Don't Rush
Various Composers Lyrics
We have lyrics for 'Don't Rush' by these artists:
A.J. Fumo solo per calmarmi La notte che mi assale Troppe pare No…
Ball in the House I may be shy at first glance As I hope…
Bugsey Don't rush, slow touch Brown and white, like I go cunch…
cassie chantel Only smoke bout half when it's runts it don't really…
Chronic Law You Don't Rush Henny Inna Cup And Have a Spliff…
Cmbrland Tell me, tell me Why won't you tell me, baby Want you…
Di Kat Francois & Shy Fx He is so fine every time I view him I…
DJ-Z! She know how to act right She ain't used to the…
Ë¿³ñ£¨Silk£© [Intro] Do you like, Do you like, Do you like what…
J.Swave Fumo solo per calmarmi La notte che mi assale Troppe pare No…
Jay Sean It's been a while since the last time that I…
K Ci & Jojo The look within you eyes, baby It makes me wonder why,…
K-Ci and JoJo The look within you eyes, baby It makes me wonder why,…
kâ€ci & jojo The look within you eyes, baby It makes me wonder why,…
Kelly Clarkson Let's wake up in the afternoon Pretend that we got nothing…
Kevin Garrett We′ve been there, not much longer I don't understand and I…
K‐Ci & JoJo The look within you eyes, baby It makes me wonder why,…
P-Lo "Make a choice, you just decide What's it's Gonna be, who yo…
Q-Tee She know how to act right She ain't used to the…
Robin Gibb Yeah, yeah, oh yeah, ooh. Sweet soft music playing, baby…
Shy FX & T Power He is so fine every time I view him I…
Silk [Intro] Do you like, Do you like, Do you like what…
Tegan and Sara Don't block bad idea You've been so good I hear Don't rush D…
Tegan and Sara/Tegan & Sara Don't block, bad idea, You've been so good I hear, Don't r…
Trade Wind The loss Like wind You feel On your face But can't touch…
WRS Maybe it's a lie but Let me believe, that's fine D…
Young T Don't rush, slow touch Brown and white, like I go cunch…
Young T & Bugsey & Rauw Alejandro This is the remix Rauw Alejandro Uh-uh (yah) Don't rush, sl…
Young T & Bugsey (feat. Headie One) Don't rush, slow touch Brown and white, like I go cunch…
Young T & Bugsey Rauw Alejandro This is the remix Rauw Alejandro Uh-uh (yah) Don't rush, sl…
Young T & Bugsey; Headie One Don't rush, slow touch Brown and white, like I go cunch…
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Is Milse Póg
Maybe a healthier attitude is to consider composition as a craft, like was common before romanticism arose in the 19th century. The carpenter does not make a chair to be enjoyed for posterity, and the luthier doesn't build a violin or a guitar to last for centuries. They do their craft to be enjoyed in the more immediate term; if someone buys your chair and enjoys and uses it now, you have accomplished your main objective.
Of course, some furniture or instruments last for centuries and people pay an awful lot of money to acquire them, but that's a tiny minority. Most are discarded or destroyed a few decades later. And craftsmen know and expect that, but it doesn't stop them.
And back to music, Bach probably never expected most of his cantatas to be performed more than once or twice. I'm sure he would have been very pleased if he knew that centuries later they would still be frequently heard in churches around the world, but it wasn't his main goal.
So maybe a middle ground between composing for yourself, and composing as a desperate bid for lasting greatness, would be to compose for the now. And then, from that point of view, being forgotten after your death is not a failure at all.
Romanticism brought with it two antithetical attitudes toward art: one is that art should be made for oneself, and the other is that art is a way to achieve lasting recognition. The quintessential romantic artist was conceived as a tortured soul who was torn between these two ideals. And then modernity came along and brought with it another attitude, that art should be directed to appeal to the vast masses. In more popular art which spawned whole industries the modernist attitude took hold, while in smaller circles (like classical music, jazz and the academy) the romantic ideal is dominant. But none of these attitudes is actually conductive, and none of them are realistic for most artists.
So maybe a return to the older, incredibly ancient view is due.
NidusFormicarum
I don't interpret this in the same way. I do agree that saying this stems from an adaption to what you have heared aother people say and that is of course a way of making excuses for your composing music. For me, the big issue has been that some composers despise modern composers writing in old tonal or tradiaional styles. They might say that people would laugh at you for that.
I have also heard "be yourself" or "maybe you should get to know how your own voice sounds" - but only from instrumentalists - never from composers! These statements together with the difficulties to develop a social network within the sphere of musical composition with respect to classical music made me stop composing for many, many years and I never felt happy about that. But the thing is that this is constructive criticism and this is definitely not criticism you can learn anything from, so in this case I think it is only healthy to adapt the attitude that you are writing for yourself.
There is also another interpretation of "writing for yourslef" and that is making your everyday life work and to taking care of yourself mentally and "spiritually". That is what I tend to mean. I am autistic and not living in the same reality that most of the people arond me, since I am to a large exxtent isolated, don't study in a university and I have never had a job, shich are platforms that you are supposed to be a part of in our society. So ... Composing music in traditional styles is in itself to go outside what is expected by others socially. Few people are ready to meet you there!
I have never had anything performed, but I also have to adapt to this reality. What are you writing for? A piece of chamber music is - at least for me - something you want the muscians themselves and a small intimate audience you know to love and enjoy - not the big audience. If you are writing canons for you local choir that music is of course meant to be sung be the people in the choir and for them to enjoy and to perform that music in a public concert would be absurd. If you, on the other hand writes, a piece for large orchestra, two soloists and a five voiced choir - that is obviously music you would want a large audience to embrace. BUT It may not happen in your life time. This is not to be arrogant - that is just reality! Most of your music will not be performed in your life time anowaym right? :)
I will also add that - yes, of course you wnat other people to appreiciate your music - but, that doesn't have to be 300 people at the concert hall. I have had friends as well as people I barely know listen to my music on the playback on my computer and some of them are amazed and that counts for something for me! What I miss is my music being peformed by real musicians and not by a silly software. But if the audience where the same - a few dear friends and a couple of random people I barely know and they happend to like - that is fine for me. That IS the big audienced as far as I am concerend. So the formal stuff of getting publiching and your music set up and all of that I don't even count. There is nothing wrong with that, but what is wrong is if it only counts if you get there! That is just silly.
I participaed in a theater performance a couple of years ago and one of my co-actors there had written two songs for the play. But we could here that in one of them
he wasn't himself, but had just written the music that he thought would please other people and that worked! That is something that I could NEVER have done - not only because it would be an inner crime against the musical gods for me, but also literraly - I simply would have no clue at all how to do that! Maybe some persons get something out of doing that just for doing what is expectecd of them, I don't know?
Corn Pea
[Edit: minor grammar fixes and addition of 1 sentence]
Thank you for the video! There are many points here that I believe many career artists of all types should consider if they want to be successful (esp. the stereotypical "publicly arrogant full-of-themselves artists" stating they are the "only one" who're forward thinking; these people gives others a bad name).
That being said, I cannot help but write that I deeply sympathize with some aspect of those doing art "for oneself". One of the comments reads: [Art is a social and cultural concept, and there is not such a thing as "individual culture"]. I must respectfully disagree with certain aspects of this statement. While culture can only be sustained as a social concept, the definition of art has changed so much over the ages that I personally believe art (and the concept of beauty in a broader sense) can no longer be defined solely as a product of cultural phenomenon. To quote a famous question: "if a tree falls in a forest and no one is around to hear it, does it make a sound?"
Or to rephrase: if you have no audience, is your music meaningless? Is your art worthless?
Glenn Gould was quoted as "[I] detests audiences, not in their individual components but en mass" (source: watch?v=1nZTgAGSajA) and quit as a concert pianist in his 30's. He was uncomfortable with audiences and made little effort to make any kind of human relationship in his life, both personal and professional musicians with whom he could talk about music with. There are many writers whose literary works (esp. diaries and poems) were revealed posthumously, one of the most famous being [The Diary of Anne Frank] that made Anne Frank into a well known writer after her death. Chopin was generally a very personal man, did not perform for large concerts and was well known for his snobbishness, reacting to criticism or changes to his music with tartness. He once even said of his friend Liszt to "compose for yourself instead of crawling into other people's composition like a pig into a garden" (source: The Legacy of Chopin, Jan Holcman) when he improvised many added notes to his compositions.
Now, this is not to say that anyone should disrespect any person for any reason, or to use "the audiences are just stupid masses, ignorant of beauty" as a scapegoat of an argument against any criticism. However, I would like to point out that art can exist in a vacuum, that some do enjoy their form of art purely for themselves, because they enjoy what they do irregardless of what others think; what the video essayist has described as "a hermit" (9:08). Maybe it's just a way to privately express themselves Or perhaps they are highly introverted individuals, possibly with social anxiety. It is in my personal belief that there are many of these hermits under the surface. Will they be "discovered" by others, possibly years after their death? Who knows.
The video essayist states "the process of composing only truly ends the moment it's offered to others to be heard. That's the whole point in the end, isn't it? We compose so that the music can be heard by others..." (9:03)
This along with every other statements in this video is absolutely true for all professionals of any form and caliber. But if one is merely a hobbyist who understands that, by privately enjoying their art free of any audiences and criticism they will likely not reach the level of perfection that professionals enjoy, and is satisfied with this fact, I think it is perfectly a viable option. Maybe even desirable.
I'm sorry if this comment came off as aggressive and off the track, but I felt strongly about this topic.
I've been playing the piano as a hobby for about 16 years (still not any good by any measure). During my teens I've seriously thought about pursuing a profession as a pianist. I've been asked to perform for small concerts, even enjoyed some of them. The reason why I eventually decided against being a pianist is because I found I enjoy music much more as an intimate, personal exercise of emotional expression.
(It probably didn't help that everyone after my first piano teacher (who was an amazing pianist who helped me to love music), was essentially "prepping" me for "passing an exam", with a very "Asian competitiveness" and strict mindset which made me quit lessons immediately and never had any lessons since)
I have done manual labor as a job (before the virus) and a few hand injuries over the years means I can no longer play notes as evenly as I could before (which I found esp. vexing when playing Schubert's impromptu no. 3 and Chopin's harp etude, which I have fond memories of). But despite all that I still very much enjoy playing music as an intimate, private experience.
Ian McAndrew, composer
It's taken me 25 years to learn that I can only compose for myself (and my mental health, which seems to require the act of creation in order to avoid depression). When I started composing seriously around the age of 40, I desperately wanted the approval of others and was creatively crippled when I didn't get it; I simply stopped composing. When it became evident that I needed to compose in order to survive emotionally, I chose to compose for myself because it meant I could create work I could be proud of. No, I won't be "successful" financially or popularily in the corporate sense, but succumbing to the whims of my critics would require self-denial and -asphyxiation. The road to self-acceptance has been long and difficult, and I am proud to be writing for myself.
Bibobabu
I agree completely!
Whoever made this video didn't take the emotional value of creating art into consideration...
theguywhowillruletheworld
It's always been in engraved in me that one makes art to move people, whether in the direction you intended to or not, or whether or not you wanted to. If you ignore the audience, ignore those who would actually appreciate what you're doing, then you've basically failed in doing one of the main thing arts is supposed to do which is again, to move people.
Wilhelm Orangenbaum
Art is cultural, is meant to enrich the personalities and intellect of people, it is meant to make people better, it is meant to makes culture better.
Seth Castellano
I am a young musician of 8 years and a composing beginner. This is an extremely profound argument for your point! This is not a outlook that comes up often or at all in the classical world as everyone wants to be next "greatest" which would, in turn, lead them to not be the "greatest". Humility and an awareness of the audience's role in your position as a composer (or performer in my case) is paramount to one's own success mentally and literally!
Wonderful video!
Griffin__Sutek
What if it is true though? Like, I compose to my ear, what sounds good to me. I genuinely don’t care what happens to my stuff which is naturally hard to believe. However, I literally record and will listen to my stuff on the daily because it scratches certain itches in my head that other music doesn’t. That’s not to say Rachmaninoff, Tchaikovsky, Beethoven, Strauss, and even Jerry Lee Lewis and Tom Lehrer weren’t massive inspirations. Of course I love and listen to their music and I consider my music this weird boiled down fusion of them. So what of that? Should I still stop saying it? Or every time I do say it go to the lengths of explaining why I do every time?
Wizard ish
I compose only for myself. My music is too bad to be heard by audiences.
Pat S
I love the sentiment in this video, and I totally agree with you. It’s nice to hear someone actually say that you should care about what your audience thinks - and it’s surprisingly very rare to hear this important outlook.
Who did the painting near the end of the person sitting on the bench in a park? So beautiful - would love to see more by this artist. Thanks.
Musica Universalis
Thanks! It’s just what I think.
The painting is called “Plane Trees, Place Des Lices, Saint-Tropez” by Paul Signac. Signac is one of my favorite painters.
Caters Carrots
Of course I care what my audience thinks, but my own thoughts are higher priority. It's more important that I like my own work. If I don't I have to recompose it, rearrange it, or just trash it entirely(my fugues have often ended up just being trashed because of this). Often I do like what I write though. What irks me more is when someone points out mistakes bar after bar with no positivity or even something along the lines of "I understand why you did it, but it's wrong and this is why."
This usually happens with my arrangements of Beethoven, this bar by bar detail of what exactly is wrong, and while I don't necessarily mind detailed feedback, when it's in an overly negative tone as has happened with me many times, it makes me feel like a housecat surrounded by lions as I just try to explain my thoughts on it and it seems like they aren't listening to a single word I say.
They say I'm too defensive when all I'm trying to do is calmly explain things. Ultimately, I ignore them after I get a negative response to my response because I don't want to start a war over the internet, much less in person, but if only those harsh people could see that they were being too harsh to me and stop being so harsh and start being more constructive, I would really appreciate that.
At least I'm glad that this harshness has lessened in frequency, that's one of many signs that I have improved as an arranger and composer(I like to think of arranging as "Composing from a reference point" because it involves the same kind of thinking that writing a new piece does, just with the reference frame of the original piece instead of a new work, so one improves the other, they go hand in hand).