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"I played him the Goldberg Variations. If one wishes to reduce a sensitive German to tears there is no surer lachrymatory."

 

John Fowles

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I wasn't motivated to do it [re-record Bach's Goldberg Variations] until rather recently, when it occurred to me, on one of my rare relistenings to that early recording, that it was very nice, but that it was perhaps a little bit like thirty very interesting but somewhat independent-minded pieces, going their own way, and all making a comment on the ground bass on which they are all formed and to which they all conform. And I suddenly felt, not having played it in, well, since I stopped playing concerts, about 20 years, having not played it in all that time, that maybe I wasn't savaged by any over-exposure to it, and that if I looked at it again, I could find a way of making some sort of almost arithmetical correspondence between the theme and the subsequent variations, so that there would be some sort of temporal relationship, I don't want to say just exactly 2, 4, 8, 16, 32, that kind of correspondence, but, you know what I mean, there would be a sense in which, substituting for the fact that Bach had absolutely no melodic design that is continuous but rather a base {bass?} harmonic design that is continuous, there would be at least a rhythmic design that is continuous, and the sense of pulse that went through it. And that seemed to me sufficient justification [...] to do it all over again.

 

Glenn Gould

 

As for my feelings toward "Over the Rainbow", it's become part of my life. It is so symbolic of all dreams and wishes that I'm sure that's why people sometimes get tears in their eyes when they hear it.

 

Judy Garland

 

In 2005: "Most of my fans are too sensitive. I’m a cruel and cold and hard person. I’ve been abused in every way you can imagine. Save your tears. I lost my sensitivity. You embarrass me when you cry."

 

Mike Tyson

 

Q-Tip comes in the room and says, "I want you to hear something". I'm hella excited 'cause either it's a new Tribe song or it's a beat for me. He tells the kid to put the tape in. He does and I hear a ghostly piano loop that has some shakers in it. Too Salsa for me. That was "Runnin'"! He plays another joint and I go crazy over it. That was "The Jam". He explains to me that the noise I keep flippin' over [is] someone holding the repeat button on the SP when its in 1/32! He played another joint, wasn't my speed. I didn't like the Beastie Boy sample at the top. That was "Drop!" The next joint played and only played for 15 seconds. I wanted that one. He explained that it was just an interlude though. I still wanted it. The next joint was hard, organ sounding joint. Sounds like something a west coast artist would take... w:Ice Cube maybe. That was "Gotta Kick Something That Means Something"! I took three tracks and told Tip that I wanted to add more tracks to the album. He said cool! Yes!!! I got three tracks from Tip!!! Tip looks at me and says, "I didn't make em...he did." I look at the kid and speak to him and he says "What Up Doe?" "What up, kid? What's your name?" "Jay Dee."

 

J Dilla

 

And [Twitter users] really shone when, during the Olympics, I said that "Own the podium" was too brash to be Canadian, and suggested "A podium might be nice." Their own variations poured onto a feed tagged #cpodium: "A podium! For me?" "Rent the podium, see if we like it." "Mind if I squeeze by you to get onto that podium?" I was so proud of them! It was like having 33,000 precocious grandchildren!

 

Margaret Atwood