"After two takes you're imitating yourself." —Thelonious Monk
"If you're making a record, you're the one saying 'action', you're the one saying 'cut', and you have to be sure that the most interesting thing is not going on outside the frame. I try to pay attention to what people are doing from the moment they come into the room. If they're just goofing around before we begin, that may be the best thing they do all day. I have to be waiting." —Tom Waits
"People don't understand the kind of fight it takes to record
what you want to record the way you want to record it." —Billie Holiday
"Either you decide to stay in the shallow end of the pool
or you go out in the ocean." —Christopher Reeve
"Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you've got to go deeper. Down deep the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful." —David Lynch
"Why is it that Americans need to hear their happiness major and their tragedy minor, and as jazzy as they can handle is a seventh chord? Are they not experiencing complex emotions?" —Joni Mitchell
"The studio is torn down, all the people who played on it are dead, the instruments have been sold off. But you're listening to a moment that happened in time 60 years ago and you're hearing it just as sharp as when it was made. That remains an amazing thing to me." —Tom Waits
"I have no idea to this day what those two Italian ladies were singing about. Truth is, I don't want to know. Some things are best left unsaid. I'd like to think they were singing about something so beautiful, it can't be expressed in words, and makes your heart ache because of it." —Ellis Boyd "Red" Redding
"As long as I have energy, I'll keep going.
What else can I do? Music is my life." —Sonny Rollins
I love watching cooking shows on the FOOD NETWORK, but why do they have to use such awful, generic music?
It's the individual cooking style and colorful personality of the host that gives each of these shows its unique flavor and appeal. The addition of canned, processed music to the recipe does nothing but detract from a show's authenticity and individuality. Even silence would be better.
Consider my favorite Food Network program, Barefoot Contessa. This show celebrates "the good life" as Ina Garten uses farm fresh ingredients to create elegant, easy recipes for entertaining at her home in the Hamptons. But in every episode, for some inexplicable reason, the spell is broken at regular intervals by mind-numbing loops of Ibiza trance and Bossa Nova guitar—the same musical wallpaper you might hear during a lab work montage on CSI, or in the lobby of a W Hotel. It ain't right.
Why don't they give my girl Ina a joyous, varied soundtrack like the one in the Stanley Tucci film Big Night? The licensing fees for 50's pop classics aren't prohibitively expensive, and many of the Neapolitan ballads and operatic arias are in the public domain.
And how about hiring a composer to create an original theme for the beautiful Giada de Laurentiis (pictured) — something that evokes both her relaxed approach to Calfornia cuisine and her proud European heritage? Mark Adler, who scored the 2008 movie Bottle Rocket, would do an excellent job with a project like this.
And don't you think there's a blues band somewhere in Memphis right now that would love to create just the right "down home" atmosphere for the southern kitchen of Pat & Gina Neely?
I can't be the only musician who feels this way. I'm pretty sure Jon Burr, Anthony Wilson and Hans Schuman would have a few good thoughts on the subject. So many of us in the music community are foodies and oenophiles, there's really no excuse for depriving these shows of the aural upgrades they so desperately need.
So come on Food Network, get it together! Your stars and your viewers deserve better. ~DM