Posts Tagged ‘quote’


Tuesday, November 8th, 2011

Henry: Do you listen to old music?
me: How old?
Henry: Like Motown, oldies…
me: I listen to 14th century music.

Ken: You know, when I was young, a good friend and I would go to a diner at 2am, and order a large order of onion rings…
John and me: Yummm..
Ken: …fried zucchini…
John and me: Mmmm!
Ken: …and hot chocolate.
John and me: Wait… WHAT? All at once?
Ken: Of course! Why not?
John and me: Ugh.


Monday, January 28th, 2008

I was reading a book of Kafka short stories at the coffeeshop today. I especially liked the following piece:

To lift yourself out of a miserable mood, even if you have to do it by strength of will, should be easy. I force myself out of my chair, stride around the table, exercise my head and neck, make my eyes sparkle, tighten the muscles around them. Defy my own feelings, welcome A. enthusiastically supposing he comes to see me, amiably tolerate B. in my room, swallow all that is said at C.’s, whatever pain and trouble it may cost me, in long draughts.

Yet even if I manage that, one single slip, and a slip cannot be avoided, will stop the whole process, easy and painful alike, and I will have to shrink back into my own circle again.

So perhaps the best resource is to meet everything passively, to make yourself an inert mass, and, if you feel that you are being carried away, not to let yourself be lured into taking a single unnecessary step, to stare at others with the eyes of an animal, to feel no compunction, in short, with your own hand to throttle down whatever ghostly life remains in you, that is, to enlarge the final peace of the graveyard and let nothing survive save that.

A characteristic moment in such a condition is to run your little finger along your eyebrows.

translated by Willa and Edwin Muir

an excerpt

Friday, June 30th, 2006

I finished reading Sylvia Plath’s The Bell Jar today. I found an excerpt in it that describes exactly how I’ve been feeling for the past few years, but especially this year:

I felt like a racehorse in a world without racetracks or a champion college footballer suddenly confronted by Wall Street and a business suit, his days of glory shrunk to a little gold cup on his mantel with a date engraved on it like the date on a tombstone.
I saw my life branching out before me like the green fig tree in the story.
From the tip of every branch, like a fat purple fig, a wonderful future beckoned and winked. One fig was a husband and a happy home and children, and another fig was a famous poet and another fig was a brilliant professor, and another fig was Ee Gee, the amazing editor, and another fig was Europe and Africa and South America, and another fig was Constantin and Socrates and Attila and a pack of other lovers with queer names and offbeat professions, and another fig was an Olympic lady crew champion, and beyond and above these figs were many more figs I couldn’t quite make out.
I saw myself sitting in the crotch of this fig tree, starving to death, just because I couldn’t make up my mind which of the figs I would choose. I wanted each and every one of them, but choosing one meant losing all the rest, and, as I sat there, unable to decide, the figs began to wrinkle and go black, and, one by one, they plopped to the ground at my feet.

Coincidentally, the character in the story is at the exact same point in her life – the summer between her junior and senior years in college.

Monday, December 19th, 2005

“Men stumble over the truth from time to time, but most pick themselves up and hurry off as if nothing happened.”

Wednesday, November 9th, 2005

In my Japanese homework, I have to answer the question: “How many glasses of water do you drink in a day? How about alcohol?”

I like this quote.

Thursday, August 4th, 2005

One could not be a successful scientist without realizing that, in contrast to the popular conception supported by newspapers and mothers of scientists, a goodly number of scientists are not only narrow-minded and dull, but also just stupid.
— J.D. Watson, “The Double Helix”

This is so true.

Wednesday, July 27th, 2005

I read the California Drivers Handbook today. I’m taking the written test on Thursday. This made me laugh: “Allow older pedestrians more time to cross the street. They are more likely to die as a result of a crash than younger pedestrians.”

So it’s okay to be less careful when crashing into youngsters?

Thursday, March 24th, 2005

Last night, Reed and I went to Westwood at 10pm to get boba. After walking around a bit, we decided to go to UCLA. We walked around the deserted buildings and parks. Reed kept admiring the architecture everywhere; I love exploring places with him because he is such a visual person. He doesn’t take visual beauty for granted.
At one point, we walked through the food court where dozens of students were studying for their finals on the next day. We walked straight through and out into a deserted courtyard. I felt like we had just been ghosts that floated through the entire scene unnoticed. I love being within a crowd without actually being part of it.
On our way back, we went through the engineering building, which was cold, sterile, and had brutalist architecture like any other engineering building. It was abandoned and scary. I felt like zombies were going to attack us any second. Also, for some reason, the bathrooms were very creepy looking… so we took a few pictures.

And so I conclude with a quote:
“UCLA at night is the best. I almost cried it was so gothic!” – Reed


Wednesday, January 5th, 2005

Mr. Rhodes: I’m about to make thousands of photocopies. Are you prepared??

Aimee and I: For what?

Mr. Rhodes: For me to make thousands of photocopies.

prof. robison

Sunday, November 21st, 2004

Here’s an e-mail Prof. Robison sent us regarding our music assignments due on Tuesday. Have I mentioned that he’s one of my favorite professors? It’s between him and the math professor. They’re both so funny.

Here’s the e-mail:

Hi, everyone–

As promised/threatened, here’s a list of guidelines for the PERFORMING editions of your final projects.


I. Thou shalt emulate the graphic appearance of the scores in thine anthology of variation sets. Thou shalt have no other model. If thou usest notation software, thou shalt not accept its craven default settings, but thou shalt tweak it as needed to make its output match the appearance of the scores in thine anthology. Thou shalt not attempt to excuse inferior layout by saying “but this is what the software does.”

II. Thou shalt leave an empty staff between staff systems, so that the phrasing slurs, pedal marks, low notes, etc. below one left-hand staff do not overlap the phrasing slurs, articulation marks, high notes, etc. above the right-hand staff below it. If thou usest notation software, thou shalt create extra space between staff systems (pursuant to commandment I).

III. Thou shalt write simultaneous notes in strict vertical alignment. That is, if two notes are to be played at the same time, thou shalt not write either to the right of the other, nor to the left of the other; nay, verily, but thou shalt write them one above the other, respecting the convention of the x-axis as a strict map of temporal succession, as has been handed down through the ages.

IV. Thou shalt NOT litter thy performing score with egghead analytical marks such as Roman numerals to indicate chords, bass figures to indicate inversions, or labels of non-chord tones, cadences, keys, etc. For the performer, these represent a distracting nuisance.

V. Thou shalt provide a tempo indication at the beginning of thy theme, and at the beginning of each variation. (If thou canst supply a specific metronome mark, so much the better.)

VI. Thou shalt provide phrasing slurs to clarify thy phrase structures. If thou writest Alberti accompaniment patterns, thou shalt use phrasing slurs to clarify changes of harmony (i.e., one slur per harmony, no more, no fewer).

VII. Thou shalt provide dynamic markings as appropriate. I encourage thee to provide at least one indication of volume level, at the start of the movement, and indicate any changes (cresc., dim.) as desired.

VIII. Thou shalt provide articulation markings as appropriate: staccato dots or strokes, tenuto lines, accents, markings of “fp” or “sfz”. The more expressive indications that thou providest, the more expressive a performance thy composition shall receive.

IX. Thou shalt write beams that are significantly thicker than the lines of thy barlines, and of thy note stems; yea, verily, and thicker too than even the thickest portions of thy phrasing slurs.

X. Thou shalt write strictly vertical barlines. If thou usest a ruler for no other marks on the page, yet the appearance of thy score shall benefit mightily from barlines drawn with a straight edge, perpendicular to the lines of the staff.


If thou hast other… sorry, I mean, If you have other questions about notation, please feel free to e-mail them to me, and I’ll be happy to answer.

All best,

Prof. Robison