You can't kill the past by denying the past. You can kill it only by making it obsolete. And even in that, you have to find honor in the past. You can't hack off pieces of yourself, and expect them to grow again.
Jeff BuckleyRead
Words are beautiful but restricted. They're very masculine, with a compact frame. But voice is over the dark, the place where there's nothing to hang on: it comes from a part of yourself that simply knows, expresses itself, and is.
Interpretation
The quote contrasts the limitations of words with the freedom of voice as a form of expression.
Jeff Buckley reflects on the inherent beauty of words, acknowledging their limitations and structure, which he describes as masculine. In contrast, he posits that voice transcends these boundaries, emerging from a deeper, more instinctive part of oneself, capable of expressing authenticity and emotion in ways that words alone cannot.
In practice
This quote can be used in a speech about the power of music and emotions.
You can't kill the past by denying the past. You can kill it only by making it obsolete. And even in that, you have to find honor in the past. You can't hack off pieces of yourself, and expect them to grow again.
I became a human jukebox, learning all these songs I'd always known, discovering the basics of what I do. The cathartic part was in the essential act of singing. When is it that the voice becomes an elixir? It's during flirting, courtship, sex. Music's all that.
Critics... They're like traffic cops. They say what they have to say, then leave, and another guy moves in ,and he has his say - and it's often just the opposite. The result is either critical acclaim or critical murder, and neither has any bearing on my music or direction.
Grace is what matters. In anything. Especially life, especially growth, tragedy, pain, love, death. About people, that's what matters. That's a quality I admire very greatly. It keeps you from reaching for the gun too quickly; it keeps you from destroying things too foolishly; it sort of keeps you alive and keeps you open for more understanding.
I've always felt that the quality of the voice is where the real content of a song lies. Words only suggest an experience, but the voice is that experience.
I don't see people. I don't see men and women at all. When I see them, I see... their mothers and fathers. I see how old they are inside. Like when I look at the president, or anybody in a record company, or a store owner, I may see a little boy behind the counter with the face of an old man. And that's who I talk to.
There's something peculiar about writing fiction. It requires an interesting balance between seeing the world as a child and having the wisdom of a middle-aged person. The further you get from childhood and the experience of the teenage years, the greater the danger of losing that wellspring.
The naming of cats is a difficult matter. It isn't just one of your holiday games. You may think at first I'm mad as a hatter. When I tell you a cat must have three different names.
It still amazes and fascinates me that women of color have kept my work alive for these many generations.
There is no such thing as realistic dialogue. If you [simply recorded] the real conversation of any people and played it back from the stage, it would be impossible to listen to. It would be redundant . . . . The good dialogue writer is the one who can give you the impression of real speech.
My [singing] style really has no style, because I try to sing each number differently. I’ve always believed that if style takes precedent over the words and music, the audience get’s cheated. It’s like when people see a fine play or movie. They imagine themselves in the leading role. I want them to imagine that they’re singing - not just listening to someone else.
Movies absorb our attention more completely, I think.
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