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(AUDIENCE APPLAUDING)
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Ladies and gentlemen,
this woman standing
next to me is, uh...
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00:00:32,800 --> 00:00:34,368
-(ELECTRONIC FEEDBACK RINGING)
-(LAUGHS)
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00:00:34,402 --> 00:00:37,071
...an electronic wizard.
(LAUGHS)
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She composed many
of the soundtracks
you hear on commercials,
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00:00:39,707 --> 00:00:41,575
she's reproduced
the electrical musical effects
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00:00:41,609 --> 00:00:43,144
for the disco version
of Star Wars,
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00:00:43,177 --> 00:00:44,612
and she's won award
after award.
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00:00:44,645 --> 00:00:47,848
-(ECHOING STOPS) This is
Suzanne Ciani, and, uh...
-(AUDIENCE APPLAUDING)
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00:00:47,881 --> 00:00:49,883
Hello.
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First of all,
why do you have this stuff?
What do you do with this?
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00:00:52,420 --> 00:00:54,655
Uh, well, this is how
I make a living.
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00:00:54,688 --> 00:00:56,657
-(STAMMERS) But I mean...
-(LAUGHTER)
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00:00:56,690 --> 00:00:58,392
You don't go
door to door saying,
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00:00:58,426 --> 00:01:00,394
-"I'll make you sound goofy."
-(AUDIENCE LAUGHS)
16
00:01:00,428 --> 00:01:03,063
-No, they call me.
-They call you.
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00:01:03,097 --> 00:01:04,998
SUZANNE:
This is like the sound
that I would make.
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00:01:05,032 --> 00:01:07,067
(CHIMES ECHOING)
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00:01:08,569 --> 00:01:09,770
-This is, uh...
-It's very nice.
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00:01:09,803 --> 00:01:10,904
-Is that pretty?
-Yes.
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00:01:10,938 --> 00:01:12,640
SUZANNE: That's "Lights".
DAVID LETTERMAN: Do the one
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where it sounds like
the whole studio
is gonna explode.
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-Here we go. Ready?
-LETTERMAN: Yeah.
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00:01:16,477 --> 00:01:17,978
(AIR SIREN WAILING)
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Oh, yeah. (LAUGHS)
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(AUDIENCE APPLAUDING)
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(SOUND GROWING IN VOLUME)
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(ELECTRONIC MUSIC PLAYING)
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SUZANNE: I've always wondered
why my path
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has always been
a little bit different.
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00:02:56,944 --> 00:02:59,012
If somebody else can do it,
they should do it.
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00:03:00,314 --> 00:03:04,418
I want to do
what only I can do.
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00:03:11,024 --> 00:03:13,927
NARRATOR:
What do the Coca-Cola
pop and pour sound effect...
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-(BOTTLE CAP POPS)
-(DRINK POURING)
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...and the Atari
video games audio logo
have in common?
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They were both created
by Suzanne Ciani,
a pioneer in electronic music.
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RUTH CIANI:
I used to tell people,
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00:03:27,241 --> 00:03:29,910
"You don't know her,
you don't know her name,
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00:03:29,943 --> 00:03:31,712
"but you've heard her music."
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WOMAN 1: I want to
introduce you to a five-time
Grammy-nominee composer.
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She's a woman whose music
has touched the lives
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00:03:38,452 --> 00:03:40,821
of tens of thousands
of people around the world.
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00:03:41,755 --> 00:03:43,257
ROBERT LOWE: She's a pioneer.
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00:03:44,592 --> 00:03:47,995
The fact that
she took an instrument
that was really built
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00:03:48,028 --> 00:03:52,866
for future sound
or future music,
and applied that
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00:03:52,900 --> 00:03:57,538
in the most popular context
that you could think of.
Advertising.
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00:03:57,571 --> 00:04:01,174
Was an amazing
and subversive thing.
48
00:04:01,208 --> 00:04:04,912
The future is now
and the future is right now.
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00:04:04,945 --> 00:04:08,382
She came up with
sounds that were just
completely different.
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00:04:08,416 --> 00:04:11,619
(VOICE DISTORTED)
Welcome to Xenon.
51
00:04:11,652 --> 00:04:16,524
Suzanne imagination
went like pinball.
Pinball game.
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00:04:17,958 --> 00:04:20,461
Like a...
(IMITATING PINBALL SOUNDS)
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00:04:20,494 --> 00:04:25,633
SUZANNE: Pinball machines,
soap operas,
orchestral scores.
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00:04:25,666 --> 00:04:28,168
I always love taking on
something new.
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Being a woman
in this business
is very, very tough.
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It made her stand out.
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SARAH DAVACHI:
She was, on the one hand,
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an artist who didn't really
sell out or compromise
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but on the other hand,
she was this super successful
businesswoman
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00:04:51,158 --> 00:04:53,594
who made her art work.
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00:04:56,029 --> 00:04:59,500
MONA-MATHUS: She gave
everything to a project.
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I mean, and she explored
all different possibilities.
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00:05:04,171 --> 00:05:08,976
She's a woman who
was unafraid of pleasure,
unafraid of her own
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sensuality, and unafraid
to show it in her music.
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00:05:15,983 --> 00:05:19,753
HUNTER MURTAUGH:
She's always had this
inexhaustible musical talent.
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00:05:21,121 --> 00:05:23,391
Once you're on that path
to make music,
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00:05:23,424 --> 00:05:26,259
you don't stop,
and she never has.
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00:05:30,364 --> 00:05:33,434
SUZANNE: I was always told
that I was different.
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"Okay, you're different."
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Okay, well, maybe
you take that to heart,
that you're different,
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and maybe
you become different.
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(MELANCHOLIC MUSIC PLAYING)
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(ELECTRONIC FEEDBACK
LAYERS OVER PIANO)
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(MUSIC FADES OUT)
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00:07:02,723 --> 00:07:05,125
Maybe we we're supposed
to go right down there.
76
00:07:05,158 --> 00:07:07,795
Excuse me, do you know
where Alumnae Hall is?
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00:07:09,162 --> 00:07:11,164
Yeah, that's
probably closed off.
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00:07:11,198 --> 00:07:13,634
You would have to go
down this and around.
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00:07:13,667 --> 00:07:16,269
-Okay. Okay, thanks.
-It's around
the campus center.
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00:07:16,303 --> 00:07:19,973
All right. Great. Thanks.
Oh, good. We wanna see
the campus center anyway.
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I got a letter from Wellesley.
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"We are pleased
to inform you that
you have been selected..."
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Blah, blah, blah.
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First of all,
I've never heard of the
Alumnae Achievement Awards.
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I haven't had much contact
with Wellesley for...
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00:07:38,325 --> 00:07:40,027
Forty years,
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00:07:40,060 --> 00:07:41,529
and I didn't know what to say.
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I thought, (LAUGHS)
"Why are they giving me
this award?"
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00:07:44,064 --> 00:07:45,365
Like, "Who am I?"
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00:07:45,398 --> 00:07:50,003
And I thought,
"Oh, you know,
is it the electronic thing?
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00:07:50,037 --> 00:07:52,540
"Is it composition?
Is it..."
92
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You know,
it's not like I'm a pop star.
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You know, there are people
who've been given the award
who are, um,
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00:07:59,580 --> 00:08:04,585
organic gardeners or poets
or... You know, some of them
are brain surgeons,
95
00:08:04,618 --> 00:08:06,820
and some of them
are biologists and...
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00:08:06,854 --> 00:08:10,190
But in all different fields
because Wellesley really is
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00:08:11,458 --> 00:08:16,429
a, uh, broad-based
academic environment.
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00:08:16,463 --> 00:08:18,666
It's not about,
you know, just...
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00:08:18,699 --> 00:08:20,267
Ooh, I smell something.
(SNIFFS)
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Uh, you know... (LAUGHS)
Do you smell something?
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Uh, look how pretty that is.
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(SNIFFING) I smell...
103
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I smell grass. (LAUGHS)
I smell...
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Sorry.
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Uh, so this is
Lake Waban right here.
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I just love...
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It's so simple and pristine
and magical all at once.
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00:08:49,563 --> 00:08:51,665
It's just amazing.
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00:08:51,699 --> 00:08:55,435
MURTAUGH: Suzanne's life
has always been
about art and beauty.
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00:08:55,468 --> 00:08:57,104
You get the voice,
you get the person,
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00:08:57,137 --> 00:08:59,573
you get the sounds,
you get the knowledge,
you get the computers.
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00:08:59,607 --> 00:09:02,075
It's all wrapped up
in Suzanne.
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00:09:02,109 --> 00:09:06,179
PROFESSOR: I am
beyond thrilled to welcome
Suzanne Ciani to our class.
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00:09:06,213 --> 00:09:07,681
Let's give her
a nice, warm welcome.
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(APPLAUSE)
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This is thrilling
because, you know...
Uh, really.
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I mean,
there's just not enough
women in this area.
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00:09:17,591 --> 00:09:20,661
ALFRED MERRIN:
She was always ebullient,
always effervescent,
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00:09:20,694 --> 00:09:23,030
and always excited
about what she was doing.
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00:09:23,063 --> 00:09:25,565
Always excited
about what she was doing.
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00:09:25,599 --> 00:09:28,001
And which nobody
really understood.
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00:09:28,035 --> 00:09:29,970
SUZANNE: So, this is
for the Wellesley newspaper?
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STUDENT: Yeah.
SUZANNE: Yeah.
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STUDENT: Do you have
any words of wisdom
for the students of Wellesley?
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00:09:34,307 --> 00:09:36,476
I perceive that
there's a lot of
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00:09:37,344 --> 00:09:39,680
emphasis on fame
and fortune.
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00:09:39,713 --> 00:09:43,250
It's like...
It seems like
people wanna be famous.
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00:09:43,283 --> 00:09:44,785
-Yeah. (LAUGHS)
-You know?
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00:09:44,818 --> 00:09:47,955
Or they wanna be rich.
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00:09:47,988 --> 00:09:53,160
And I do say
that both of those
are not real goals.
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00:09:56,529 --> 00:09:58,732
There's somebody
without any pants on.
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00:09:58,766 --> 00:10:01,301
I mean, her legs are bare.
133
00:10:03,336 --> 00:10:08,208
Suzanne has
an astonishingly
original approach,
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00:10:08,241 --> 00:10:10,744
because she kind of
trusts to fate
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00:10:10,778 --> 00:10:13,847
and trusts to the world
that it's all gonna
come out right.
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00:10:14,782 --> 00:10:17,117
SUZANNE:
So, here is, uh, Louise Dolan.
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00:10:17,150 --> 00:10:19,787
She was
a superstring theorist.
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00:10:19,820 --> 00:10:22,723
An astronaut.
That's pretty cool.
139
00:10:22,756 --> 00:10:27,027
Hillary Clinton.
She got it in 2003.
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00:10:27,060 --> 00:10:30,497
A trail blazer, a scholar,
educator,
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00:10:31,431 --> 00:10:33,100
a humanist.
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00:10:33,133 --> 00:10:36,603
Isn't this wonderful to see
what all these women
have accomplished?
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00:10:39,172 --> 00:10:43,977
I guess I'm old enough
to get some recognition,
you know? (LAUGHS)
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00:10:44,011 --> 00:10:45,979
-(CAMERA CLICKING)
-But it's not a comfortable
place to be,
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00:10:46,013 --> 00:10:49,116
because it's,
it's kind of acknowledging
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00:10:49,149 --> 00:10:53,453
that you're at your endgame,
you know? (LAUGHS)
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00:10:53,486 --> 00:10:57,590
And you start to look
at the span of your life,
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00:10:59,159 --> 00:11:01,494
and you see
all the different chapters.
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00:11:06,767 --> 00:11:08,802
(FILM REEL ROLLING)
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00:11:10,470 --> 00:11:12,740
SUZANNE: Well,
I grew up in a big family.
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00:11:12,773 --> 00:11:16,744
My father clearly
was waiting for a boy
and I was the third girl.
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00:11:16,777 --> 00:11:19,913
So, when I was brought up,
I... You know,
I learned to play baseball.
153
00:11:19,947 --> 00:11:23,150
I was a pitcher
on the boy's baseball team.
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00:11:23,183 --> 00:11:25,886
She was pretty much a star
in the classroom,
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00:11:25,919 --> 00:11:28,889
and she was a star
on the athletic field
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00:11:28,922 --> 00:11:31,591
or on the basketball court.
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00:11:31,624 --> 00:11:35,528
RUTH: She was just gorgeous.
She was brilliant
and she was gorgeous.
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00:11:35,562 --> 00:11:38,231
There were lots of boys
hanging around the house.
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00:11:38,265 --> 00:11:42,803
Mom said, "Oh, my gosh,
Ruthie, they, they're coming
out of the bushes."
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00:11:42,836 --> 00:11:46,373
SUZANNE:
There were boys every place.
(LAUGHS) There were boys...
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00:11:46,406 --> 00:11:48,742
But we don't have to go...
How far did they
go into that?
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00:11:48,776 --> 00:11:51,678
(LAUGHING)
I don't know. It's like...
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00:11:51,711 --> 00:11:54,815
-(FILM REEL ROLLING)
-My dad was
an orthopedic surgeon,
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00:11:54,848 --> 00:11:57,050
and my mom was a housewife.
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00:11:57,084 --> 00:11:59,887
My dad ran the house
like the king.
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00:11:59,920 --> 00:12:04,091
A woman needs to know
how to shave a man
and polish his shoes.
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00:12:04,124 --> 00:12:05,759
That's what he always said.
168
00:12:07,060 --> 00:12:10,663
He wanted to be a musician,
and when he went to Harvard,
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00:12:10,697 --> 00:12:13,133
he immediately signed up
for music classes,
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00:12:13,166 --> 00:12:15,235
and they were
just all crossed off,
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00:12:15,268 --> 00:12:17,004
because he was pre-med,
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00:12:17,037 --> 00:12:19,840
and they said,
"No, you can't study music,"
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00:12:19,873 --> 00:12:22,275
and it always broke his heart.
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00:12:22,309 --> 00:12:24,244
So, this is
my childhood piano.
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00:12:24,277 --> 00:12:26,847
It's a Steinway
that my mom bought,
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00:12:26,880 --> 00:12:29,249
uh, and brought it
into the house
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00:12:29,282 --> 00:12:32,886
and so, I grew up
with this piano.
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00:12:32,920 --> 00:12:36,089
CYNTHIA CIANI: Suzanne tells
this story that mom came home
from a garage sale
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00:12:36,123 --> 00:12:39,659
with some albums
of classical music,
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00:12:39,692 --> 00:12:43,763
and that inspired her
to want to learn music.
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00:12:45,265 --> 00:12:49,402
SUZANNE: My mom
has always been pivotal.
She found the piano.
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00:12:49,436 --> 00:12:53,706
She found
the classical records
that changed my life.
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00:12:53,740 --> 00:12:56,944
And I took those things
for granted,
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00:12:56,977 --> 00:12:59,012
but I really have her
to thank.
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00:12:59,947 --> 00:13:02,049
(PIANO PLAYING)
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00:13:10,891 --> 00:13:12,993
SUZANNE: I played constantly.
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00:13:13,026 --> 00:13:15,328
I loved the piano,
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00:13:15,362 --> 00:13:17,330
and I could play
the same Chopin piece
189
00:13:17,364 --> 00:13:21,101
over and over and over
and just get lost in it.
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00:13:21,134 --> 00:13:24,137
JUDITH CIANI:
She played the piano
hours every night
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00:13:24,171 --> 00:13:26,506
and it was when
she was in high school
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00:13:26,539 --> 00:13:28,808
that she, on her own,
193
00:13:28,842 --> 00:13:31,211
decided to go to
Longy School of Music.
194
00:13:33,013 --> 00:13:39,219
SUZANNE: I was so grateful
for the independence
that I had with music.
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00:13:39,252 --> 00:13:44,457
The fact that I was a woman
gave me the freedom
to pursue music,
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00:13:44,491 --> 00:13:48,328
because nothing more
was expected of me.
197
00:13:48,361 --> 00:13:51,431
If I had been a son,
I would've been directed
198
00:13:51,464 --> 00:13:55,903
into a profession
like medicine or law,
199
00:13:57,004 --> 00:13:59,106
and, as it was, I had freedom.
200
00:14:01,641 --> 00:14:04,044
Here I am...
How many years later?
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00:14:04,077 --> 00:14:06,346
I'm sure it's just
completely different now.
202
00:14:06,379 --> 00:14:09,416
I don't know
what it's like now,
you know?
203
00:14:09,449 --> 00:14:13,186
Do you still have bells
where they announce
when your date comes?
204
00:14:13,220 --> 00:14:14,287
No.
205
00:14:14,321 --> 00:14:15,422
They just come in?
206
00:14:15,455 --> 00:14:17,891
-Yeah, people just go in
and out, pretty much.
-(GASPS)
207
00:14:17,925 --> 00:14:20,160
We had this thing,
you know,
where the receptionist
208
00:14:20,193 --> 00:14:22,229
would announce, you know,
the man...
209
00:14:22,262 --> 00:14:25,165
-"You have a male,
a male visitor."
-(BOTH LAUGHING)
210
00:14:25,198 --> 00:14:27,767
You know, it's like,
okay, everybody...
(LAUGHS)
211
00:14:27,800 --> 00:14:30,637
-Oh, my God.
-Be prepared,
there's a male.
212
00:14:31,638 --> 00:14:33,340
I had a boyfriend.
213
00:14:33,373 --> 00:14:35,475
He was at Harvard Law School.
214
00:14:35,508 --> 00:14:37,110
You know, he did propose.
215
00:14:37,144 --> 00:14:40,680
You know, all the girls
were getting married
senior year,
216
00:14:40,713 --> 00:14:43,616
and my mother loved him,
and, you know,
217
00:14:43,650 --> 00:14:46,853
she would've been happy
if I had married,
218
00:14:47,921 --> 00:14:49,923
but I just wasn't ready.
219
00:14:52,159 --> 00:14:54,995
(WOMEN SINGING CHORAL MUSIC)
220
00:14:55,028 --> 00:14:59,599
The truth is, I really didn't
want to narrow my life down
right away.
221
00:15:01,068 --> 00:15:03,470
I mean, maybe,
I would've been
perfectly happy,
222
00:15:05,538 --> 00:15:08,008
but it would have been
a completely different life.
223
00:15:08,041 --> 00:15:10,077
(CHORAL SINGING CONTINUES)
224
00:15:30,463 --> 00:15:33,266
(ALL APPLAUDING)
225
00:15:33,300 --> 00:15:37,470
EMCEE:
It is now my great pleasure
to introduce to you
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00:15:37,504 --> 00:15:42,742
the recipients of the 2015
Alumnae Achievement Award.
227
00:15:43,676 --> 00:15:45,512
Suzanne Ciani.
228
00:15:45,545 --> 00:15:47,614
(ALL APPLAUDING)
229
00:15:51,384 --> 00:15:55,455
I first heard of the concept
of electronic music
while still a student here.
230
00:15:55,488 --> 00:15:57,590
My senior year, we became
231
00:15:57,624 --> 00:15:59,692
the sister school of MIT,
232
00:15:59,726 --> 00:16:02,062
and a professor there
had taken the budget
233
00:16:02,095 --> 00:16:03,930
that was intended
for something else
234
00:16:03,963 --> 00:16:07,034
and was trying to make
a musical tone
235
00:16:07,067 --> 00:16:10,137
in this, you know,
big university computer.
236
00:16:10,170 --> 00:16:15,575
It was quite an amazing thing
when I heard
this little sound emitted.
237
00:16:15,608 --> 00:16:19,779
And that planted,
in my mind, a concept
238
00:16:19,812 --> 00:16:23,716
that would draw me forward,
continuously,
from that moment on.
239
00:16:28,721 --> 00:16:32,159
That's the tower.
That's where, you know,
240
00:16:32,192 --> 00:16:37,197
all the, uh,
students would meet
to do protests.
241
00:16:38,231 --> 00:16:40,200
It was at the base
of that tower.
242
00:16:41,201 --> 00:16:42,635
Berkeley,
when I went there,
243
00:16:42,669 --> 00:16:46,873
I was, you know,
the girl from
Wellesley college,
244
00:16:46,906 --> 00:16:49,942
and that blew up in minutes.
245
00:16:49,976 --> 00:16:52,212
(PROTESTORS CLAMORING)
246
00:16:52,245 --> 00:16:53,813
You know,
it was the late'60s.
247
00:16:53,846 --> 00:16:56,816
It was 1968 when I got there,
248
00:16:56,849 --> 00:17:01,854
and it was the beginning
of all these uprisings
and upheavals,
249
00:17:01,888 --> 00:17:04,491
and it was
a very political time,
250
00:17:04,524 --> 00:17:06,526
and so I got politicized
like right away.
251
00:17:06,559 --> 00:17:10,063
I was playing Chopin
in the music room,
252
00:17:10,097 --> 00:17:12,199
and a rock came
through the window.
253
00:17:14,134 --> 00:17:19,539
And I was like, "Uh-oh.
I guess it's not the way
I thought it was gonna be.
254
00:17:19,572 --> 00:17:21,874
"There's no time
for Chopin right now."
255
00:17:34,821 --> 00:17:37,690
This is the
architecture department,
256
00:17:37,724 --> 00:17:42,195
and that's the bench
where I had met Joseph.
257
00:17:51,037 --> 00:17:54,707
The music department
was right next to
the architecture department,
258
00:17:54,741 --> 00:17:59,979
and so I saw a sculptor
sitting out in front of
the architecture department.
259
00:18:00,012 --> 00:18:02,215
He was polishing a sculpture,
260
00:18:02,249 --> 00:18:05,952
and I went down
and sat beside him
and found out where he lived,
261
00:18:05,985 --> 00:18:09,021
(LAUGHS)
and we moved in together.
262
00:18:14,161 --> 00:18:19,232
We lived in a model
of the future home
that he believed in.
263
00:18:19,266 --> 00:18:21,901
So, he built this thing
out of foam.
264
00:18:21,934 --> 00:18:23,470
And it was like a womb.
265
00:18:23,503 --> 00:18:27,274
We lived in this red womb
266
00:18:27,307 --> 00:18:30,910
in the front of which
had a sculpture
267
00:18:30,943 --> 00:18:33,480
that went off into infinity.
268
00:18:33,513 --> 00:18:36,616
So, the idea was that
you could live
in a small space
269
00:18:36,649 --> 00:18:40,019
but visually feel,
you know, huge dimension.
270
00:18:43,890 --> 00:18:47,194
It was a very exciting time.
It was a hippie time.
271
00:18:47,227 --> 00:18:49,396
It was a drug time.
272
00:18:49,429 --> 00:18:52,399
It was exactly
the right place to be.
273
00:18:53,766 --> 00:18:57,504
The first electronic
music center
with public access
274
00:18:57,537 --> 00:19:00,940
was the San Francisco
Tape Music Center
275
00:19:00,973 --> 00:19:05,912
which was housed right nearby
the campus at Mills College,
276
00:19:05,945 --> 00:19:08,248
and I could go there
and stay there all night.
277
00:19:12,685 --> 00:19:15,755
When I came to Berkeley,
I came as a composer,
278
00:19:15,788 --> 00:19:18,525
but once I got involved
in electronic music,
279
00:19:18,558 --> 00:19:21,628
I saw it
as a compositional tool,
280
00:19:21,661 --> 00:19:26,833
and I was very excited,
you know, to introduce that
into my graduate work.
281
00:19:28,468 --> 00:19:31,738
(PERCUSSION PLAYING)
282
00:19:31,771 --> 00:19:36,042
This was the theater
that I brought
my music class to
283
00:19:36,075 --> 00:19:38,345
to hear
my electronic composition,
284
00:19:38,378 --> 00:19:42,249
and we came here
and there were speakers
and a sound system.
285
00:19:45,685 --> 00:19:47,254
When I brought over
286
00:19:47,287 --> 00:19:51,190
my first
electronic composition
to the class,
287
00:19:51,791 --> 00:19:54,261
I was catapulted into,
288
00:19:54,294 --> 00:19:56,329
you know, nirvana,
hearing the sound
289
00:19:56,363 --> 00:19:58,465
in the big theater
with the speakers.
290
00:20:01,668 --> 00:20:06,038
I thought it was the most
amazing thing I'd ever heard.
291
00:20:06,072 --> 00:20:09,642
And when it was over,
I looked over
at my professor,
292
00:20:09,676 --> 00:20:14,180
thinking that I would get
a smile, an accolade,
293
00:20:14,213 --> 00:20:16,449
some, you know, recognition,
294
00:20:16,483 --> 00:20:18,485
and he looked
at me and he said,
295
00:20:18,518 --> 00:20:21,388
"Tell me, why did you
bring us over here?"
296
00:20:26,593 --> 00:20:29,362
Okay, why did
I bring you over here?
297
00:20:29,396 --> 00:20:31,531
It's like,
"What was that
298
00:20:32,732 --> 00:20:36,269
"useless piece of nothing
299
00:20:36,303 --> 00:20:38,705
"that you made us listen to?"
300
00:20:39,238 --> 00:20:40,540
And so,
301
00:20:42,409 --> 00:20:46,078
I knew that those two worlds
weren't gonna...
They weren't gonna match.
302
00:20:56,956 --> 00:20:58,991
(ELECTRONIC MUSIC PLAYING)
303
00:21:11,438 --> 00:21:15,107
SUZANNE: I decided
that I would just finish
my degree
304
00:21:15,141 --> 00:21:19,546
but put my heart
into my own work
outside of school,
305
00:21:21,314 --> 00:21:25,518
and I just happened
to find myself in the place
306
00:21:25,552 --> 00:21:30,523
where one of
the original designers
of synthesizers was working.
307
00:21:31,190 --> 00:21:32,459
Don Buchla.
308
00:21:38,431 --> 00:21:42,268
Don Buchla was the inventor
of the modular synthesizer.
309
00:21:42,301 --> 00:21:45,772
He made the first
modular synthesizer
in 1963.
310
00:21:47,407 --> 00:21:52,211
Don was so important
because of the fact
that he built an instrument
311
00:21:52,244 --> 00:21:57,384
that did not necessarily
consider instruments
that had come before
312
00:21:57,417 --> 00:21:59,486
or traditions
that had come before.
313
00:22:00,787 --> 00:22:04,323
He didn't need
a black and white keyboard
to make music.
314
00:22:06,726 --> 00:22:09,829
DAVACHI: I think Don
inspired Suzanne in probably
a pretty similar way
315
00:22:09,862 --> 00:22:12,499
that he inspired
everybody else
who was around him,
316
00:22:12,532 --> 00:22:14,033
but especially her,
317
00:22:14,066 --> 00:22:15,968
because she just had
all this enthusiasm
and wanted to learn
318
00:22:16,002 --> 00:22:19,372
and was just, like,
super keen to get into it,
319
00:22:19,406 --> 00:22:22,675
and I think maybe that might
have caught him off-guard.
320
00:22:26,979 --> 00:22:31,317
SUZANNE: My memory
is going to Don Buchla's
big warehouse
321
00:22:31,350 --> 00:22:36,055
and being led into
this massive, dark space,
322
00:22:36,088 --> 00:22:40,226
and in the center
was a tower of modules,
323
00:22:40,259 --> 00:22:43,329
all flashing lights.
324
00:22:46,265 --> 00:22:50,002
And I thought,
"Oh, this is where I belong."
325
00:22:50,036 --> 00:22:52,371
And so, I did
get the opportunity
to work there.
326
00:22:52,405 --> 00:22:54,807
I can't remember
exactly how I got the job,
327
00:22:54,841 --> 00:22:57,510
but I can tell you
that I lost it the next day.
328
00:23:01,881 --> 00:23:03,950
They found
a cold soldering joint.
329
00:23:05,384 --> 00:23:07,820
He just assumed
that it was the new girl.
330
00:23:07,854 --> 00:23:11,458
Now, I may not have been
the world's best solderer,
331
00:23:11,491 --> 00:23:14,627
but I knew that I didn't do
that cold soldering joint.
332
00:23:14,661 --> 00:23:18,531
I thought it was unjust
that he just assumed
without proof.
333
00:23:22,569 --> 00:23:27,139
The fact that
I wasn't regarded
as an equal
334
00:23:27,173 --> 00:23:30,610
made me put
a lot more energy into it.
335
00:23:32,912 --> 00:23:34,714
That's what women did then.
336
00:23:34,747 --> 00:23:37,183
They were better.
337
00:23:37,216 --> 00:23:40,953
If a guy could do something,
the woman would do it better,
338
00:23:41,888 --> 00:23:43,956
and that's how
they earned their way
339
00:23:44,624 --> 00:23:46,793
into visibility.
340
00:23:47,760 --> 00:23:49,729
And so I said,
"You can't fire me."
341
00:23:50,730 --> 00:23:52,565
And I just showed up
the next day.
342
00:23:53,700 --> 00:23:55,835
I started out
working for Don Buchla
343
00:23:55,868 --> 00:23:58,671
in his factory, and I could...
344
00:23:58,705 --> 00:24:00,873
You know, I was
right there on location,
345
00:24:00,907 --> 00:24:03,042
and I said,
"Gee, I think we
should have a knob here,"
346
00:24:03,075 --> 00:24:04,811
and you'd have
a knob there.
347
00:24:04,844 --> 00:24:07,113
It was all developed
kind of organically.
348
00:24:10,483 --> 00:24:12,585
He became my mentor.
349
00:24:12,619 --> 00:24:15,822
He analyzed
the very essence of,
350
00:24:15,855 --> 00:24:19,258
you know, the human being
and the expression
of music, physically.
351
00:24:19,291 --> 00:24:24,396
You know, what does it mean
to interact with a thing,
352
00:24:24,430 --> 00:24:27,800
an instrument,
and create music.
353
00:24:33,472 --> 00:24:36,509
INTERVIEWER:
I'm in a recording studio
with Suzanne Ciani,
354
00:24:36,543 --> 00:24:39,779
a master musician
of an unusual instrument.
355
00:24:39,812 --> 00:24:42,982
SUZANNE:
A synthesizer is an electronic
musical instrument.
356
00:24:43,015 --> 00:24:47,286
It works
by using electronic signals
to produce sound,
357
00:24:47,319 --> 00:24:51,624
and the sound
could be, for instance,
uh, like normal instruments,
358
00:24:51,658 --> 00:24:55,762
like, oh, a cello,
or a guitar sound,
or a horn sound, or a flute,
359
00:24:55,795 --> 00:25:00,266
or unusual sounds,
the sounds of snowstorms,
of birds,
360
00:25:00,299 --> 00:25:02,835
or just make-believe sounds.
361
00:25:02,869 --> 00:25:04,637
-Can you show me
some of them?
-Sure.
362
00:25:04,671 --> 00:25:06,305
I have the sound in here.
363
00:25:06,338 --> 00:25:09,175
You have to tell me
what it is. Okay? You guess.
364
00:25:09,208 --> 00:25:11,243
(ELECTRONIC TRICKLING)
365
00:25:12,945 --> 00:25:14,346
Like rain drops?
366
00:25:14,380 --> 00:25:15,748
Like water dropping.
367
00:25:15,782 --> 00:25:18,150
It's like things plopping
into water.
368
00:25:24,090 --> 00:25:26,993
SUZANNE: Electronic music
was a wide-open space
369
00:25:27,026 --> 00:25:30,129
with sounds that nobody
had ever heard before.
370
00:25:31,063 --> 00:25:33,299
Buchla's instruments,
371
00:25:33,332 --> 00:25:37,737
the sound was secondary,
believe it or not.
372
00:25:40,673 --> 00:25:44,010
I could make a sound
that went in a second
373
00:25:44,043 --> 00:25:48,981
from a bass sound
all the way up to
off the edge of hearing.
374
00:25:52,451 --> 00:25:54,687
What instrument is that?
What sound is that?
375
00:25:54,721 --> 00:25:56,589
It's not a sound.
376
00:25:56,623 --> 00:25:57,990
It's a movement.
377
00:25:58,024 --> 00:25:59,525
INTERVIEWER: What are they?
378
00:25:59,558 --> 00:26:01,861
Oh, these are patch cords.
This is...
379
00:26:01,894 --> 00:26:03,996
These are the things
that route the signal
380
00:26:04,030 --> 00:26:06,866
from one little module
to another
to get the sound.
381
00:26:06,899 --> 00:26:09,636
You can patch it
in a lot of different ways.
382
00:26:09,669 --> 00:26:13,339
And the way you patch it
will determine
what you get.
383
00:26:13,372 --> 00:26:15,274
It's like creating
an instrument.
384
00:26:18,911 --> 00:26:22,148
LOWE: Modular synthesizers
like the Buchla
385
00:26:22,181 --> 00:26:26,252
are like living beings
in a lot of ways.
386
00:26:26,285 --> 00:26:28,721
The dialogue begins with
387
00:26:28,755 --> 00:26:33,660
the patching of cables
from one module to another,
388
00:26:33,693 --> 00:26:36,028
and they begin to have
a conversation.
389
00:26:36,062 --> 00:26:40,667
And then you sort of
manipulate and control
that conversation.
390
00:26:43,602 --> 00:26:46,338
When you spend so much time
with these machines,
391
00:26:46,372 --> 00:26:49,141
you start to develop
a bit of an emotional
connection to them.
392
00:26:49,175 --> 00:26:53,212
They're kind of, like,
these beings that
you interact with.
393
00:26:57,116 --> 00:27:02,221
Generating sound
is a very personal,
primal thing.
394
00:27:02,254 --> 00:27:05,524
So if you really dive
into this micro space
395
00:27:05,557 --> 00:27:09,195
and spend a lot of time
with the machine, the, the...
396
00:27:09,228 --> 00:27:11,864
The being, whatever it is,
397
00:27:11,898 --> 00:27:16,368
to create those sounds,
they express your emotions.
398
00:27:16,402 --> 00:27:19,171
So, of course,
you can develop emotions
399
00:27:19,205 --> 00:27:25,311
for the creature
that allows you to produce it
and to express yourself.
400
00:27:25,344 --> 00:27:27,379
(THEREMIN PLAYING )
401
00:27:36,588 --> 00:27:38,624
(INDISTINCT CHATTER)
402
00:27:41,127 --> 00:27:43,162
(DRUMS PLAYING )
403
00:27:45,064 --> 00:27:47,099
(SAXOPHONE PLAYING )
404
00:27:47,967 --> 00:27:50,036
(DRUMS PLAYING )
405
00:27:51,070 --> 00:27:53,105
(METRONOMES TICKING)
406
00:27:58,377 --> 00:28:00,012
All, uh...
407
00:28:00,046 --> 00:28:03,015
-This entire area,
all modulars.
-SUZANNE: Oh, look at this.
408
00:28:03,049 --> 00:28:04,616
Wow.
409
00:28:06,719 --> 00:28:09,155
-(ELECTRONIC BEAT PLAYING)
-This is a very
nice interface.
410
00:28:14,326 --> 00:28:16,395
-Oh, did I hit something?
-You probably
hit something.
411
00:28:16,428 --> 00:28:18,130
(LAUGHING)
412
00:28:22,001 --> 00:28:23,836
SUZANNE: You know,
there are so many
expressions now
413
00:28:23,870 --> 00:28:26,873
of electronic instruments
all over the world, right?
414
00:28:26,906 --> 00:28:29,541
Somebody is making
a little module
here and there.
415
00:28:29,575 --> 00:28:32,178
But Don, in my opinion,
416
00:28:32,211 --> 00:28:36,715
is the one who has taken it
to the highest level
417
00:28:36,749 --> 00:28:39,852
of dedication and concept.
418
00:28:41,821 --> 00:28:45,291
Today, I was lazy.
I did do a little tour
of the modular synths
419
00:28:45,324 --> 00:28:49,962
up in the corner.
And, Don, your designs
420
00:28:51,463 --> 00:28:53,532
are so beyond...
421
00:28:53,565 --> 00:28:56,135
Oh, that's nice of you.
422
00:28:56,168 --> 00:28:58,470
SUZANNE: My first love affair
was with the piano,
423
00:29:00,239 --> 00:29:03,242
and my second love affair
was with the Buchla.
424
00:29:03,275 --> 00:29:05,177
And, you know,
for a good 12 years,
425
00:29:05,211 --> 00:29:07,046
the Buchla was on
all the time.
426
00:29:07,079 --> 00:29:08,647
So it never got shut off.
427
00:29:09,281 --> 00:29:11,017
It lived with me.
428
00:29:11,050 --> 00:29:14,520
It was compact.
I could cart it around
to my sessions.
429
00:29:16,989 --> 00:29:19,058
My mission
430
00:29:19,091 --> 00:29:21,760
was to introduce
these new instruments
431
00:29:21,794 --> 00:29:23,662
as performable instruments
432
00:29:23,695 --> 00:29:28,835
in the same historical vein
as other instruments.
433
00:29:28,868 --> 00:29:31,971
And I took that
very seriously,
434
00:29:32,004 --> 00:29:35,241
especially when I moved
to New York.
435
00:29:45,617 --> 00:29:47,053
Cab karma.
436
00:29:55,227 --> 00:29:58,730
I didn't decide, really,
to move to New York.
437
00:29:58,764 --> 00:30:01,367
I went to New York to do
a live Buchla concert.
438
00:30:02,168 --> 00:30:05,271
And once I got there,
439
00:30:05,304 --> 00:30:07,974
I realized I didn't
wanna leave.
440
00:30:11,110 --> 00:30:13,679
I did see myself,
from the time
I came to New York,
441
00:30:13,712 --> 00:30:17,149
as a performer
and as a recording artist.
442
00:30:18,384 --> 00:30:21,988
I went to every
single record label.
443
00:30:22,021 --> 00:30:24,290
I would say,
"I play the synthesizer,"
444
00:30:24,323 --> 00:30:26,525
and they'd say,
"You what?"
445
00:30:26,558 --> 00:30:30,662
You know?
"You don't sing?
You don't play guitar?"
446
00:30:33,399 --> 00:30:35,067
MURTAUGH: You didn't
know anything
that she was doing.
447
00:30:35,101 --> 00:30:37,569
You didn't understand it.
I don't know from wires,
or Buchla's
448
00:30:37,603 --> 00:30:40,439
or potentiometers,
or rheostats, or...
449
00:30:40,472 --> 00:30:42,741
Whatever makes the sounds
come out, but she does.
450
00:30:45,311 --> 00:30:49,448
She'd make music
the way people used
to do telephone calls
451
00:30:49,481 --> 00:30:52,952
-with all these wires going...
There wasn't any keyboard.
-RUTH: Right. Wires.
452
00:30:52,985 --> 00:30:54,586
MARY CIANI: It was
the weirdest thing
in the world.
453
00:30:56,688 --> 00:31:01,027
SUZANNE: There was just such
a huge, huge chasm
454
00:31:01,793 --> 00:31:04,763
between the music business
455
00:31:04,796 --> 00:31:07,666
and my life as an artist.
456
00:31:14,373 --> 00:31:16,142
I had done scores.
457
00:31:16,175 --> 00:31:18,577
You know, I did X-rated films
458
00:31:18,610 --> 00:31:21,580
when I was trying to,
you know, get started
and make money.
459
00:31:23,349 --> 00:31:27,386
I did the electronic part
of the score for
The Stepford Wives.
460
00:31:29,555 --> 00:31:30,957
Hi, Kit. How are you?
461
00:31:30,990 --> 00:31:32,424
Hello, Mary Ann.
462
00:31:32,458 --> 00:31:35,527
SUZANNE: The Stepford Wives
were women who
were really robotic,
463
00:31:35,561 --> 00:31:37,363
but it wasn't apparent
right away.
464
00:31:37,396 --> 00:31:38,497
Hello, Carol.
465
00:31:38,530 --> 00:31:39,898
Hi, Pat.
466
00:31:39,932 --> 00:31:43,035
SUZANNE: And so
the electronics became,
467
00:31:43,069 --> 00:31:44,836
you know, part of that signal
468
00:31:44,870 --> 00:31:48,907
of something
in the machinery going awry.
469
00:31:48,941 --> 00:31:50,176
No, you look.
470
00:31:51,410 --> 00:31:52,878
Joanna...
471
00:31:52,911 --> 00:31:55,781
(EERIE SYNTHESIZER PLAYING)
472
00:31:57,116 --> 00:32:00,519
(SIGHS) How could you do
a thing like that?
473
00:32:00,552 --> 00:32:04,090
SUZANNE: I did things
with a lot of slow
frequency modulation
474
00:32:04,123 --> 00:32:06,692
that just made you feel
475
00:32:07,359 --> 00:32:10,596
scared and, uh, upset.
476
00:32:10,629 --> 00:32:11,763
(GLASS SHATTERS)
477
00:32:11,797 --> 00:32:13,966
I thought we were friends.
478
00:32:14,000 --> 00:32:16,102
I thought we were friends.
479
00:32:16,135 --> 00:32:18,604
SUZANNE:
I think the electronics
were a metaphor
480
00:32:18,637 --> 00:32:21,007
for the operating system
of these women,
481
00:32:21,040 --> 00:32:23,242
you know, it was technology,
482
00:32:23,275 --> 00:32:28,247
and this was the sound
of their inner workings
kind of coming apart.
483
00:32:28,280 --> 00:32:30,016
And it was scary.
484
00:32:30,049 --> 00:32:31,717
I thought we were friends.
485
00:32:35,854 --> 00:32:39,591
I was surrounded
by visual artists.
486
00:32:39,625 --> 00:32:42,028
And I saw that
if you're a visual artist,
487
00:32:42,061 --> 00:32:44,696
you had something to sell.
488
00:32:44,730 --> 00:32:49,435
So I called
all the top advertising
agencies in New York,
489
00:32:49,468 --> 00:32:51,203
and, a couple of times,
490
00:32:51,237 --> 00:32:55,407
I got a meeting scheduled
with Billy Davis,
491
00:32:55,441 --> 00:32:57,643
who was the head of music
at McCann-Erickson,
492
00:32:57,676 --> 00:33:01,747
and I think that was
the largest agency
in New York.
493
00:33:01,780 --> 00:33:05,251
I would show up at the meeting
and Billy wasn't there.
494
00:33:05,284 --> 00:33:07,686
And I remember going up
to the agency,
495
00:33:07,719 --> 00:33:09,488
I said,
"Where is Billy Davis?"
496
00:33:09,521 --> 00:33:11,757
They pointed
to a control room door,
497
00:33:11,790 --> 00:33:14,460
and I went right
into the control room,
498
00:33:14,493 --> 00:33:18,197
and I said,
"You had an appointment
with me."
499
00:33:18,230 --> 00:33:20,166
And at that very moment,
500
00:33:20,199 --> 00:33:22,501
this is just
the strangest story,
501
00:33:22,534 --> 00:33:25,437
they were playing
a Coca-Cola jingle.
502
00:33:25,471 --> 00:33:28,174
(COCA-COLA JINGLE PLAYING)
503
00:33:28,207 --> 00:33:31,143
And there was
a little blank space in it.
504
00:33:32,144 --> 00:33:34,380
(SILENCE)
505
00:33:34,413 --> 00:33:35,514
(JINGLE CONTINUES)
506
00:33:35,547 --> 00:33:36,482
And he said,
"Can you do something
in there?"
507
00:33:39,618 --> 00:33:41,520
And I said, "Yes."
508
00:33:41,553 --> 00:33:42,888
(BOTTLE CAP POPS)
509
00:33:42,921 --> 00:33:44,156
(DRINK POURING)
510
00:33:45,257 --> 00:33:47,659
(COKE ADDS LIFE
JINGLE PLAYING)
511
00:33:58,504 --> 00:34:00,606
(DRINK POURING)
512
00:34:01,707 --> 00:34:03,342
SUZANNE:
I brought this big Buchla,
513
00:34:03,375 --> 00:34:06,512
and it was in five road cases,
and I'd have to assemble it.
514
00:34:06,545 --> 00:34:10,749
And I set this thing up
and it had all the wires
and patches,
515
00:34:10,782 --> 00:34:14,586
and out came
this wonderful sound
that worked for them.
516
00:34:14,620 --> 00:34:16,122
And they used it
all over the world.
517
00:34:16,155 --> 00:34:20,759
They didn't care
that I was tuning
the sub audio harmonics
518
00:34:20,792 --> 00:34:23,762
of a sawtooth waveform
melodically.
519
00:34:27,766 --> 00:34:30,302
Coke was like
hitting the jackpot.
520
00:34:30,336 --> 00:34:34,005
That was a new realm
of experience for me.
521
00:34:34,039 --> 00:34:36,308
(FIREWORKS BURSTING)
522
00:34:42,781 --> 00:34:46,318
MONA-MATHUS: Nobody was
doing what she was doing
at that time.
523
00:34:46,352 --> 00:34:48,354
MURTAUGH:
There was nobody like her.
524
00:34:48,387 --> 00:34:50,189
-(SUZANNE LAUGHS)
-Suzanne Ciani
is here with us now.
525
00:34:50,222 --> 00:34:51,790
Would you welcome her, please,
to the Morning Show.
526
00:34:51,823 --> 00:34:53,825
-Hi, Suzanne, how are you?
-Great.
527
00:34:53,859 --> 00:34:57,529
In advertising,
uniqueness is everything.
528
00:34:57,563 --> 00:34:59,465
Being the first is everything.
529
00:34:59,498 --> 00:35:03,269
Nowadays, I have access
to an incredibly
wide variety of sounds.
530
00:35:03,302 --> 00:35:05,036
-Just about any sound.
-Uh-huh.
531
00:35:05,070 --> 00:35:06,438
(ELECTRONIC WHOOPING)
532
00:35:06,472 --> 00:35:08,274
ROB ZANTAY: You know,
there's a whole different way
to do music,
533
00:35:08,307 --> 00:35:10,409
accompanying a visual.
534
00:35:10,442 --> 00:35:14,513
And that's what
Suzanne's expertise was,
was sound design.
535
00:35:14,546 --> 00:35:16,282
-This one you've heard.
-That sounds familiar.
536
00:35:16,315 --> 00:35:18,284
-Where would
we have heard that?
-(DESCENDING SCALE PLAYS)
537
00:35:18,317 --> 00:35:21,587
-That's kind of
a PBS-type sound.
-Yeah.
538
00:35:21,620 --> 00:35:24,089
SUZANNE:
There was this concept
of sound effects,
539
00:35:25,724 --> 00:35:30,929
and what I realized is that
I could do what I called
musical effects,
540
00:35:32,264 --> 00:35:36,034
because I could control
the musical parameters
541
00:35:37,068 --> 00:35:38,204
of a sound.
542
00:35:38,237 --> 00:35:39,271
(DOOR HISSES OPEN)
543
00:35:39,971 --> 00:35:41,907
(BUTTON CLICKS)
544
00:35:41,940 --> 00:35:44,576
And it worked in a much more
integrated way,
545
00:35:44,610 --> 00:35:48,780
and on a much higher level,
psychologically and musically.
546
00:35:49,881 --> 00:35:51,250
(ELECTRONIC WHIRRING)
547
00:35:52,651 --> 00:35:56,655
And so, in order to take full
advantage of the potential
548
00:35:56,688 --> 00:35:59,225
I started my own music house
and I did the whole thing.
549
00:36:01,159 --> 00:36:03,629
COMMERCIAL VOICEOVER:
Finally, there is
a fuel-efficient car
550
00:36:03,662 --> 00:36:07,699
that does more than get you
from point A to point B.
551
00:36:09,701 --> 00:36:12,904
When I met her,
she had a company
called Ciani-Musica.
552
00:36:12,938 --> 00:36:16,842
SUZANNE: We became
the number one company
for sound design
553
00:36:16,875 --> 00:36:20,246
and high technology
in New York.
554
00:36:20,279 --> 00:36:21,747
COMMERCIAL VOICEOVER: AT&T.
555
00:36:23,014 --> 00:36:24,850
CHRIS IANUZZI: I remember
going to the library
556
00:36:24,883 --> 00:36:26,385
and looking through
the magazines.
557
00:36:26,418 --> 00:36:29,555
There was a contemporary
keyboard and Suzanne Ciani
was on the cover.
558
00:36:29,588 --> 00:36:30,922
And I thought,
559
00:36:30,956 --> 00:36:33,759
"I've got to meet her,
I've got to go to New York."
560
00:36:33,792 --> 00:36:36,895
I've got to work for her.
561
00:36:36,928 --> 00:36:40,732
RUTH: I knew she was getting
big because you turn on
the television, and then,
562
00:36:40,766 --> 00:36:42,701
"Oh! Suzi wrote that."
563
00:36:43,269 --> 00:36:45,671
It was everywhere.
564
00:36:45,704 --> 00:36:47,473
MONA-MATHUS:
There was Lincoln-Mercury.
565
00:36:48,006 --> 00:36:50,108
There was ITT,
566
00:36:50,842 --> 00:36:52,010
Skittles,
567
00:36:52,844 --> 00:36:54,413
Black & Decker,
568
00:36:55,781 --> 00:36:57,816
Sunkist.
569
00:36:57,849 --> 00:37:01,720
There was Merrill Lynch.
The Bull in the China Shop.
570
00:37:01,753 --> 00:37:04,022
COMMERCIAL VOICEOVER:
Picking and choosing
the right investments
571
00:37:04,055 --> 00:37:07,359
-requires very
careful handling.
-(ELECTRONIC MUSIC PLAYS)
572
00:37:07,393 --> 00:37:11,863
One wrong move
could easily damage
the best laid plans.
573
00:37:11,897 --> 00:37:13,632
SUZANNE:
"Bull in the China Shop,"
574
00:37:13,665 --> 00:37:17,235
what a perfect poetry
to do sound to.
575
00:37:19,638 --> 00:37:23,542
I think for me, you know,
it was about the dignity
of the bull
576
00:37:23,575 --> 00:37:26,945
and that you wanted
to give people confidence.
577
00:37:26,978 --> 00:37:30,148
And so I used
a classical theme.
578
00:37:30,181 --> 00:37:32,718
And so as the bull
marches through,
579
00:37:32,751 --> 00:37:37,356
it picks up
in intensity a little bit,
and he does get through.
580
00:37:37,389 --> 00:37:39,024
And then there's the logo
at the end
581
00:37:39,057 --> 00:37:43,462
which lets you know that
you can sleep well at night,
582
00:37:43,495 --> 00:37:46,565
because your money is safe
with Merrill Lynch. (LAUGHS)
583
00:37:50,702 --> 00:37:53,104
We were doing
quite a few spots for Atari.
584
00:37:53,138 --> 00:37:54,773
And we were the perfect
match for them,
585
00:37:54,806 --> 00:37:58,777
because, you know, we were
the high-tech music cast.
586
00:37:58,810 --> 00:38:03,715
(ATARI GALAXIAN
JINGLE PLAYING)
587
00:38:03,749 --> 00:38:07,052
We were called to do
a commercial for Atari.
588
00:38:07,085 --> 00:38:09,588
It was called,
Nobody's Hotter
Than Atari This Summer.
589
00:38:09,621 --> 00:38:12,491
And a lot of people
got involved in that.
590
00:38:12,524 --> 00:38:15,527
You know,
I laid the drum sound
under the bass sequence.
591
00:38:15,561 --> 00:38:17,596
SUZANNE: It was kind of like
a music video.
592
00:38:17,629 --> 00:38:19,798
You know, the image was
that all these kids
593
00:38:19,831 --> 00:38:22,668
were marching
with their boom boxes,
594
00:38:22,701 --> 00:38:25,303
you know, on the sand,
595
00:38:25,337 --> 00:38:29,508
and the sky would light up
with Atari imagery.
596
00:38:29,541 --> 00:38:31,410
(JINGLE CONTINUES PLAYING)
597
00:38:48,760 --> 00:38:51,329
TV JOURNALIST: It seemed
like an ordinary assignment.
598
00:38:51,363 --> 00:38:53,765
SUZANNE:
Let's welcome him
to the neighborhood.
599
00:38:53,799 --> 00:38:57,268
JOURNALIST: I was supposed
to meet the queen
of musical effects.
600
00:38:58,904 --> 00:39:00,205
(SYNTHESIZED PHONE RINGS)
601
00:39:02,173 --> 00:39:04,776
But I was about to find out
that Suzanne Ciani
602
00:39:04,810 --> 00:39:07,312
makes a living
turning the ordinary...
603
00:39:07,345 --> 00:39:09,247
(SYNTHESIZED DOOR SLAMS)
604
00:39:12,283 --> 00:39:14,319
...into the extraordinary.
605
00:39:18,490 --> 00:39:19,925
MURTAUGH: She's conceptual.
She's creative.
606
00:39:19,958 --> 00:39:22,728
She doesn't need you
to describe the sound.
607
00:39:22,761 --> 00:39:26,097
They would tell you, you know,
we have an airplane,
or a washing machine,
608
00:39:26,131 --> 00:39:28,066
or we're gonna be jumping off
a mountain top
609
00:39:28,099 --> 00:39:31,537
and she would create
a sound perspective
that would work perfectly.
610
00:39:32,838 --> 00:39:37,576
It heightens the reality
to doctor the sound
in certain ways.
611
00:39:37,609 --> 00:39:41,379
The same way
people airbrush models' faces
612
00:39:41,413 --> 00:39:43,815
or, you know,
in a sense it's cosmetic,
613
00:39:43,849 --> 00:39:46,585
in a sense
it's emotional treatment
614
00:39:46,618 --> 00:39:50,489
so that a sound
has a certain impact.
615
00:39:53,725 --> 00:39:55,661
(SYNTHESIZED SPLASHING)
616
00:40:06,371 --> 00:40:10,576
SUZANNE:
A lot of what I did
was married to an image.
617
00:40:10,609 --> 00:40:12,611
So there was a visual,
you know?
618
00:40:12,644 --> 00:40:15,581
Black & Decker,
you could see the visual
of the motor,
619
00:40:15,614 --> 00:40:17,783
you know, whacking the weed.
620
00:40:19,685 --> 00:40:21,720
(SYNTHESIZED SLASHING)
621
00:40:28,860 --> 00:40:32,197
-The real sound
always fell short.
-(POPS)
622
00:40:34,399 --> 00:40:36,401
If you had
a potato chip commercial
623
00:40:36,434 --> 00:40:38,770
and you needed the sound
of a crunching potato chip.
624
00:40:38,804 --> 00:40:40,005
(SNAPS)
625
00:40:40,038 --> 00:40:42,941
And you would record somebody
biting the potato chip.
626
00:40:42,974 --> 00:40:45,611
It never sounded
like much of anything.
627
00:40:47,045 --> 00:40:50,682
You know,
traditional instruments
had a limited palette.
628
00:40:50,716 --> 00:40:52,584
(PLAYS SINGLE NOTE)
629
00:40:56,187 --> 00:40:59,791
Electronics added thousands
of colors
630
00:41:00,826 --> 00:41:02,260
that weren't there before.
631
00:41:04,996 --> 00:41:08,033
You could create a sound
632
00:41:08,667 --> 00:41:10,969
(ELECTRONIC SOUNDS PLAY)
633
00:41:11,002 --> 00:41:15,874
that had all the fantasy
that you would imagine
that thing having.
634
00:41:22,714 --> 00:41:25,751
MERRIN:
We had an assignment to do
a GE dishwasher commercial.
635
00:41:25,784 --> 00:41:28,554
And it was my
opportunity to use
636
00:41:28,587 --> 00:41:32,157
this kind of electronic genius
I heard about Suzanne Ciani,
637
00:41:32,190 --> 00:41:36,494
and she created
a, what we call,
the beep soundtrack.
638
00:41:36,528 --> 00:41:39,164
This is where
you cut to the commercial
so you can see it.
639
00:41:39,197 --> 00:41:41,499
(RHYTHMIC BEEPING)
640
00:41:50,809 --> 00:41:55,280
SUZANNE: The GE beep
was generated by the reality
641
00:41:55,313 --> 00:41:58,850
that the new dishwasher
that GE was making
642
00:41:58,884 --> 00:41:59,951
had a beeping sound.
643
00:41:59,985 --> 00:42:00,986
(BEEPING)
644
00:42:07,192 --> 00:42:09,427
And they came to me
to post score it.
645
00:42:11,062 --> 00:42:12,664
MONA-MATHUS:
It was painstaking.
646
00:42:12,698 --> 00:42:17,235
The preciseness of just, like,
the melody of the lights,
and the sound,
647
00:42:17,268 --> 00:42:19,270
the right little sound
for the lights.
648
00:42:22,641 --> 00:42:27,378
SUZANNE:
Also because, in those days,
there was no way to lock
649
00:42:27,412 --> 00:42:31,382
a multi-track to a video.
650
00:42:32,350 --> 00:42:34,119
You had to start
the multi-track
651
00:42:34,152 --> 00:42:38,857
and start the video by hand
each time you wanted to check,
652
00:42:38,890 --> 00:42:41,459
you know, whether the beep
was in the right place.
653
00:42:41,492 --> 00:42:45,631
You have no idea
how complicated this was.
654
00:42:46,965 --> 00:42:49,300
You know what?
Were those scenes the same?
655
00:42:49,334 --> 00:42:51,469
They're slightly different.
656
00:42:51,502 --> 00:42:53,271
Because that's not
running together.
657
00:42:53,304 --> 00:42:55,641
When the first one's on,
the second one's off.
658
00:42:56,207 --> 00:42:57,976
(PLAYING NOTES)
659
00:42:58,009 --> 00:43:02,447
All I can say is that
the spot was a challenge,
660
00:43:02,480 --> 00:43:06,351
and I created the personality
of the machine.
661
00:43:07,686 --> 00:43:10,521
ZANTAY: I remember the people
from the ads said,
662
00:43:10,555 --> 00:43:13,224
"We want a beep,
but it can't be
an annoying beep.
663
00:43:13,258 --> 00:43:14,926
"It has to be
a friendly beep."
664
00:43:14,960 --> 00:43:17,729
You just...
Sometimes you'd wanna say,
"What are you talking about?
665
00:43:17,763 --> 00:43:21,232
"A friendly beep?"
But she'll go, "Of course.
Of course. A friendly beep."
666
00:43:24,202 --> 00:43:27,238
SUZANNE: The client absolutely
went crazy when they heard it.
667
00:43:27,272 --> 00:43:31,142
So the commercial won,
you know, awards.
668
00:43:32,010 --> 00:43:33,511
ZANTAY: It was a huge success.
669
00:43:33,544 --> 00:43:35,914
COMMERCIAL VOICEOVER:
The GE 2800 dishwasher.
670
00:43:35,947 --> 00:43:38,449
It does almost everything
but clear the table.
671
00:43:38,483 --> 00:43:42,120
(GE JINGLE PLAYS)
672
00:43:42,153 --> 00:43:43,621
(BEEPS)
673
00:43:43,655 --> 00:43:45,356
Well, in a moment,
we'll meet a musician
674
00:43:45,390 --> 00:43:47,726
whose playful experiments
with electricity
675
00:43:47,759 --> 00:43:49,961
may be the forerunners
of a new approach
676
00:43:49,995 --> 00:43:52,497
to both listening
and learning.
677
00:43:54,766 --> 00:43:57,703
SUZANNE:
(VOICE DISTORTED)
Welcome to Xenon.
678
00:43:58,336 --> 00:44:00,939
Welcome to Xenon.
679
00:44:01,907 --> 00:44:04,542
Welcome to Xenon.
680
00:44:05,243 --> 00:44:07,779
Welcome to Xenon.
681
00:44:08,513 --> 00:44:11,149
Welcome to Xenon.
682
00:44:12,984 --> 00:44:15,787
SUZANNE: I was in New York.
I guess it was about 1980.
683
00:44:15,821 --> 00:44:18,256
A lot of stuff
was happening that year.
684
00:44:18,289 --> 00:44:20,358
That's when I got
the film score,
685
00:44:20,391 --> 00:44:22,327
The Incredible
Shrinking Woman,
686
00:44:22,360 --> 00:44:26,231
and I was contacted
by Bally in Chicago
687
00:44:26,264 --> 00:44:29,267
about designing sounds
for a pinball game.
688
00:44:32,103 --> 00:44:34,139
"Okay. Why not?"
689
00:44:34,172 --> 00:44:36,407
MAN 1: When did you first
get involved with this?
690
00:44:36,441 --> 00:44:38,009
Like, was the machine
all designed already?
691
00:44:38,043 --> 00:44:42,547
No. As a matter of fact,
I went to Chicago
and they had the blueprints.
692
00:44:42,580 --> 00:44:45,650
So it hadn't even been, uh,
finished, designed yet.
693
00:44:45,683 --> 00:44:47,518
They had schematics.
694
00:44:47,552 --> 00:44:51,622
And they had the whole
blueprint, and then I went
to the art department,
695
00:44:51,656 --> 00:44:53,859
and they showed
me this drawing.
696
00:44:53,892 --> 00:44:56,227
I thought, "Uh-oh.
(LAUGHS)
697
00:44:56,261 --> 00:44:58,263
"I hope I'm not
denigrating women."
698
00:44:59,230 --> 00:45:01,466
(ELECTRONIC SOUNDS PLAY)
699
00:45:05,236 --> 00:45:08,807
I was very interested
in getting the whole
composition to work.
700
00:45:08,840 --> 00:45:11,943
To think of the pinball
as actually playing a piece.
701
00:45:15,280 --> 00:45:17,315
So I can put in
702
00:45:18,249 --> 00:45:20,651
just a series of pitches.
703
00:45:22,353 --> 00:45:24,522
Okay, now I'm gonna
ask it to play
704
00:45:25,423 --> 00:45:27,192
and see what it does here.
705
00:45:28,493 --> 00:45:30,528
(RHYTHMIC BEEPING)
706
00:45:36,567 --> 00:45:39,170
So did they involve you,
like, did they
want your voice,
707
00:45:39,204 --> 00:45:41,807
or were they more interested
in the technology behind it?
708
00:45:41,840 --> 00:45:44,042
You know, they had two chips.
709
00:45:44,075 --> 00:45:47,045
-So this was the first time
that they had two chips.
-Right.
710
00:45:47,078 --> 00:45:49,547
And one was a little
electronic generator
711
00:45:49,580 --> 00:45:52,017
and one was a sampler
for voice.
712
00:45:52,050 --> 00:45:53,785
-Okay.
-And so I had, like,
713
00:45:53,819 --> 00:45:56,922
a very little bit of time
on the sampling.
714
00:45:56,955 --> 00:45:59,257
(VOICE DISTORTED)
Try tube shock.
715
00:45:59,290 --> 00:46:01,592
Try tube shock.
716
00:46:01,626 --> 00:46:03,461
Try tube shock.
717
00:46:04,295 --> 00:46:06,397
Try tube shock.
718
00:46:07,598 --> 00:46:10,035
Suzanne has this amazing
speaking voice.
719
00:46:10,068 --> 00:46:12,703
And it isn't just
what she says,
it's how she says it.
720
00:46:12,737 --> 00:46:15,941
SUZANNE: One, two, three.
721
00:46:15,974 --> 00:46:18,543
MURTAUGH: There's a sound
in her voice that is so...
722
00:46:18,576 --> 00:46:21,779
If they brought back
HAL as a computer,
it would be Suzanne's voice.
723
00:46:21,813 --> 00:46:24,850
(VOICE HEAVILY DISTORTED)
Xenon.
724
00:46:28,186 --> 00:46:30,755
SUZANNE:
You know, I was watching
people play pinball games
725
00:46:30,788 --> 00:46:33,758
and I realized
how it would produce a sound
726
00:46:33,791 --> 00:46:35,560
and then you would responded
to that sound.
727
00:46:35,593 --> 00:46:38,897
So when you hit the bumper,
it would go... (GRUNTING)
728
00:46:38,930 --> 00:46:40,631
(DISTORTED GRUNTING)
729
00:46:45,103 --> 00:46:47,105
When I looked
at that artwork,
730
00:46:47,138 --> 00:46:52,210
I thought, well, you know,
this is a very sensual game
that people are playing.
731
00:46:52,243 --> 00:46:53,811
So I had the idea that maybe
there could be
732
00:46:53,845 --> 00:46:56,614
a little whip sound
on the flippers, you know.
(LAUGHS)
733
00:46:56,647 --> 00:47:00,385
And you'd whip,
and then it would go...
(MOANING)
734
00:47:00,418 --> 00:47:04,990
You know? And that one
they weren't ready for.
735
00:47:05,023 --> 00:47:07,592
MAN 2: This is our sound chip,
and this is our speech.
736
00:47:09,660 --> 00:47:10,795
SUZANNE: Great.
737
00:47:10,828 --> 00:47:11,930
Okay, we are all set.
738
00:47:11,963 --> 00:47:13,764
-Ready?
-And we close this door.
739
00:47:13,798 --> 00:47:16,067
Would you like to go first?
Power up.
740
00:47:16,101 --> 00:47:17,402
SUZANNE: Power up.
741
00:47:18,336 --> 00:47:20,438
(GAME POWERING UP)
742
00:47:24,075 --> 00:47:25,776
(DISTORTED VOICES PLAYING)
743
00:47:33,751 --> 00:47:35,954
SUZANNE:
(VOICE DISTORTED)
Welcome to Xenon.
744
00:48:00,811 --> 00:48:03,314
SUZANNE: I wanted technology
to be sensual.
745
00:48:04,415 --> 00:48:07,285
That was always my directive.
746
00:48:10,588 --> 00:48:12,958
MERRIN: The advertising world
at the time was...
747
00:48:13,824 --> 00:48:16,227
A male-dominated world.
748
00:48:17,828 --> 00:48:22,367
For Suzanne to be such
a force in the industry
was incredibly unique.
749
00:48:24,702 --> 00:48:27,772
PETER BAUMANN: I remember that
I met Suzanne in New York.
750
00:48:27,805 --> 00:48:32,043
And that she was quite famous
for the Coca-Cola commercial
she did.
751
00:48:33,044 --> 00:48:35,080
Of course,
it was extraordinary
752
00:48:35,113 --> 00:48:37,648
for a woman to be
in the music business
753
00:48:37,682 --> 00:48:39,550
other than
a background singer,
754
00:48:39,584 --> 00:48:40,986
you know, or a pop star.
755
00:48:45,090 --> 00:48:47,658
MONA-MATHUS: We were doing
something together as women
756
00:48:47,692 --> 00:48:51,262
that required us
to perfect our craft,
757
00:48:51,296 --> 00:48:55,266
because we wanted
to be taken seriously,
and we wanted to succeed.
758
00:48:58,169 --> 00:49:00,071
IANUZZI:
What she really wanted to do
from the beginning,
759
00:49:00,105 --> 00:49:01,839
was she wanted
to be a recording artist.
760
00:49:01,872 --> 00:49:03,941
She wanted to make
Suzanne's albums.
761
00:49:06,711 --> 00:49:10,648
SUZANNE: Advertising gave me
the financial means
762
00:49:10,681 --> 00:49:13,618
of outfitting myself
763
00:49:13,651 --> 00:49:18,389
with a proper laboratory
and the gear
that I wanted to use.
764
00:49:18,423 --> 00:49:21,259
I'd like to give you
a short tour of my studio.
765
00:49:21,292 --> 00:49:23,428
In the corner,
I have a vintage Buchla
766
00:49:23,461 --> 00:49:25,763
that I've had
for over ten years.
767
00:49:25,796 --> 00:49:27,898
Then I have, uh,
two drum machines here.
768
00:49:27,932 --> 00:49:32,670
An earlier model
of Roland and a Linn.
769
00:49:32,703 --> 00:49:37,142
At one point, I thought,
you know, I don't need
anybody else to do this.
770
00:49:37,175 --> 00:49:39,344
I don't need
a record label to say,
771
00:49:39,377 --> 00:49:41,746
"Make us an album, you know?
We want your album.
772
00:49:41,779 --> 00:49:43,248
"We think you're wonderful."
773
00:49:43,281 --> 00:49:46,484
I knew that
I could just make it
and that's what I did.
774
00:49:46,517 --> 00:49:47,785
This is all the pitch.
775
00:49:47,818 --> 00:49:51,389
So you don't have to really
be able to sing to do this.
776
00:49:51,422 --> 00:49:52,490
So it's great.
777
00:49:53,558 --> 00:49:55,660
(MELLOW MUSIC PLAYING)
778
00:50:07,138 --> 00:50:09,240
SUZANNE: I look at Seven Waves
and I think...
779
00:50:09,274 --> 00:50:12,943
What I was trying to do
was create a very sensual,
780
00:50:12,977 --> 00:50:17,515
feminine, romantic,
passionate, emotional music
781
00:50:17,548 --> 00:50:19,217
using machines.
782
00:50:21,486 --> 00:50:25,090
So I did that album,
and since I had now
something on tape
783
00:50:25,123 --> 00:50:28,959
I went to do another round
at the record companies.
784
00:50:28,993 --> 00:50:30,428
And I even went to Europe.
785
00:50:30,461 --> 00:50:32,563
There was a group,
Tangerine Dream,
786
00:50:32,597 --> 00:50:34,665
that was starting to get
some notoriety,
787
00:50:34,699 --> 00:50:37,535
and I thought,
"Ah, it's probably easier
in Europe."
788
00:50:38,736 --> 00:50:40,305
So I went all over Europe
789
00:50:41,706 --> 00:50:43,341
and couldn't get
to first base.
790
00:50:44,242 --> 00:50:47,145
Then one day, I thought...
791
00:50:48,012 --> 00:50:49,013
Japan.
792
00:50:52,150 --> 00:50:54,085
In America, when you have
a record meeting,
793
00:50:54,119 --> 00:50:55,320
you know,
the phones are ringing,
794
00:50:55,353 --> 00:50:57,922
people are walking in and out,
nobody listens.
795
00:50:57,955 --> 00:51:01,292
In Japan, you go
into to a listening room.
796
00:51:01,326 --> 00:51:03,728
No telephones,
nobody comes in there.
797
00:51:03,761 --> 00:51:07,498
You have tea
and you have a couch,
and you have the speakers.
798
00:51:07,532 --> 00:51:10,635
And they sit, and they listen.
799
00:51:16,040 --> 00:51:17,908
It was astonishing.
800
00:51:17,942 --> 00:51:21,312
In the United States,
nobody had listened.
801
00:51:21,346 --> 00:51:24,815
So I like to tell myself
that part of the reason
802
00:51:24,849 --> 00:51:26,484
that the Japanese
wanted this album
803
00:51:26,517 --> 00:51:28,519
was that they actually
listened to it.
804
00:51:28,553 --> 00:51:30,855
-(APPLAUSE)
-Synthesized music
is something
805
00:51:30,888 --> 00:51:32,357
that is taken
very, very seriously
806
00:51:32,390 --> 00:51:35,926
in the world of music,
and this is an album.
807
00:51:35,960 --> 00:51:40,165
Once I had the Japanese deal,
it was a lot easier for me
808
00:51:40,198 --> 00:51:43,201
because I had a product,
so I had a record,
809
00:51:43,234 --> 00:51:46,771
and record companies,
you know, noticed a bit more.
810
00:51:55,813 --> 00:51:57,782
I don't think
I see anything in here.
811
00:51:58,716 --> 00:52:01,386
I think I looked
at all these already.
812
00:52:02,887 --> 00:52:03,888
(GASPS)
813
00:52:04,655 --> 00:52:06,524
Okay. (CHUCKLES)
814
00:52:06,557 --> 00:52:08,058
Oh, my God.
815
00:52:08,092 --> 00:52:10,395
Now this is mis-categorized.
816
00:52:10,428 --> 00:52:12,463
This is definitely not...
817
00:52:12,497 --> 00:52:14,232
This is definitely not rock.
818
00:52:14,265 --> 00:52:17,535
This was my second album.
819
00:52:18,836 --> 00:52:21,572
(SOULFUL MUSIC PLAYING)
820
00:52:33,117 --> 00:52:35,085
The second album,
The Velocity of Love,
821
00:52:35,119 --> 00:52:37,822
the song on that,
The Velocity of Love,
822
00:52:37,855 --> 00:52:40,525
was the first time
I had used acoustic piano.
823
00:52:40,558 --> 00:52:41,792
And that one, actually,
824
00:52:41,826 --> 00:52:45,463
is probably
my best-known song to date.
825
00:52:45,496 --> 00:52:47,865
(PIANO PLAYING)
826
00:53:07,885 --> 00:53:10,755
To get music out
in our culture,
827
00:53:10,788 --> 00:53:13,991
you have to belong
to a category.
828
00:53:14,024 --> 00:53:16,627
You have to fit
into a compartment
829
00:53:16,661 --> 00:53:21,065
where they can't market it,
they can't put it some place.
830
00:53:21,098 --> 00:53:23,868
I remember, you know,
my early album Seven Waves.
831
00:53:23,901 --> 00:53:26,170
I mean, I was in jazz,
I was in classical,
832
00:53:26,203 --> 00:53:28,673
I was in electronic,
I was in vocal, I was in...
833
00:53:28,706 --> 00:53:30,808
You know, there was
no place for the album.
834
00:53:30,841 --> 00:53:34,879
Then, finally, there came
this category, new age.
835
00:53:34,912 --> 00:53:36,681
And I was grateful,
because now there was
836
00:53:36,714 --> 00:53:39,784
at least a place
to put the music
where people could find it.
837
00:53:43,554 --> 00:53:46,357
There's a quiet revolution
happening in the world today
838
00:53:46,391 --> 00:53:49,560
dealing with meditation,
reflection and inner peace.
839
00:53:49,594 --> 00:53:51,796
FEMALE REPORTER:
And it's all being called,
New Age.
840
00:53:52,330 --> 00:53:54,332
(KENNY G PLAYING)
841
00:53:56,967 --> 00:53:59,870
MALE REPORTER: Among the more
mainstream artists are Kenny G
842
00:53:59,904 --> 00:54:02,340
whose Songbird
was a top-five hit.
843
00:54:02,373 --> 00:54:04,375
Mannheim Steamroller,
whose many albums
844
00:54:04,409 --> 00:54:07,445
include their
popular renditions
of Christmas standards.
845
00:54:07,478 --> 00:54:09,179
And Tangerine Dream
846
00:54:09,213 --> 00:54:11,716
familiar to moviegoers
for their many film scores,
847
00:54:11,749 --> 00:54:13,618
among them, Risky Business.
848
00:54:13,651 --> 00:54:15,653
Former Tangerine Dream
group member
849
00:54:15,686 --> 00:54:19,089
Peter Baumann now heads
his own record company.
850
00:54:20,758 --> 00:54:23,661
New age is a category, uh,
851
00:54:23,694 --> 00:54:26,764
that the late-night talk shows
make fun of.
852
00:54:26,797 --> 00:54:28,299
WOMAN 2: My sister's
having a baby
853
00:54:28,333 --> 00:54:30,868
and, uh, she is having
a natural childbirth,
854
00:54:30,901 --> 00:54:33,638
so we just decided
to get some music for her.
855
00:54:33,671 --> 00:54:36,173
You know, so that the baby,
when it's born,
856
00:54:36,206 --> 00:54:39,043
can come
into beautiful sounds.
857
00:54:39,076 --> 00:54:42,813
It, in some cases, doesn't
quite get the credibility
858
00:54:42,847 --> 00:54:44,248
as other music has.
859
00:54:44,281 --> 00:54:46,150
New age
is an interesting topic.
860
00:54:46,183 --> 00:54:48,786
It's like a club that nobody
wants to belong to.
861
00:54:49,654 --> 00:54:51,956
BAUMANN: It's usually for...
862
00:54:53,023 --> 00:54:55,960
Shall I say,
a different personality type?
863
00:54:55,993 --> 00:54:57,828
You know,
it's more reflective.
864
00:54:57,862 --> 00:55:00,230
You just got
your new CD player
you're a bit too old
865
00:55:00,264 --> 00:55:01,466
for rock-and-roll
866
00:55:01,499 --> 00:55:04,835
and classical music,
for you, might be
a little cerebral,
867
00:55:04,869 --> 00:55:06,871
and jazz is a little esoteric,
868
00:55:06,904 --> 00:55:09,173
but you wanna be part of
what's going on in music.
869
00:55:12,843 --> 00:55:15,145
KITARO: This is called
the waterphones.
870
00:55:16,681 --> 00:55:19,917
(ETHEREAL CLANGING)
871
00:55:26,924 --> 00:55:31,762
KITARO: Sometimes we can see
the energies, the visible,
872
00:55:31,796 --> 00:55:35,833
but I believe more than
the visible energies.
873
00:55:35,866 --> 00:55:40,004
Invisible energy is more
inside of the body,
874
00:55:40,037 --> 00:55:42,106
and inside of the soul.
875
00:55:45,610 --> 00:55:50,347
So, that's the new age musics
came out a long time ago.
876
00:55:51,215 --> 00:55:53,183
(MELANCHOLIC MUSIC PLAYING)
877
00:56:01,392 --> 00:56:05,329
You know, the old day
the listener need
to have an experience
878
00:56:06,096 --> 00:56:07,632
with the sounds.
879
00:56:07,665 --> 00:56:11,769
We have, uh,
the cassette tape,
put it, they put it.
880
00:56:12,903 --> 00:56:15,740
The peoples listening
881
00:56:15,773 --> 00:56:18,543
and then
walking in the forest...
882
00:56:19,343 --> 00:56:20,411
Wow!
883
00:56:20,445 --> 00:56:23,180
And then the title is,
like, uh, you know,
884
00:56:23,213 --> 00:56:25,650
the Forest Magic
or something. (CHUCKLES)
885
00:56:26,517 --> 00:56:27,685
Yeah.
886
00:56:30,354 --> 00:56:31,589
(MUSIC CONTINUES PLAYING)
887
00:56:31,622 --> 00:56:32,757
(BIRDS CHIRPING)
888
00:56:48,072 --> 00:56:50,374
SUZANNE: Nature, you know,
brings us peace,
889
00:56:50,407 --> 00:56:53,611
it gives us confidence
that the world works
890
00:56:54,111 --> 00:56:55,513
without us.
891
00:56:55,546 --> 00:56:57,882
This is all orchestrated,
not by us,
892
00:56:57,915 --> 00:56:59,617
we didn't plan it.
893
00:56:59,650 --> 00:57:02,687
It's just here
and it's perfect.
894
00:57:04,188 --> 00:57:06,591
But the other thing
about nature is that
895
00:57:07,958 --> 00:57:10,695
it's a little bit
more chaotic.
896
00:57:10,728 --> 00:57:14,899
It's like birds and Bach,
you know?
897
00:57:14,932 --> 00:57:16,767
(BIRD CAWING)
898
00:57:16,801 --> 00:57:21,572
The birds are beautiful,
but it's not composed.
899
00:57:22,740 --> 00:57:25,710
So, for me, nature is
900
00:57:25,743 --> 00:57:28,979
a spiritual starting point
901
00:57:29,747 --> 00:57:31,549
because it brings me peace
902
00:57:32,116 --> 00:57:34,351
and a calmness.
903
00:57:34,384 --> 00:57:36,186
And that's what
my music is about.
904
00:57:36,654 --> 00:57:39,456
(PIANO PLAYING)
905
00:57:46,497 --> 00:57:51,702
It was interesting to me,
that in my period
of electronic devotion,
906
00:57:51,736 --> 00:57:55,606
I actually didn't
wanna touch the piano,
907
00:57:55,640 --> 00:57:58,008
even though it had been
my childhood instrument.
908
00:57:59,109 --> 00:58:01,812
I'd like to show you
my next album Neverland.
909
00:58:01,846 --> 00:58:03,948
This is recorded
on Private Music.
910
00:58:06,150 --> 00:58:10,420
My albums, from Neverland on,
I think showed a progression
911
00:58:10,454 --> 00:58:14,925
gradually back towards
acoustic instruments.
912
00:58:14,959 --> 00:58:17,928
(ORCHESTRA AND PIANO PLAY)
913
00:58:33,110 --> 00:58:37,648
The piano
was just a perfect universe
914
00:58:37,682 --> 00:58:39,650
to come back to.
915
00:58:39,684 --> 00:58:44,321
Because when I played it,
I appreciated it even more.
916
00:58:44,354 --> 00:58:47,291
-(APPLAUSE)
-The expressiveness
that it had.
917
00:59:05,409 --> 00:59:08,813
My theory was,
was that if I could express
918
00:59:08,846 --> 00:59:13,050
my deepest, personal
emotions and feelings,
919
00:59:13,083 --> 00:59:16,420
that it actually would touch
something universal.
920
00:59:19,489 --> 00:59:21,892
Neverland was
a romantic song,
921
00:59:21,926 --> 00:59:24,428
and I have to say,
my heart was broken,
922
00:59:24,461 --> 00:59:28,766
but in the video, you know,
it's a song about a horse
923
00:59:28,799 --> 00:59:30,400
coming along the beach
924
00:59:30,434 --> 00:59:35,205
and finding this little girl
who's building a sand castle.
925
00:59:35,239 --> 00:59:38,575
She suddenly grows
into a woman,
926
00:59:38,609 --> 00:59:41,812
gets on the horse, and he
takes her up into the sky
to her prince.
927
00:59:43,580 --> 00:59:47,384
And that was really
my concept of romantic love,
928
00:59:47,417 --> 00:59:49,219
was the prince.
929
00:59:50,054 --> 00:59:52,122
(DRAMATIC PIANO PLAYING)
930
01:00:14,912 --> 01:00:15,946
SUZANNE: My personal life
931
01:00:15,980 --> 01:00:19,784
was very integrated
into my musical life.
932
01:00:21,919 --> 01:00:24,088
Even if I lived with somebody,
933
01:00:24,121 --> 01:00:26,857
it would be, like,
five minutes in the morning,
934
01:00:26,891 --> 01:00:28,993
and then
five minutes at night.
935
01:00:32,062 --> 01:00:33,698
MERRIN: Her studio
was actually her living room
936
01:00:33,731 --> 01:00:37,034
and it was just full
of giant mixing boards,
937
01:00:37,067 --> 01:00:39,670
machines that were blinking
on and off
938
01:00:39,704 --> 01:00:45,109
wires going
absolutely everywhere,
and she's plugging stuff in.
939
01:00:45,142 --> 01:00:48,178
MONA-MATHUS: You were
in her house, you had to
take your shoes off.
940
01:00:48,212 --> 01:00:50,614
Nobody was allowed
to come in the apartment
with the shoes on,
941
01:00:50,647 --> 01:00:53,083
which, for advertising folks
that came to the door,
942
01:00:53,117 --> 01:00:55,119
they were oftentimes shocked
943
01:00:55,152 --> 01:00:57,554
in that, "Do we really have to
take our shoes off?"
944
01:00:57,587 --> 01:00:59,356
And it was like,
"Yes, you do."
945
01:01:00,991 --> 01:01:03,627
It wasn't like she was faster
946
01:01:03,660 --> 01:01:05,329
than going into
a regular studio
947
01:01:05,362 --> 01:01:07,497
with musicians
and instruments.
948
01:01:07,531 --> 01:01:10,167
This actually could be
maddeningly slow
949
01:01:10,200 --> 01:01:12,136
'cause she had to
program everything, you know,
950
01:01:12,169 --> 01:01:14,304
and, you know,
it was just so different then.
951
01:01:15,940 --> 01:01:17,875
MURTAUGH: You didn't know
how long things
were gonna take.
952
01:01:17,908 --> 01:01:19,844
Would the machines,
you know, blow up?
953
01:01:19,877 --> 01:01:21,345
Would the wires come apart?
954
01:01:21,378 --> 01:01:24,381
Would things not work?
Would the sounds not be right?
955
01:01:24,414 --> 01:01:28,052
How do you fix it? How do you
change it? It was...
A lot of time was spent.
956
01:01:30,154 --> 01:01:32,723
First of all, you can see
there's a lot of pressure
in this business.
957
01:01:32,757 --> 01:01:34,691
I mean, it happens very fast.
958
01:01:38,863 --> 01:01:40,564
MERRIN:
She was constantly working.
959
01:01:42,266 --> 01:01:45,502
MONA-MATHUS: You had to work.
You had to put in
that kind of work
960
01:01:45,535 --> 01:01:48,472
in order to be the best
at what she was doing,
961
01:01:48,505 --> 01:01:51,375
in order to achieve that kind
of success that she had.
962
01:01:54,078 --> 01:01:56,313
MERRIN: The time pressure
in advertising
963
01:01:56,346 --> 01:01:58,415
is always, you know...
964
01:01:58,448 --> 01:02:00,717
"We need it right now."
"What do you mean now?"
965
01:02:00,751 --> 01:02:02,552
"I mean, really, now.
Tomorrow morning."
966
01:02:04,288 --> 01:02:06,490
The commercials
are like, you know...
967
01:02:06,523 --> 01:02:10,494
(STUTTERS) You have to
go fast. This whole,
"Time is money."
968
01:02:12,763 --> 01:02:16,233
MONA-MATHUS: We worked
12-hour days, 14-hour days,
969
01:02:16,266 --> 01:02:19,569
we worked
weekends, overnights.
970
01:02:19,603 --> 01:02:22,472
I woke up this morning
and I saw these circles
under my eyes,
971
01:02:22,506 --> 01:02:24,041
and I thought, you know,
972
01:02:24,074 --> 01:02:26,710
"These circles
are brought to you by Pepsi."
973
01:02:26,743 --> 01:02:28,045
(ALL LAUGHING)
974
01:02:29,947 --> 01:02:32,016
MERRIN:
It was really hard work.
975
01:02:33,083 --> 01:02:34,551
It was frantic.
976
01:02:39,123 --> 01:02:41,158
SUZANNE: I was
going full blast.
977
01:02:41,191 --> 01:02:46,964
And I ran out of medicine
that I was supposed to take.
978
01:02:46,997 --> 01:02:50,901
The doctor said,
"Well, I can't give you
a prescription for these
979
01:02:50,935 --> 01:02:53,303
"unless you go
and get checked."
980
01:02:53,337 --> 01:02:55,005
I said, "I can't get checked,
981
01:02:55,039 --> 01:02:57,041
"I'm in the middle
of an album."
982
01:02:57,074 --> 01:02:58,542
"I'm in production."
983
01:02:58,575 --> 01:03:00,677
"I don't have time
to go to a doctor."
984
01:03:02,179 --> 01:03:05,482
So I took a morning off,
and I went to the doctor,
985
01:03:05,515 --> 01:03:08,618
and they did
some kind of testing,
986
01:03:08,652 --> 01:03:11,155
and they said, "I'm really
sorry to tell you this,
987
01:03:11,188 --> 01:03:14,892
"but it looks like you might
have breast cancer."
988
01:03:19,729 --> 01:03:21,398
I basically panicked.
989
01:03:30,240 --> 01:03:32,843
It was a time of...
990
01:03:33,777 --> 01:03:35,812
Terrible crisis, really.
991
01:03:36,646 --> 01:03:40,217
When you face your mortality,
992
01:03:40,250 --> 01:03:42,752
and it comes
out of the blue like that,
993
01:03:42,786 --> 01:03:46,090
it's an alarm
that makes you shift gears.
994
01:03:47,524 --> 01:03:52,229
I made a decision that I
had to leave New York, ASAP.
995
01:03:52,262 --> 01:03:54,298
I only stayed there
long enough
996
01:03:54,331 --> 01:03:57,301
to have radiation treatment.
997
01:03:57,334 --> 01:04:01,071
I really thought
I had a mandate to leave
because of the breast cancer.
998
01:04:01,105 --> 01:04:04,041
I thought New York,
all the excitement
and the stress,
999
01:04:04,074 --> 01:04:06,610
and all the things
I loved about it,
1000
01:04:06,643 --> 01:04:08,045
but I just made up in my mind,
1001
01:04:08,078 --> 01:04:11,281
that that's was, like,
maybe it was killing me.
1002
01:04:11,315 --> 01:04:13,150
You know,
maybe it wasn't healthy.
1003
01:04:13,750 --> 01:04:16,620
So I just left it.
1004
01:04:41,311 --> 01:04:44,915
Here we are at the edge
of the Earth here,
1005
01:04:44,949 --> 01:04:46,650
or at least the United States.
1006
01:04:46,683 --> 01:04:50,420
So this is a pretty far
western point here.
1007
01:04:50,454 --> 01:04:51,455
Um...
1008
01:04:52,256 --> 01:04:53,924
There is San Francisco,
1009
01:04:53,958 --> 01:04:57,661
this is the ocean,
there is Stinson Beach.
1010
01:04:57,694 --> 01:05:01,966
And this kind of
spherical space
1011
01:05:03,300 --> 01:05:06,336
is amazing
because you see
the horizon line,
1012
01:05:06,370 --> 01:05:10,774
and the dome of the sky,
and the theater of the ocean,
1013
01:05:10,807 --> 01:05:13,710
and all the waves,
the sound of the waves,
1014
01:05:13,743 --> 01:05:17,847
and, uh, you know, the surfers
are out here every day.
1015
01:05:17,881 --> 01:05:20,250
I'm more of an observer
than an actual surfer,
1016
01:05:20,284 --> 01:05:23,687
but this is where I moved
in 1992.
1017
01:05:26,823 --> 01:05:29,893
(MELLOW MUSIC PLAYING)
1018
01:06:00,624 --> 01:06:06,296
You know, I had missed
a good part of my...
1019
01:06:06,330 --> 01:06:10,400
You know, romantic life,
just by working so hard
in New York.
1020
01:06:10,434 --> 01:06:14,104
So, in a way, I thought,
"Well, now I am in California,
1021
01:06:14,138 --> 01:06:17,807
"and I'm in
a more relaxed situation
1022
01:06:17,841 --> 01:06:20,144
"I'm out of the fast lane
in New York,
1023
01:06:20,177 --> 01:06:22,512
"and I really do have time
1024
01:06:22,546 --> 01:06:25,615
"for doing
something personal."
1025
01:06:26,083 --> 01:06:27,817
It's Joe.
1026
01:06:29,619 --> 01:06:34,358
He was 18-and-a-half years
younger than I was.
1027
01:06:34,391 --> 01:06:38,128
We were just very happy.
I was happy.
Everybody was happy.
1028
01:06:40,464 --> 01:06:43,267
We were married in 1994,
1029
01:06:43,300 --> 01:06:47,571
and we were divorced,
officially, I think in 2001.
1030
01:06:52,309 --> 01:06:57,081
I think the idealism
that I had about love
1031
01:06:57,881 --> 01:07:00,550
disappeared at that point.
1032
01:07:02,452 --> 01:07:06,022
Some of the songs
that I wrote then,
I could never write now.
1033
01:07:06,056 --> 01:07:09,526
I don't have, you know,
that same...
1034
01:07:11,061 --> 01:07:15,165
Bubbly, cloudy, romantic,
1035
01:07:15,199 --> 01:07:18,235
mysterious concept.
1036
01:07:18,268 --> 01:07:20,604
I can still play the songs,
1037
01:07:21,471 --> 01:07:25,442
but my writing
is not about that
1038
01:07:27,844 --> 01:07:28,878
anymore.
1039
01:07:33,683 --> 01:07:35,919
So, maybe it's perfect
1040
01:07:35,952 --> 01:07:38,455
for me to go back
to electronic music.
1041
01:07:56,373 --> 01:07:59,309
(INDISTINCT CHATTER)
1042
01:07:59,343 --> 01:08:02,212
As I say,
I've been living under a rock
1043
01:08:02,246 --> 01:08:05,249
for years now,
as far as electronic music
1044
01:08:05,282 --> 01:08:06,416
has been going on.
1045
01:08:06,450 --> 01:08:08,352
I haven't paid attention.
1046
01:08:11,688 --> 01:08:16,460
Andy Votel at Finders Keepers
contacted me,
1047
01:08:16,493 --> 01:08:18,128
and they said they
wanted to release
1048
01:08:18,162 --> 01:08:21,598
my unreleased
early electronic music.
1049
01:08:22,899 --> 01:08:24,634
He released them,
and suddenly,
1050
01:08:24,668 --> 01:08:27,637
there was this rush
of attention that happened.
1051
01:08:28,872 --> 01:08:31,808
I somehow
have been reincarnated
1052
01:08:31,841 --> 01:08:34,911
as an electronic
composer again.
1053
01:08:34,944 --> 01:08:36,980
(AUDIENCE CHEERING
AND APPLAUDING)
1054
01:08:51,395 --> 01:08:56,300
For me, it is just
you know, astonishing
to come out and see
1055
01:08:56,333 --> 01:09:00,337
that there's
this huge audience now
for this experience.
1056
01:09:02,572 --> 01:09:04,774
(ABSTRACT ELECTRONIC
MUSIC PLAYING)
1057
01:09:23,760 --> 01:09:26,095
(APPLAUDING AND CHEERING)
1058
01:09:31,835 --> 01:09:34,238
So now I have
this legion of new fans.
1059
01:09:34,271 --> 01:09:37,441
These kids in skinny
jeans, you know,
that show up at my concerts.
1060
01:09:40,210 --> 01:09:41,611
LOWE: She's a true innovator.
1061
01:09:41,645 --> 01:09:44,681
And what she's done
is absolutely important
1062
01:09:44,714 --> 01:09:48,552
to the history
and the development
of electronic music.
1063
01:09:48,585 --> 01:09:50,587
DORIT CHRYSLER:
She found her own way.
1064
01:09:50,620 --> 01:09:52,956
She had to find her own way.
1065
01:09:52,989 --> 01:09:56,059
MURTAUGH: Music people
stay young because
they're always creating.
1066
01:09:56,092 --> 01:09:59,095
And music, more people
discover it all the time.
1067
01:09:59,128 --> 01:10:00,797
ANNOUNCER:
I am very happy to introduce
1068
01:10:00,830 --> 01:10:02,899
a true legend
of electronic music,
1069
01:10:02,932 --> 01:10:04,468
-Suzanne Ciani.
-(LAUGHS)
1070
01:10:04,501 --> 01:10:06,670
(ALL APPLAUDING AND CHEERING)
1071
01:10:08,338 --> 01:10:10,006
SUZANNE: I'm not an expert
on all of this,
1072
01:10:10,039 --> 01:10:13,510
but I have noticed some of
the same bearded people
1073
01:10:13,543 --> 01:10:15,679
that were new agers
1074
01:10:15,712 --> 01:10:17,714
are now ambient.
1075
01:10:20,350 --> 01:10:23,953
This generation is aware
that they missed something.
1076
01:10:25,088 --> 01:10:27,891
They wanna know, like,
"Okay, wait a minute,
1077
01:10:27,924 --> 01:10:30,360
"what was analog like?
1078
01:10:30,394 --> 01:10:33,129
"What were LPs like?
What were cassettes like?
1079
01:10:33,763 --> 01:10:34,998
"We didn't have that."
1080
01:10:35,999 --> 01:10:38,101
And, so, it's fun for me
1081
01:10:38,134 --> 01:10:39,869
'cause I've already
been there.
1082
01:10:42,005 --> 01:10:44,341
There have been
so many chapters in my career,
1083
01:10:44,374 --> 01:10:46,643
and I'm still open
1084
01:10:46,676 --> 01:10:51,815
to there being more
unsuspected chapters.
1085
01:10:54,318 --> 01:10:56,420
Because if there's anything
that my life has shown me,
1086
01:10:56,453 --> 01:10:58,522
is that you just don't know
what's gonna happen.
1087
01:11:15,038 --> 01:11:16,973
There used to be a house here,
1088
01:11:17,006 --> 01:11:19,509
and the house was
two-thirds gone
1089
01:11:19,543 --> 01:11:21,177
when I moved here,
1090
01:11:21,210 --> 01:11:24,013
and, eventually, the owner
took the water rights
1091
01:11:24,047 --> 01:11:25,515
and relocated.
1092
01:11:25,549 --> 01:11:28,552
And then I was able
to buy this little piece,
1093
01:11:28,585 --> 01:11:30,053
and add it,
1094
01:11:30,086 --> 01:11:35,425
and make this wonderful,
kind of unnerving precipice.
1095
01:11:38,428 --> 01:11:41,130
Clearly, I'm on the edge.
1096
01:11:41,164 --> 01:11:44,568
And it's kind of a race,
who's gonna last longer.
1097
01:11:45,335 --> 01:11:50,507
Me, or the place where I live.
1098
01:11:50,540 --> 01:11:54,077
You know, people say,
"Well, what's, what's
gonna happen?"
1099
01:11:54,110 --> 01:11:55,244
"Do you know?"
1100
01:11:56,513 --> 01:11:59,349
I could ask
a geological engineer
1101
01:11:59,383 --> 01:12:01,718
and he could say,
"Well, this and that,
1102
01:12:01,751 --> 01:12:03,620
"and the scientific evidence
is this and that,"
1103
01:12:03,653 --> 01:12:05,989
but, for me,
I got peace of mind
1104
01:12:06,022 --> 01:12:07,824
really just asking
my astrologer
1105
01:12:07,857 --> 01:12:10,694
and she said,
"Don't worry, you're fine.
1106
01:12:10,727 --> 01:12:12,161
"There's nothing in your chart
1107
01:12:12,195 --> 01:12:14,130
"that says you're going to
lose your home."
1108
01:12:14,163 --> 01:12:17,233
So that, I don't know
what that means,
1109
01:12:17,266 --> 01:12:18,668
but it means that
in my lifetime,
1110
01:12:18,702 --> 01:12:21,805
however long that is,
I'll be here.
1111
01:12:22,472 --> 01:12:24,674
So, that's all I ask.
1112
01:12:31,681 --> 01:12:35,284
You get a little fatalistic
at a certain age
1113
01:12:35,318 --> 01:12:39,423
you know, when you're younger,
you don't even see the edge.
1114
01:12:40,757 --> 01:12:42,526
And once you've gone
over that,
1115
01:12:42,559 --> 01:12:45,094
you know, certain time frame,
1116
01:12:46,029 --> 01:12:48,297
you're looking at the horizon.
1117
01:12:52,402 --> 01:12:53,870
You know, I notice changes,
1118
01:12:53,903 --> 01:12:57,240
I notice things
that have come and gone,
1119
01:12:57,273 --> 01:12:59,042
but I've always been romantic.
1120
01:12:59,075 --> 01:13:02,646
I mean, my music,
everything I've done,
artistically,
1121
01:13:02,679 --> 01:13:07,050
has been based
in the concept of romanticism.
1122
01:13:07,083 --> 01:13:11,988
But I don't know if that
can be whittled down to,
1123
01:13:12,021 --> 01:13:15,124
you know, just rapport
between men and women.
1124
01:13:15,158 --> 01:13:19,262
My romanticism
is with life itself.
1125
01:13:19,295 --> 01:13:21,164
You know,
I like to see the best
1126
01:13:22,231 --> 01:13:23,800
in life.
1127
01:13:23,833 --> 01:13:25,869
The romance, the beauty.
1128
01:13:27,003 --> 01:13:28,672
And I choose to see that.
1129
01:13:29,639 --> 01:13:32,375
(WAVES CRASHING)
1130
01:13:44,387 --> 01:13:46,990
(ELECTRONIC MUSIC PLAYING)
86208
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