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Joanna Newsom
63 quotes
“And in an infinite regress: Tell me, why is the pain of birth lighter borne than the pain of death?”
Joanna Newsom (born 1982) wikiquote, CC BY-SA 4.0 source
“I know we must abide each by the rules that bind us here: the divers, and the sailors, and the women on the pier.”
Joanna Newsom (born 1982) wikiquote, CC BY-SA 4.0 source
“Recall the word you gave: to count your way across the depths of this arid world, where you would yoke the waves, and lay a bed of shining pearls! I dream it every night: the ringing of the pail, the motes of sand dislodged, the shucking, quick and bright; the twinned and cast-off shells reveal a single heart of white.”
Joanna Newsom (born 1982) wikiquote, CC BY-SA 4.0 source
“And never will I wed. I'll hunt the pearl of death to the bottom of my life, and ever hold my breath, till I may be the diver's wife.”
Joanna Newsom (born 1982) wikiquote, CC BY-SA 4.0 source
“Hey little leaf, lying on the ground— now you're turning slightly brown! Why don't you come back on the tree, turn the color green the way you ought to be?”
Joanna Newsom (born 1982) wikiquote, CC BY-SA 4.0 source
“In martial wind, and in clarion rain, we minced into battle, wincing in pain; not meant for walking, backs bound in twine: not angel or devil, but level, in time.”
Joanna Newsom (born 1982) wikiquote, CC BY-SA 4.0 source
“Now the towns and forests, highways and plains, fall back in circles like an emptying drain. And I won't come round this way again, where the lonely wind abides, and you will not take my heart, alive.”
Joanna Newsom (born 1982) wikiquote, CC BY-SA 4.0 source
“So it would seem to be true: when cruel birth debases, we forget. When cruel death debases, we believe it erases all the rest that precedes. But stand brave, life-liver, bleeding out your days in the river of time. Stand brave: time moves both ways”
Joanna Newsom (born 1982) wikiquote, CC BY-SA 4.0 source
“Love is not a symptom of time. Time is just a symptom of love”
Joanna Newsom (born 1982) wikiquote, CC BY-SA 4.0 source
“Joy! Again, around—a pause, a sound—a song: a way a lone a last a loved a long. A cave, a grave, a day: arise, ascend. (Areion, Rharian; go free and graze. Amen.) A shore, a tide, unmoored—a sight, abroad: A dawn, unmarked, undone, undarked (a god). No time. No flock. No chime, no clock. No end. White star, white ship—Nightjar, transmit: transcend!”
Joanna Newsom (born 1982) wikiquote, CC BY-SA 4.0 source
“I'm not terribly interested in playing harp on other people's music right now. Partly because I feel like many people view the harp as this kind of gimmick. You know, like they have songs that are fully realized, complete songs, and then they think "How do we make this special? - Ooh, let's bring the harp in!" and they kind of want a harpist to play a glissando and play some heavenly noise in the background. I'm really interested in the harp as a fully actualized, self-contained way of presenting songs. That there is a bass in the harp - there is a way to create a rhythmic sense without drums - there's a way to have all sorts of textural variations and expressive variations. I also don't want to feel bound to the harp, I'd be interested in bringing other instruments in at some time. But I think the harp has been viewed in one particular way for so long, and has been limited for so long, that I feel like I am really interested in stretching the boundaries of what it's capable of doing and how it's perceived.”
Joanna Newsom (born 1982) first seen 2004 wikiquote, CC BY-SA 4.0 source
Recorded in: Sunday Service, 13 December 2004
“[The title] was the last thing that I chose, after all the songs and the cover art were finished. So none of the songs directly allude to that myth. But the main themes that emerge out of that myth are really close to the themes on the record -- mortality, decadence, an excess of water, isolation, rebirth. The myth is also significant to me because of the way that I encountered it, which relates to one of the huge events the record is about. I also liked the power of the word itself. I liked how violent and cryptic it felt; it's such a daunting word to encounter. I like how it contrasted this finely rendered, carefully composed front cover -- the painting is information-dense, formal, and stylized; it looks the way something looks when a painter spends a year on it, which is what Benjamin [Vierling] did. So it has all this detail and carefulness to it, which was really important to me and relates very closely to the record. But I also felt like it needed some sort of ballast, or balance, next to it, to reflect the other elements of the record; its innate violence. I wanted a word that was like throwing a brick at the visual on the front cover; I liked that whenever someone looked at that cover they also had to encounter this short, weird word.”
Joanna Newsom (born 1982) wikiquote, CC BY-SA 4.0 source
“I don't necessarily see the elements that I invoke on the cover and in the songs as being in binary opposition. I know certain binary tensions emerge between these elements, but a lot of times they're more like archetypal elements; these free-standing, huge forces. Mortality, standing alone, as a thing; as opposed to, "Over here's life; over here's death. Here's bad luck, but here's blessing and redemption. Here's water; here's fire." Certainly those things come up again and again in the songs, but it's not intentional, and probably has more to do with the fact that those things emerge in real life, without any effort on our part whatsoever, than they are derived from any classical tradition. I think classicism in general might reflect more closely the natural order of human life, while postmodernism is somehow removed from the natural order, more cerebral and sterile, removed from real life on some level. So what seems like classicism in some of these songs might be just what I view as an accurate reflection of real life on this planet.”
Joanna Newsom (born 1982) wikiquote, CC BY-SA 4.0 source