plans for the final assault on Big Brother had already been worked out and agreed upon with Mission Control. Leonov would move in slowly, probing at all frequencies, and with steadily increasing power — constantly reporting back to Earth at every moment. When final contact was made, they would try to secure samples by drilling or laser spectroscopy; no one really expected these endeavours to succeed, as even after a decade of study TMA-1 resisted all attempts to analyse its material. The best efforts of human scientists in this direction seemed comparable to those of Stone Age men trying to break through the armour of a bank vault with flint axes.

“Well I'm trying to think what I put in… I think I put in 'why?' to see if I'd confuse the computer.”

Karl Pilkington (1972) English television personality, social commentator, actor, author and former radio producer

Xfm 09 November 2002
On Technology

“You don't ever get a chance to play what you really do; and if you do, you notice that you can't play, because you haven't been. And often I'd be asked to play like somebody else, like Joe Sample. I'd say, "I can't play like him. He's an original." I'd be asked to try and the producers would love it, but I'd feel rotten. Then one time I ran into Joe and he told me, "Man, I'm tired of people asking me to play like you."”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

My jaw dropped. Then I found out this is a common practice. <br class="br">On his years in the studio, playing on films, TV shows and jingles, as quoted in "He Arranges, Composes, Performs: Fischer, A Renaissance Man Of Music" http://articles.latimes.com/1987-05-14/entertainment/ca-8949_1_clare-fischer

“I think that the public judges a song on the overall feel, not individual samples. If a sample contributes too heavily to the song, and the sample is recognized, the opinion of the piece goes down.”

Andrew Sega (1975) musician from America

Static Line interview, 1998

“It's because they want to sound like Americans. I'd like to see them develop our music and sing it their way, but they think sounding American is going to take them higher, but it is not. They have beautiful voices, but they want to sound like Whitney Houston. You can't beat people like that at their own game. And they can't beat me at mine, either!”

Miriam Makeba (1932–2008) South African singer and civil rights activist

Interview with Robin Denselow (May 2008)
Source: Denselow, Robin, http://arts.guardian.co.uk/filmandmusic/story/0,,2280144,00.html, Robin Denselow talks to African superstar and activist Miriam Makeba, The Guardian, 15, London, 16 May 2008, 18 November 2010

“People call my music complex because I will have instruments playing at their own paces, as if the other instruments weren't even there. It doesn't march along in the same way that most older music does. But to me, I honestly don't think that a work like Debussy's La Mer is any less complex than my work. It's full of all sorts of sounds and textures going on at once, yet we still look at is as beautiful, structured and fluid. That's all I'm trying to do; I'm not out to compose for complexity's sake.”

Elliott Carter (1908–2012) American composer

From American Gothic: An Interview with Elliott Carter http://edwebproject.org/carter.html (1993) by Andy Carvin.

“Fame doesn't affect my relationships with people much because I've got my head on straight, but there is some sort of undertone that has a weird effect when you're trying to walk through life – I'm not interested in seeing "the media" manifest itself in my life. I don't even like to call acting a career. I prefer to think of it as a project, or else I'd start worrying about things like money. I like contributing to causes, people and the world around me. Just kind of sharing it all, that's what's important.”

River Phoenix (1970–1993) American actor, musician, and activist

Hard Rock Times (1991)

“Me personally and professionally, I haven't been that outspoken about race and class, partly because it's in my work, but in part because I don't want to get hate mail. I'm sick of trying to talk to people. I don't think you can change people. I think people have to be forced to do the right thing, so I'm not interested in trying to change people's opinion. I can illuminate, and you can see if you like. And if you can't see it, then just go buy the next book. But I'm sorry, I'm no longer interested in trying to be nice about what is right, because that doesn't work.”

James McBride (writer) (1957) American journalist

On letting his work speak regarding race and class in “James McBride Says Fiction Writing Allows Him More Freedom” https://www.npr.org/2017/10/01/554933082/james-mcbride-says-fiction-writing-allows-him-more-freedom in NPR (2017 Oct 1)

“What is needed is a noticeable unnoticeable style,… a directness of speech that seems to one judging easily imitable, to one trying it nothing less so.”

J. V. Cunningham (1911–1985) American writer

The Problem of Style, Fawcett, New York 1966
General

“I'd like to see people try to sample the sound less and try to sample the style a bit more. Some people see this sort of 'copying' as offensive… I'm inclined to think the opposite - all music is built on imitation and expansion.”

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Andrew Sega52

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