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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:00:22,990 --> 00:00:25,025 (AUDIENCE APPLAUDING) 4 00:00:29,797 --> 00:00:32,766 Ladies and gentlemen, this woman standing next to me is, uh... 5 00:00:32,800 --> 00:00:34,368 -(ELECTRONIC FEEDBACK RINGING) -(LAUGHS) 6 00:00:34,402 --> 00:00:37,071 ...an electronic wizard. (LAUGHS) 7 00:00:37,105 --> 00:00:39,673 She composed many of the soundtracks you hear on commercials, 8 00:00:39,707 --> 00:00:41,575 she's reproduced the electrical musical effects 9 00:00:41,609 --> 00:00:43,144 for the disco version of Star Wars, 10 00:00:43,177 --> 00:00:44,612 and she's won award after award. 11 00:00:44,645 --> 00:00:47,848 -(ECHOING STOPS) This is Suzanne Ciani, and, uh... -(AUDIENCE APPLAUDING) 12 00:00:47,881 --> 00:00:49,883 Hello. 13 00:00:49,917 --> 00:00:52,386 First of all, why do you have this stuff? What do you do with this? 14 00:00:52,420 --> 00:00:54,655 Uh, well, this is how I make a living. 15 00:00:54,688 --> 00:00:56,657 -(STAMMERS) But I mean... -(LAUGHTER) 16 00:00:56,690 --> 00:00:58,392 You don't go door to door saying, 17 00:00:58,426 --> 00:01:00,394 -"I'll make you sound goofy." -(AUDIENCE LAUGHS) 18 00:01:00,428 --> 00:01:03,063 -No, they call me. -They call you. 19 00:01:03,097 --> 00:01:04,998 SUZANNE: This is like the sound that I would make. 20 00:01:05,032 --> 00:01:07,067 (CHIMES ECHOING) 21 00:01:08,569 --> 00:01:09,770 -This is, uh... -It's very nice. 22 00:01:09,803 --> 00:01:10,904 -Is that pretty? -Yes. 23 00:01:10,938 --> 00:01:12,640 SUZANNE: That's "Lights". DAVID LETTERMAN: Do the one 24 00:01:12,673 --> 00:01:14,442 where it sounds like the whole studio is gonna explode. 25 00:01:14,475 --> 00:01:16,444 -Here we go. Ready? -LETTERMAN: Yeah. 26 00:01:16,477 --> 00:01:17,978 (AIR SIREN WAILING) 27 00:01:18,011 --> 00:01:19,580 Oh, yeah. (LAUGHS) 28 00:01:19,613 --> 00:01:21,282 (AUDIENCE APPLAUDING) 29 00:01:22,383 --> 00:01:25,719 (SOUND GROWING IN VOLUME) 30 00:01:34,795 --> 00:01:36,797 (ELECTRONIC MUSIC PLAYING) 31 00:02:47,635 --> 00:02:50,771 SUZANNE: I've always wondered why my path 32 00:02:50,804 --> 00:02:54,742 has always been a little bit different. 33 00:02:56,944 --> 00:02:59,012 If somebody else can do it, they should do it. 34 00:03:00,314 --> 00:03:04,418 I want to do what only I can do. 35 00:03:11,024 --> 00:03:13,927 NARRATOR: What do the Coca-Cola pop and pour sound effect... 36 00:03:13,961 --> 00:03:16,063 -(BOTTLE CAP POPS) -(DRINK POURING) 37 00:03:16,096 --> 00:03:20,568 ...and the Atari video games audio logo have in common? 38 00:03:20,601 --> 00:03:24,405 They were both created by Suzanne Ciani, a pioneer in electronic music. 39 00:03:25,873 --> 00:03:27,207 RUTH CIANI: I used to tell people, 40 00:03:27,241 --> 00:03:29,910 "You don't know her, you don't know her name, 41 00:03:29,943 --> 00:03:31,712 "but you've heard her music." 42 00:03:31,745 --> 00:03:36,049 WOMAN 1: I want to introduce you to a five-time Grammy-nominee composer. 43 00:03:36,083 --> 00:03:38,419 She's a woman whose music has touched the lives 44 00:03:38,452 --> 00:03:40,821 of tens of thousands of people around the world. 45 00:03:41,755 --> 00:03:43,257 ROBERT LOWE: She's a pioneer. 46 00:03:44,592 --> 00:03:47,995 The fact that she took an instrument that was really built 47 00:03:48,028 --> 00:03:52,866 for future sound or future music, and applied that 48 00:03:52,900 --> 00:03:57,538 in the most popular context that you could think of. Advertising. 49 00:03:57,571 --> 00:04:01,174 Was an amazing and subversive thing. 50 00:04:01,208 --> 00:04:04,912 The future is now and the future is right now. 51 00:04:04,945 --> 00:04:08,382 She came up with sounds that were just completely different. 52 00:04:08,416 --> 00:04:11,619 (VOICE DISTORTED) Welcome to Xenon. 53 00:04:11,652 --> 00:04:16,524 Suzanne imagination went like pinball. Pinball game. 54 00:04:17,958 --> 00:04:20,461 Like a... (IMITATING PINBALL SOUNDS) 55 00:04:20,494 --> 00:04:25,633 SUZANNE: Pinball machines, soap operas, orchestral scores. 56 00:04:25,666 --> 00:04:28,168 I always love taking on something new. 57 00:04:34,508 --> 00:04:37,678 Being a woman in this business is very, very tough. 58 00:04:37,711 --> 00:04:39,012 It made her stand out. 59 00:04:41,415 --> 00:04:43,417 SARAH DAVACHI: She was, on the one hand, 60 00:04:43,451 --> 00:04:47,287 an artist who didn't really sell out or compromise 61 00:04:47,321 --> 00:04:51,124 but on the other hand, she was this super successful businesswoman 62 00:04:51,158 --> 00:04:53,594 who made her art work. 63 00:04:56,029 --> 00:04:59,500 MONA-MATHUS: She gave everything to a project. 64 00:04:59,533 --> 00:05:01,935 I mean, and she explored all different possibilities. 65 00:05:04,171 --> 00:05:08,976 She's a woman who was unafraid of pleasure, unafraid of her own 66 00:05:09,009 --> 00:05:11,879 sensuality, and unafraid to show it in her music. 67 00:05:15,983 --> 00:05:19,753 HUNTER MURTAUGH: She's always had this inexhaustible musical talent. 68 00:05:21,121 --> 00:05:23,391 Once you're on that path to make music, 69 00:05:23,424 --> 00:05:26,259 you don't stop, and she never has. 70 00:05:30,364 --> 00:05:33,434 SUZANNE: I was always told that I was different. 71 00:05:33,467 --> 00:05:35,536 "Okay, you're different." 72 00:05:35,569 --> 00:05:41,409 Okay, well, maybe you take that to heart, that you're different, 73 00:05:43,544 --> 00:05:45,312 and maybe you become different. 74 00:05:46,814 --> 00:05:48,849 (MELANCHOLIC MUSIC PLAYING) 75 00:06:23,216 --> 00:06:25,252 (ELECTRONIC FEEDBACK LAYERS OVER PIANO) 76 00:06:51,879 --> 00:06:53,380 (MUSIC FADES OUT) 77 00:07:02,723 --> 00:07:05,125 Maybe we we're supposed to go right down there. 78 00:07:05,158 --> 00:07:07,795 Excuse me, do you know where Alumnae Hall is? 79 00:07:09,162 --> 00:07:11,164 Yeah, that's probably closed off. 80 00:07:11,198 --> 00:07:13,634 You would have to go down this and around. 81 00:07:13,667 --> 00:07:16,269 -Okay. Okay, thanks. -It's around the campus center. 82 00:07:16,303 --> 00:07:19,973 All right. Great. Thanks. Oh, good. We wanna see the campus center anyway. 83 00:07:23,376 --> 00:07:25,345 I got a letter from Wellesley. 84 00:07:25,378 --> 00:07:28,882 "We are pleased to inform you that you have been selected..." 85 00:07:28,916 --> 00:07:30,651 Blah, blah, blah. 86 00:07:30,684 --> 00:07:33,621 First of all, I've never heard of the Alumnae Achievement Awards. 87 00:07:33,654 --> 00:07:36,990 I haven't had much contact with Wellesley for... 88 00:07:38,325 --> 00:07:40,027 Forty years, 89 00:07:40,060 --> 00:07:41,529 and I didn't know what to say. 90 00:07:41,562 --> 00:07:44,031 I thought, (LAUGHS) "Why are they giving me this award?" 91 00:07:44,064 --> 00:07:45,365 Like, "Who am I?" 92 00:07:45,398 --> 00:07:50,003 And I thought, "Oh, you know, is it the electronic thing? 93 00:07:50,037 --> 00:07:52,540 "Is it composition? Is it..." 94 00:07:52,573 --> 00:07:56,009 You know, it's not like I'm a pop star. 95 00:07:56,043 --> 00:07:59,547 You know, there are people who've been given the award who are, um, 96 00:07:59,580 --> 00:08:04,585 organic gardeners or poets or... You know, some of them are brain surgeons, 97 00:08:04,618 --> 00:08:06,820 and some of them are biologists and... 98 00:08:06,854 --> 00:08:10,190 But in all different fields because Wellesley really is 99 00:08:11,458 --> 00:08:16,429 a, uh, broad-based academic environment. 100 00:08:16,463 --> 00:08:18,666 It's not about, you know, just... 101 00:08:18,699 --> 00:08:20,267 Ooh, I smell something. (SNIFFS) 102 00:08:20,300 --> 00:08:23,270 Uh, you know... (LAUGHS) Do you smell something? 103 00:08:23,303 --> 00:08:25,172 Uh, look how pretty that is. 104 00:08:25,205 --> 00:08:26,907 (SNIFFING) I smell... 105 00:08:28,475 --> 00:08:31,545 I smell grass. (LAUGHS) I smell... 106 00:08:32,880 --> 00:08:34,181 Sorry. 107 00:08:34,214 --> 00:08:37,417 Uh, so this is Lake Waban right here. 108 00:08:42,990 --> 00:08:44,257 I just love... 109 00:08:44,291 --> 00:08:49,529 It's so simple and pristine and magical all at once. 110 00:08:49,563 --> 00:08:51,665 It's just amazing. 111 00:08:51,699 --> 00:08:55,435 MURTAUGH: Suzanne's life has always been about art and beauty. 112 00:08:55,468 --> 00:08:57,104 You get the voice, you get the person, 113 00:08:57,137 --> 00:08:59,573 you get the sounds, you get the knowledge, you get the computers. 114 00:08:59,607 --> 00:09:02,075 It's all wrapped up in Suzanne. 115 00:09:02,109 --> 00:09:06,179 PROFESSOR: I am beyond thrilled to welcome Suzanne Ciani to our class. 116 00:09:06,213 --> 00:09:07,681 Let's give her a nice, warm welcome. 117 00:09:07,715 --> 00:09:10,618 (APPLAUSE) 118 00:09:10,651 --> 00:09:13,253 This is thrilling because, you know... Uh, really. 119 00:09:13,286 --> 00:09:17,557 I mean, there's just not enough women in this area. 120 00:09:17,591 --> 00:09:20,661 ALFRED MERRIN: She was always ebullient, always effervescent, 121 00:09:20,694 --> 00:09:23,030 and always excited about what she was doing. 122 00:09:23,063 --> 00:09:25,565 Always excited about what she was doing. 123 00:09:25,599 --> 00:09:28,001 And which nobody really understood. 124 00:09:28,035 --> 00:09:29,970 SUZANNE: So, this is for the Wellesley newspaper? 125 00:09:30,003 --> 00:09:31,438 STUDENT: Yeah. SUZANNE: Yeah. 126 00:09:31,471 --> 00:09:34,274 STUDENT: Do you have any words of wisdom for the students of Wellesley? 127 00:09:34,307 --> 00:09:36,476 I perceive that there's a lot of 128 00:09:37,344 --> 00:09:39,680 emphasis on fame and fortune. 129 00:09:39,713 --> 00:09:43,250 It's like... It seems like people wanna be famous. 130 00:09:43,283 --> 00:09:44,785 -Yeah. (LAUGHS) -You know? 131 00:09:44,818 --> 00:09:47,955 Or they wanna be rich. 132 00:09:47,988 --> 00:09:53,160 And I do say that both of those are not real goals. 133 00:09:56,529 --> 00:09:58,732 There's somebody without any pants on. 134 00:09:58,766 --> 00:10:01,301 I mean, her legs are bare. 135 00:10:03,336 --> 00:10:08,208 Suzanne has an astonishingly original approach, 136 00:10:08,241 --> 00:10:10,744 because she kind of trusts to fate 137 00:10:10,778 --> 00:10:13,847 and trusts to the world that it's all gonna come out right. 138 00:10:14,782 --> 00:10:17,117 SUZANNE: So, here is, uh, Louise Dolan. 139 00:10:17,150 --> 00:10:19,787 She was a superstring theorist. 140 00:10:19,820 --> 00:10:22,723 An astronaut. That's pretty cool. 141 00:10:22,756 --> 00:10:27,027 Hillary Clinton. She got it in 2003. 142 00:10:27,060 --> 00:10:30,497 A trail blazer, a scholar, educator, 143 00:10:31,431 --> 00:10:33,100 a humanist. 144 00:10:33,133 --> 00:10:36,603 Isn't this wonderful to see what all these women have accomplished? 145 00:10:39,172 --> 00:10:43,977 I guess I'm old enough to get some recognition, you know? (LAUGHS) 146 00:10:44,011 --> 00:10:45,979 -(CAMERA CLICKING) -But it's not a comfortable place to be, 147 00:10:46,013 --> 00:10:49,116 because it's, it's kind of acknowledging 148 00:10:49,149 --> 00:10:53,453 that you're at your endgame, you know? (LAUGHS) 149 00:10:53,486 --> 00:10:57,590 And you start to look at the span of your life, 150 00:10:59,159 --> 00:11:01,494 and you see all the different chapters. 151 00:11:06,767 --> 00:11:08,802 (FILM REEL ROLLING) 152 00:11:10,470 --> 00:11:12,740 SUZANNE: Well, I grew up in a big family. 153 00:11:12,773 --> 00:11:16,744 My father clearly was waiting for a boy and I was the third girl. 154 00:11:16,777 --> 00:11:19,913 So, when I was brought up, I... You know, I learned to play baseball. 155 00:11:19,947 --> 00:11:23,150 I was a pitcher on the boy's baseball team. 156 00:11:23,183 --> 00:11:25,886 She was pretty much a star in the classroom, 157 00:11:25,919 --> 00:11:28,889 and she was a star on the athletic field 158 00:11:28,922 --> 00:11:31,591 or on the basketball court. 159 00:11:31,624 --> 00:11:35,528 RUTH: She was just gorgeous. She was brilliant and she was gorgeous. 160 00:11:35,562 --> 00:11:38,231 There were lots of boys hanging around the house. 161 00:11:38,265 --> 00:11:42,803 Mom said, "Oh, my gosh, Ruthie, they, they're coming out of the bushes." 162 00:11:42,836 --> 00:11:46,373 SUZANNE: There were boys every place. (LAUGHS) There were boys... 163 00:11:46,406 --> 00:11:48,742 But we don't have to go... How far did they go into that? 164 00:11:48,776 --> 00:11:51,678 (LAUGHING) I don't know. It's like... 165 00:11:51,711 --> 00:11:54,815 -(FILM REEL ROLLING) -My dad was an orthopedic surgeon, 166 00:11:54,848 --> 00:11:57,050 and my mom was a housewife. 167 00:11:57,084 --> 00:11:59,887 My dad ran the house like the king. 168 00:11:59,920 --> 00:12:04,091 A woman needs to know how to shave a man and polish his shoes. 169 00:12:04,124 --> 00:12:05,759 That's what he always said. 170 00:12:07,060 --> 00:12:10,663 He wanted to be a musician, and when he went to Harvard, 171 00:12:10,697 --> 00:12:13,133 he immediately signed up for music classes, 172 00:12:13,166 --> 00:12:15,235 and they were just all crossed off, 173 00:12:15,268 --> 00:12:17,004 because he was pre-med, 174 00:12:17,037 --> 00:12:19,840 and they said, "No, you can't study music," 175 00:12:19,873 --> 00:12:22,275 and it always broke his heart. 176 00:12:22,309 --> 00:12:24,244 So, this is my childhood piano. 177 00:12:24,277 --> 00:12:26,847 It's a Steinway that my mom bought, 178 00:12:26,880 --> 00:12:29,249 uh, and brought it into the house 179 00:12:29,282 --> 00:12:32,886 and so, I grew up with this piano. 180 00:12:32,920 --> 00:12:36,089 CYNTHIA CIANI: Suzanne tells this story that mom came home from a garage sale 181 00:12:36,123 --> 00:12:39,659 with some albums of classical music, 182 00:12:39,692 --> 00:12:43,763 and that inspired her to want to learn music. 183 00:12:45,265 --> 00:12:49,402 SUZANNE: My mom has always been pivotal. She found the piano. 184 00:12:49,436 --> 00:12:53,706 She found the classical records that changed my life. 185 00:12:53,740 --> 00:12:56,944 And I took those things for granted, 186 00:12:56,977 --> 00:12:59,012 but I really have her to thank. 187 00:12:59,947 --> 00:13:02,049 (PIANO PLAYING) 188 00:13:10,891 --> 00:13:12,993 SUZANNE: I played constantly. 189 00:13:13,026 --> 00:13:15,328 I loved the piano, 190 00:13:15,362 --> 00:13:17,330 and I could play the same Chopin piece 191 00:13:17,364 --> 00:13:21,101 over and over and over and just get lost in it. 192 00:13:21,134 --> 00:13:24,137 JUDITH CIANI: She played the piano hours every night 193 00:13:24,171 --> 00:13:26,506 and it was when she was in high school 194 00:13:26,539 --> 00:13:28,808 that she, on her own, 195 00:13:28,842 --> 00:13:31,211 decided to go to Longy School of Music. 196 00:13:33,013 --> 00:13:39,219 SUZANNE: I was so grateful for the independence that I had with music. 197 00:13:39,252 --> 00:13:44,457 The fact that I was a woman gave me the freedom to pursue music, 198 00:13:44,491 --> 00:13:48,328 because nothing more was expected of me. 199 00:13:48,361 --> 00:13:51,431 If I had been a son, I would've been directed 200 00:13:51,464 --> 00:13:55,903 into a profession like medicine or law, 201 00:13:57,004 --> 00:13:59,106 and, as it was, I had freedom. 202 00:14:01,641 --> 00:14:04,044 Here I am... How many years later? 203 00:14:04,077 --> 00:14:06,346 I'm sure it's just completely different now. 204 00:14:06,379 --> 00:14:09,416 I don't know what it's like now, you know? 205 00:14:09,449 --> 00:14:13,186 Do you still have bells where they announce when your date comes? 206 00:14:13,220 --> 00:14:14,287 No. 207 00:14:14,321 --> 00:14:15,422 They just come in? 208 00:14:15,455 --> 00:14:17,891 -Yeah, people just go in and out, pretty much. -(GASPS) 209 00:14:17,925 --> 00:14:20,160 We had this thing, you know, where the receptionist 210 00:14:20,193 --> 00:14:22,229 would announce, you know, the man... 211 00:14:22,262 --> 00:14:25,165 -"You have a male, a male visitor." -(BOTH LAUGHING) 212 00:14:25,198 --> 00:14:27,767 You know, it's like, okay, everybody... (LAUGHS) 213 00:14:27,800 --> 00:14:30,637 -Oh, my God. -Be prepared, there's a male. 214 00:14:31,638 --> 00:14:33,340 I had a boyfriend. 215 00:14:33,373 --> 00:14:35,475 He was at Harvard Law School. 216 00:14:35,508 --> 00:14:37,110 You know, he did propose. 217 00:14:37,144 --> 00:14:40,680 You know, all the girls were getting married senior year, 218 00:14:40,713 --> 00:14:43,616 and my mother loved him, and, you know, 219 00:14:43,650 --> 00:14:46,853 she would've been happy if I had married, 220 00:14:47,921 --> 00:14:49,923 but I just wasn't ready. 221 00:14:52,159 --> 00:14:54,995 (WOMEN SINGING CHORAL MUSIC) 222 00:14:55,028 --> 00:14:59,599 The truth is, I really didn't want to narrow my life down right away. 223 00:15:01,068 --> 00:15:03,470 I mean, maybe, I would've been perfectly happy, 224 00:15:05,538 --> 00:15:08,008 but it would have been a completely different life. 225 00:15:08,041 --> 00:15:10,077 (CHORAL SINGING CONTINUES) 226 00:15:30,463 --> 00:15:33,266 (ALL APPLAUDING) 227 00:15:33,300 --> 00:15:37,470 EMCEE: It is now my great pleasure to introduce to you 228 00:15:37,504 --> 00:15:42,742 the recipients of the 2015 Alumnae Achievement Award. 229 00:15:43,676 --> 00:15:45,512 Suzanne Ciani. 230 00:15:45,545 --> 00:15:47,614 (ALL APPLAUDING) 231 00:15:51,384 --> 00:15:55,455 I first heard of the concept of electronic music while still a student here. 232 00:15:55,488 --> 00:15:57,590 My senior year, we became 233 00:15:57,624 --> 00:15:59,692 the sister school of MIT, 234 00:15:59,726 --> 00:16:02,062 and a professor there had taken the budget 235 00:16:02,095 --> 00:16:03,930 that was intended for something else 236 00:16:03,963 --> 00:16:07,034 and was trying to make a musical tone 237 00:16:07,067 --> 00:16:10,137 in this, you know, big university computer. 238 00:16:10,170 --> 00:16:15,575 It was quite an amazing thing when I heard this little sound emitted. 239 00:16:15,608 --> 00:16:19,779 And that planted, in my mind, a concept 240 00:16:19,812 --> 00:16:23,716 that would draw me forward, continuously, from that moment on. 241 00:16:28,721 --> 00:16:32,159 That's the tower. That's where, you know, 242 00:16:32,192 --> 00:16:37,197 all the, uh, students would meet to do protests. 243 00:16:38,231 --> 00:16:40,200 It was at the base of that tower. 244 00:16:41,201 --> 00:16:42,635 Berkeley, when I went there, 245 00:16:42,669 --> 00:16:46,873 I was, you know, the girl from Wellesley college, 246 00:16:46,906 --> 00:16:49,942 and that blew up in minutes. 247 00:16:49,976 --> 00:16:52,212 (PROTESTORS CLAMORING) 248 00:16:52,245 --> 00:16:53,813 You know, it was the late'60s. 249 00:16:53,846 --> 00:16:56,816 It was 1968 when I got there, 250 00:16:56,849 --> 00:17:01,854 and it was the beginning of all these uprisings and upheavals, 251 00:17:01,888 --> 00:17:04,491 and it was a very political time, 252 00:17:04,524 --> 00:17:06,526 and so I got politicized like right away. 253 00:17:06,559 --> 00:17:10,063 I was playing Chopin in the music room, 254 00:17:10,097 --> 00:17:12,199 and a rock came through the window. 255 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. 256 00:17:19,572 --> 00:17:21,874 "There's no time for Chopin right now." 257 00:17:34,821 --> 00:17:37,690 This is the architecture department, 258 00:17:37,724 --> 00:17:42,195 and that's the bench where I had met Joseph. 259 00:17:51,037 --> 00:17:54,707 The music department was right next to the architecture department, 260 00:17:54,741 --> 00:17:59,979 and so I saw a sculptor sitting out in front of the architecture department. 261 00:18:00,012 --> 00:18:02,215 He was polishing a sculpture, 262 00:18:02,249 --> 00:18:05,952 and I went down and sat beside him and found out where he lived, 263 00:18:05,985 --> 00:18:09,021 (LAUGHS) and we moved in together. 264 00:18:14,161 --> 00:18:19,232 We lived in a model of the future home that he believed in. 265 00:18:19,266 --> 00:18:21,901 So, he built this thing out of foam. 266 00:18:21,934 --> 00:18:23,470 And it was like a womb. 267 00:18:23,503 --> 00:18:27,274 We lived in this red womb 268 00:18:27,307 --> 00:18:30,910 in the front of which had a sculpture 269 00:18:30,943 --> 00:18:33,480 that went off into infinity. 270 00:18:33,513 --> 00:18:36,616 So, the idea was that you could live in a small space 271 00:18:36,649 --> 00:18:40,019 but visually feel, you know, huge dimension. 272 00:18:43,890 --> 00:18:47,194 It was a very exciting time. It was a hippie time. 273 00:18:47,227 --> 00:18:49,396 It was a drug time. 274 00:18:49,429 --> 00:18:52,399 It was exactly the right place to be. 275 00:18:53,766 --> 00:18:57,504 The first electronic music center with public access 276 00:18:57,537 --> 00:19:00,940 was the San Francisco Tape Music Center 277 00:19:00,973 --> 00:19:05,912 which was housed right nearby the campus at Mills College, 278 00:19:05,945 --> 00:19:08,248 and I could go there and stay there all night. 279 00:19:12,685 --> 00:19:15,755 When I came to Berkeley, I came as a composer, 280 00:19:15,788 --> 00:19:18,525 but once I got involved in electronic music, 281 00:19:18,558 --> 00:19:21,628 I saw it as a compositional tool, 282 00:19:21,661 --> 00:19:26,833 and I was very excited, you know, to introduce that into my graduate work. 283 00:19:28,468 --> 00:19:31,738 (PERCUSSION PLAYING) 284 00:19:31,771 --> 00:19:36,042 This was the theater that I brought my music class to 285 00:19:36,075 --> 00:19:38,345 to hear my electronic composition, 286 00:19:38,378 --> 00:19:42,249 and we came here and there were speakers and a sound system. 287 00:19:45,685 --> 00:19:47,254 When I brought over 288 00:19:47,287 --> 00:19:51,190 my first electronic composition to the class, 289 00:19:51,791 --> 00:19:54,261 I was catapulted into, 290 00:19:54,294 --> 00:19:56,329 you know, nirvana, hearing the sound 291 00:19:56,363 --> 00:19:58,465 in the big theater with the speakers. 292 00:20:01,668 --> 00:20:06,038 I thought it was the most amazing thing I'd ever heard. 293 00:20:06,072 --> 00:20:09,642 And when it was over, I looked over at my professor, 294 00:20:09,676 --> 00:20:14,180 thinking that I would get a smile, an accolade, 295 00:20:14,213 --> 00:20:16,449 some, you know, recognition, 296 00:20:16,483 --> 00:20:18,485 and he looked at me and he said, 297 00:20:18,518 --> 00:20:21,388 "Tell me, why did you bring us over here?" 298 00:20:26,593 --> 00:20:29,362 Okay, why did I bring you over here? 299 00:20:29,396 --> 00:20:31,531 It's like, "What was that 300 00:20:32,732 --> 00:20:36,269 "useless piece of nothing 301 00:20:36,303 --> 00:20:38,705 "that you made us listen to?" 302 00:20:39,238 --> 00:20:40,540 And so, 303 00:20:42,409 --> 00:20:46,078 I knew that those two worlds weren't gonna... They weren't gonna match. 304 00:20:56,956 --> 00:20:58,991 (ELECTRONIC MUSIC PLAYING) 305 00:21:11,438 --> 00:21:15,107 SUZANNE: I decided that I would just finish my degree 306 00:21:15,141 --> 00:21:19,546 but put my heart into my own work outside of school, 307 00:21:21,314 --> 00:21:25,518 and I just happened to find myself in the place 308 00:21:25,552 --> 00:21:30,523 where one of the original designers of synthesizers was working. 309 00:21:31,190 --> 00:21:32,459 Don Buchla. 310 00:21:38,431 --> 00:21:42,268 Don Buchla was the inventor of the modular synthesizer. 311 00:21:42,301 --> 00:21:45,772 He made the first modular synthesizer in 1963. 312 00:21:47,407 --> 00:21:52,211 Don was so important because of the fact that he built an instrument 313 00:21:52,244 --> 00:21:57,384 that did not necessarily consider instruments that had come before 314 00:21:57,417 --> 00:21:59,486 or traditions that had come before. 315 00:22:00,787 --> 00:22:04,323 He didn't need a black and white keyboard to make music. 316 00:22:06,726 --> 00:22:09,829 DAVACHI: I think Don inspired Suzanne in probably a pretty similar way 317 00:22:09,862 --> 00:22:12,499 that he inspired everybody else who was around him, 318 00:22:12,532 --> 00:22:14,033 but especially her, 319 00:22:14,066 --> 00:22:15,968 because she just had all this enthusiasm and wanted to learn 320 00:22:16,002 --> 00:22:19,372 and was just, like, super keen to get into it, 321 00:22:19,406 --> 00:22:22,675 and I think maybe that might have caught him off-guard. 322 00:22:26,979 --> 00:22:31,317 SUZANNE: My memory is going to Don Buchla's big warehouse 323 00:22:31,350 --> 00:22:36,055 and being led into this massive, dark space, 324 00:22:36,088 --> 00:22:40,226 and in the center was a tower of modules, 325 00:22:40,259 --> 00:22:43,329 all flashing lights. 326 00:22:46,265 --> 00:22:50,002 And I thought, "Oh, this is where I belong." 327 00:22:50,036 --> 00:22:52,371 And so, I did get the opportunity to work there. 328 00:22:52,405 --> 00:22:54,807 I can't remember exactly how I got the job, 329 00:22:54,841 --> 00:22:57,510 but I can tell you that I lost it the next day. 330 00:23:01,881 --> 00:23:03,950 They found a cold soldering joint. 331 00:23:05,384 --> 00:23:07,820 He just assumed that it was the new girl. 332 00:23:07,854 --> 00:23:11,458 Now, I may not have been the world's best solderer, 333 00:23:11,491 --> 00:23:14,627 but I knew that I didn't do that cold soldering joint. 334 00:23:14,661 --> 00:23:18,531 I thought it was unjust that he just assumed without proof. 335 00:23:22,569 --> 00:23:27,139 The fact that I wasn't regarded as an equal 336 00:23:27,173 --> 00:23:30,610 made me put a lot more energy into it. 337 00:23:32,912 --> 00:23:34,714 That's what women did then. 338 00:23:34,747 --> 00:23:37,183 They were better. 339 00:23:37,216 --> 00:23:40,953 If a guy could do something, the woman would do it better, 340 00:23:41,888 --> 00:23:43,956 and that's how they earned their way 341 00:23:44,624 --> 00:23:46,793 into visibility. 342 00:23:47,760 --> 00:23:49,729 And so I said, "You can't fire me." 343 00:23:50,730 --> 00:23:52,565 And I just showed up the next day. 344 00:23:53,700 --> 00:23:55,835 I started out working for Don Buchla 345 00:23:55,868 --> 00:23:58,671 in his factory, and I could... 346 00:23:58,705 --> 00:24:00,873 You know, I was right there on location, 347 00:24:00,907 --> 00:24:03,042 and I said, "Gee, I think we should have a knob here," 348 00:24:03,075 --> 00:24:04,811 and you'd have a knob there. 349 00:24:04,844 --> 00:24:07,113 It was all developed kind of organically. 350 00:24:10,483 --> 00:24:12,585 He became my mentor. 351 00:24:12,619 --> 00:24:15,822 He analyzed the very essence of, 352 00:24:15,855 --> 00:24:19,258 you know, the human being and the expression of music, physically. 353 00:24:19,291 --> 00:24:24,396 You know, what does it mean to interact with a thing, 354 00:24:24,430 --> 00:24:27,800 an instrument, and create music. 355 00:24:33,472 --> 00:24:36,509 INTERVIEWER: I'm in a recording studio with Suzanne Ciani, 356 00:24:36,543 --> 00:24:39,779 a master musician of an unusual instrument. 357 00:24:39,812 --> 00:24:42,982 SUZANNE: A synthesizer is an electronic musical instrument. 358 00:24:43,015 --> 00:24:47,286 It works by using electronic signals to produce sound, 359 00:24:47,319 --> 00:24:51,624 and the sound could be, for instance, uh, like normal instruments, 360 00:24:51,658 --> 00:24:55,762 like, oh, a cello, or a guitar sound, or a horn sound, or a flute, 361 00:24:55,795 --> 00:25:00,266 or unusual sounds, the sounds of snowstorms, of birds, 362 00:25:00,299 --> 00:25:02,835 or just make-believe sounds. 363 00:25:02,869 --> 00:25:04,637 -Can you show me some of them? -Sure. 364 00:25:04,671 --> 00:25:06,305 I have the sound in here. 365 00:25:06,338 --> 00:25:09,175 You have to tell me what it is. Okay? You guess. 366 00:25:09,208 --> 00:25:11,243 (ELECTRONIC TRICKLING) 367 00:25:12,945 --> 00:25:14,346 Like rain drops? 368 00:25:14,380 --> 00:25:15,748 Like water dropping. 369 00:25:15,782 --> 00:25:18,150 It's like things plopping into water. 370 00:25:24,090 --> 00:25:26,993 SUZANNE: Electronic music was a wide-open space 371 00:25:27,026 --> 00:25:30,129 with sounds that nobody had ever heard before. 372 00:25:31,063 --> 00:25:33,299 Buchla's instruments, 373 00:25:33,332 --> 00:25:37,737 the sound was secondary, believe it or not. 374 00:25:40,673 --> 00:25:44,010 I could make a sound that went in a second 375 00:25:44,043 --> 00:25:48,981 from a bass sound all the way up to off the edge of hearing. 376 00:25:52,451 --> 00:25:54,687 What instrument is that? What sound is that? 377 00:25:54,721 --> 00:25:56,589 It's not a sound. 378 00:25:56,623 --> 00:25:57,990 It's a movement. 379 00:25:58,024 --> 00:25:59,525 INTERVIEWER: What are they? 380 00:25:59,558 --> 00:26:01,861 Oh, these are patch cords. This is... 381 00:26:01,894 --> 00:26:03,996 These are the things that route the signal 382 00:26:04,030 --> 00:26:06,866 from one little module to another to get the sound. 383 00:26:06,899 --> 00:26:09,636 You can patch it in a lot of different ways. 384 00:26:09,669 --> 00:26:13,339 And the way you patch it will determine what you get. 385 00:26:13,372 --> 00:26:15,274 It's like creating an instrument. 386 00:26:18,911 --> 00:26:22,148 LOWE: Modular synthesizers like the Buchla 387 00:26:22,181 --> 00:26:26,252 are like living beings in a lot of ways. 388 00:26:26,285 --> 00:26:28,721 The dialogue begins with 389 00:26:28,755 --> 00:26:33,660 the patching of cables from one module to another, 390 00:26:33,693 --> 00:26:36,028 and they begin to have a conversation. 391 00:26:36,062 --> 00:26:40,667 And then you sort of manipulate and control that conversation. 392 00:26:43,602 --> 00:26:46,338 When you spend so much time with these machines, 393 00:26:46,372 --> 00:26:49,141 you start to develop a bit of an emotional connection to them. 394 00:26:49,175 --> 00:26:53,212 They're kind of, like, these beings that you interact with. 395 00:26:57,116 --> 00:27:02,221 Generating sound is a very personal, primal thing. 396 00:27:02,254 --> 00:27:05,524 So if you really dive into this micro space 397 00:27:05,557 --> 00:27:09,195 and spend a lot of time with the machine, the, the... 398 00:27:09,228 --> 00:27:11,864 The being, whatever it is, 399 00:27:11,898 --> 00:27:16,368 to create those sounds, they express your emotions. 400 00:27:16,402 --> 00:27:19,171 So, of course, you can develop emotions 401 00:27:19,205 --> 00:27:25,311 for the creature that allows you to produce it and to express yourself. 402 00:27:25,344 --> 00:27:27,379 (THEREMIN PLAYING ) 403 00:27:36,588 --> 00:27:38,624 (INDISTINCT CHATTER) 404 00:27:41,127 --> 00:27:43,162 (DRUMS PLAYING ) 405 00:27:45,064 --> 00:27:47,099 (SAXOPHONE PLAYING ) 406 00:27:47,967 --> 00:27:50,036 (DRUMS PLAYING ) 407 00:27:51,070 --> 00:27:53,105 (METRONOMES TICKING) 408 00:27:58,377 --> 00:28:00,012 All, uh... 409 00:28:00,046 --> 00:28:03,015 -This entire area, all modulars. -SUZANNE: Oh, look at this. 410 00:28:03,049 --> 00:28:04,616 Wow. 411 00:28:06,719 --> 00:28:09,155 -(ELECTRONIC BEAT PLAYING) -This is a very nice interface. 412 00:28:14,326 --> 00:28:16,395 -Oh, did I hit something? -You probably hit something. 413 00:28:16,428 --> 00:28:18,130 (LAUGHING) 414 00:28:22,001 --> 00:28:23,836 SUZANNE: You know, there are so many expressions now 415 00:28:23,870 --> 00:28:26,873 of electronic instruments all over the world, right? 416 00:28:26,906 --> 00:28:29,541 Somebody is making a little module here and there. 417 00:28:29,575 --> 00:28:32,178 But Don, in my opinion, 418 00:28:32,211 --> 00:28:36,715 is the one who has taken it to the highest level 419 00:28:36,749 --> 00:28:39,852 of dedication and concept. 420 00:28:41,821 --> 00:28:45,291 Today, I was lazy. I did do a little tour of the modular synths 421 00:28:45,324 --> 00:28:49,962 up in the corner. And, Don, your designs 422 00:28:51,463 --> 00:28:53,532 are so beyond... 423 00:28:53,565 --> 00:28:56,135 Oh, that's nice of you. 424 00:28:56,168 --> 00:28:58,470 SUZANNE: My first love affair was with the piano, 425 00:29:00,239 --> 00:29:03,242 and my second love affair was with the Buchla. 426 00:29:03,275 --> 00:29:05,177 And, you know, for a good 12 years, 427 00:29:05,211 --> 00:29:07,046 the Buchla was on all the time. 428 00:29:07,079 --> 00:29:08,647 So it never got shut off. 429 00:29:09,281 --> 00:29:11,017 It lived with me. 430 00:29:11,050 --> 00:29:14,520 It was compact. I could cart it around to my sessions. 431 00:29:16,989 --> 00:29:19,058 My mission 432 00:29:19,091 --> 00:29:21,760 was to introduce these new instruments 433 00:29:21,794 --> 00:29:23,662 as performable instruments 434 00:29:23,695 --> 00:29:28,835 in the same historical vein as other instruments. 435 00:29:28,868 --> 00:29:31,971 And I took that very seriously, 436 00:29:32,004 --> 00:29:35,241 especially when I moved to New York. 437 00:29:45,617 --> 00:29:47,053 Cab karma. 438 00:29:55,227 --> 00:29:58,730 I didn't decide, really, to move to New York. 439 00:29:58,764 --> 00:30:01,367 I went to New York to do a live Buchla concert. 440 00:30:02,168 --> 00:30:05,271 And once I got there, 441 00:30:05,304 --> 00:30:07,974 I realized I didn't wanna leave. 442 00:30:11,110 --> 00:30:13,679 I did see myself, from the time I came to New York, 443 00:30:13,712 --> 00:30:17,149 as a performer and as a recording artist. 444 00:30:18,384 --> 00:30:21,988 I went to every single record label. 445 00:30:22,021 --> 00:30:24,290 I would say, "I play the synthesizer," 446 00:30:24,323 --> 00:30:26,525 and they'd say, "You what?" 447 00:30:26,558 --> 00:30:30,662 You know? "You don't sing? You don't play guitar?" 448 00:30:33,399 --> 00:30:35,067 MURTAUGH: You didn't know anything that she was doing. 449 00:30:35,101 --> 00:30:37,569 You didn't understand it. I don't know from wires, or Buchla's 450 00:30:37,603 --> 00:30:40,439 or potentiometers, or rheostats, or... 451 00:30:40,472 --> 00:30:42,741 Whatever makes the sounds come out, but she does. 452 00:30:45,311 --> 00:30:49,448 She'd make music the way people used to do telephone calls 453 00:30:49,481 --> 00:30:52,952 -with all these wires going... There wasn't any keyboard. -RUTH: Right. Wires. 454 00:30:52,985 --> 00:30:54,586 MARY CIANI: It was the weirdest thing in the world. 455 00:30:56,688 --> 00:31:01,027 SUZANNE: There was just such a huge, huge chasm 456 00:31:01,793 --> 00:31:04,763 between the music business 457 00:31:04,796 --> 00:31:07,666 and my life as an artist. 458 00:31:14,373 --> 00:31:16,142 I had done scores. 459 00:31:16,175 --> 00:31:18,577 You know, I did X-rated films 460 00:31:18,610 --> 00:31:21,580 when I was trying to, you know, get started and make money. 461 00:31:23,349 --> 00:31:27,386 I did the electronic part of the score for The Stepford Wives. 462 00:31:29,555 --> 00:31:30,957 Hi, Kit. How are you? 463 00:31:30,990 --> 00:31:32,424 Hello, Mary Ann. 464 00:31:32,458 --> 00:31:35,527 SUZANNE: The Stepford Wives were women who were really robotic, 465 00:31:35,561 --> 00:31:37,363 but it wasn't apparent right away. 466 00:31:37,396 --> 00:31:38,497 Hello, Carol. 467 00:31:38,530 --> 00:31:39,898 Hi, Pat. 468 00:31:39,932 --> 00:31:43,035 SUZANNE: And so the electronics became, 469 00:31:43,069 --> 00:31:44,836 you know, part of that signal 470 00:31:44,870 --> 00:31:48,907 of something in the machinery going awry. 471 00:31:48,941 --> 00:31:50,176 No, you look. 472 00:31:51,410 --> 00:31:52,878 Joanna... 473 00:31:52,911 --> 00:31:55,781 (EERIE SYNTHESIZER PLAYING) 474 00:31:57,116 --> 00:32:00,519 (SIGHS) How could you do a thing like that? 475 00:32:00,552 --> 00:32:04,090 SUZANNE: I did things with a lot of slow frequency modulation 476 00:32:04,123 --> 00:32:06,692 that just made you feel 477 00:32:07,359 --> 00:32:10,596 scared and, uh, upset. 478 00:32:10,629 --> 00:32:11,763 (GLASS SHATTERS) 479 00:32:11,797 --> 00:32:13,966 I thought we were friends. 480 00:32:14,000 --> 00:32:16,102 I thought we were friends. 481 00:32:16,135 --> 00:32:18,604 SUZANNE: I think the electronics were a metaphor 482 00:32:18,637 --> 00:32:21,007 for the operating system of these women, 483 00:32:21,040 --> 00:32:23,242 you know, it was technology, 484 00:32:23,275 --> 00:32:28,247 and this was the sound of their inner workings kind of coming apart. 485 00:32:28,280 --> 00:32:30,016 And it was scary. 486 00:32:30,049 --> 00:32:31,717 I thought we were friends. 487 00:32:35,854 --> 00:32:39,591 I was surrounded by visual artists. 488 00:32:39,625 --> 00:32:42,028 And I saw that if you're a visual artist, 489 00:32:42,061 --> 00:32:44,696 you had something to sell. 490 00:32:44,730 --> 00:32:49,435 So I called all the top advertising agencies in New York, 491 00:32:49,468 --> 00:32:51,203 and, a couple of times, 492 00:32:51,237 --> 00:32:55,407 I got a meeting scheduled with Billy Davis, 493 00:32:55,441 --> 00:32:57,643 who was the head of music at McCann-Erickson, 494 00:32:57,676 --> 00:33:01,747 and I think that was the largest agency in New York. 495 00:33:01,780 --> 00:33:05,251 I would show up at the meeting and Billy wasn't there. 496 00:33:05,284 --> 00:33:07,686 And I remember going up to the agency, 497 00:33:07,719 --> 00:33:09,488 I said, "Where is Billy Davis?" 498 00:33:09,521 --> 00:33:11,757 They pointed to a control room door, 499 00:33:11,790 --> 00:33:14,460 and I went right into the control room, 500 00:33:14,493 --> 00:33:18,197 and I said, "You had an appointment with me." 501 00:33:18,230 --> 00:33:20,166 And at that very moment, 502 00:33:20,199 --> 00:33:22,501 this is just the strangest story, 503 00:33:22,534 --> 00:33:25,437 they were playing a Coca-Cola jingle. 504 00:33:25,471 --> 00:33:28,174 (COCA-COLA JINGLE PLAYING) 505 00:33:28,207 --> 00:33:31,143 And there was a little blank space in it. 506 00:33:32,144 --> 00:33:34,380 (SILENCE) 507 00:33:34,413 --> 00:33:35,514 (JINGLE CONTINUES) 508 00:33:35,547 --> 00:33:36,482 And he said, "Can you do something in there?" 509 00:33:39,618 --> 00:33:41,520 And I said, "Yes." 510 00:33:41,553 --> 00:33:42,888 (BOTTLE CAP POPS) 511 00:33:42,921 --> 00:33:44,156 (DRINK POURING) 512 00:33:45,257 --> 00:33:47,659 (COKE ADDS LIFE JINGLE PLAYING) 513 00:33:58,504 --> 00:34:00,606 (DRINK POURING) 514 00:34:01,707 --> 00:34:03,342 SUZANNE: I brought this big Buchla, 515 00:34:03,375 --> 00:34:06,512 and it was in five road cases, and I'd have to assemble it. 516 00:34:06,545 --> 00:34:10,749 And I set this thing up and it had all the wires and patches, 517 00:34:10,782 --> 00:34:14,586 and out came this wonderful sound that worked for them. 518 00:34:14,620 --> 00:34:16,122 And they used it all over the world. 519 00:34:16,155 --> 00:34:20,759 They didn't care that I was tuning the sub audio harmonics 520 00:34:20,792 --> 00:34:23,762 of a sawtooth waveform melodically. 521 00:34:27,766 --> 00:34:30,302 Coke was like hitting the jackpot. 522 00:34:30,336 --> 00:34:34,005 That was a new realm of experience for me. 523 00:34:34,039 --> 00:34:36,308 (FIREWORKS BURSTING) 524 00:34:42,781 --> 00:34:46,318 MONA-MATHUS: Nobody was doing what she was doing at that time. 525 00:34:46,352 --> 00:34:48,354 MURTAUGH: There was nobody like her. 526 00:34:48,387 --> 00:34:50,189 -(SUZANNE LAUGHS) -Suzanne Ciani is here with us now. 527 00:34:50,222 --> 00:34:51,790 Would you welcome her, please, to the Morning Show. 528 00:34:51,823 --> 00:34:53,825 -Hi, Suzanne, how are you? -Great. 529 00:34:53,859 --> 00:34:57,529 In advertising, uniqueness is everything. 530 00:34:57,563 --> 00:34:59,465 Being the first is everything. 531 00:34:59,498 --> 00:35:03,269 Nowadays, I have access to an incredibly wide variety of sounds. 532 00:35:03,302 --> 00:35:05,036 -Just about any sound. -Uh-huh. 533 00:35:05,070 --> 00:35:06,438 (ELECTRONIC WHOOPING) 534 00:35:06,472 --> 00:35:08,274 ROB ZANTAY: You know, there's a whole different way to do music, 535 00:35:08,307 --> 00:35:10,409 accompanying a visual. 536 00:35:10,442 --> 00:35:14,513 And that's what Suzanne's expertise was, was sound design. 537 00:35:14,546 --> 00:35:16,282 -This one you've heard. -That sounds familiar. 538 00:35:16,315 --> 00:35:18,284 -Where would we have heard that? -(DESCENDING SCALE PLAYS) 539 00:35:18,317 --> 00:35:21,587 -That's kind of a PBS-type sound. -Yeah. 540 00:35:21,620 --> 00:35:24,089 SUZANNE: There was this concept of sound effects, 541 00:35:25,724 --> 00:35:30,929 and what I realized is that I could do what I called musical effects, 542 00:35:32,264 --> 00:35:36,034 because I could control the musical parameters 543 00:35:37,068 --> 00:35:38,204 of a sound. 544 00:35:38,237 --> 00:35:39,271 (DOOR HISSES OPEN) 545 00:35:39,971 --> 00:35:41,907 (BUTTON CLICKS) 546 00:35:41,940 --> 00:35:44,576 And it worked in a much more integrated way, 547 00:35:44,610 --> 00:35:48,780 and on a much higher level, psychologically and musically. 548 00:35:49,881 --> 00:35:51,250 (ELECTRONIC WHIRRING) 549 00:35:52,651 --> 00:35:56,655 And so, in order to take full advantage of the potential 550 00:35:56,688 --> 00:35:59,225 I started my own music house and I did the whole thing. 551 00:36:01,159 --> 00:36:03,629 COMMERCIAL VOICEOVER: Finally, there is a fuel-efficient car 552 00:36:03,662 --> 00:36:07,699 that does more than get you from point A to point B. 553 00:36:09,701 --> 00:36:12,904 When I met her, she had a company called Ciani-Musica. 554 00:36:12,938 --> 00:36:16,842 SUZANNE: We became the number one company for sound design 555 00:36:16,875 --> 00:36:20,246 and high technology in New York. 556 00:36:20,279 --> 00:36:21,747 COMMERCIAL VOICEOVER: AT&T. 557 00:36:23,014 --> 00:36:24,850 CHRIS IANUZZI: I remember going to the library 558 00:36:24,883 --> 00:36:26,385 and looking through the magazines. 559 00:36:26,418 --> 00:36:29,555 There was a contemporary keyboard and Suzanne Ciani was on the cover. 560 00:36:29,588 --> 00:36:30,922 And I thought, 561 00:36:30,956 --> 00:36:33,759 "I've got to meet her, I've got to go to New York." 562 00:36:33,792 --> 00:36:36,895 I've got to work for her. 563 00:36:36,928 --> 00:36:40,732 RUTH: I knew she was getting big because you turn on the television, and then, 564 00:36:40,766 --> 00:36:42,701 "Oh! Suzi wrote that." 565 00:36:43,269 --> 00:36:45,671 It was everywhere. 566 00:36:45,704 --> 00:36:47,473 MONA-MATHUS: There was Lincoln-Mercury. 567 00:36:48,006 --> 00:36:50,108 There was ITT, 568 00:36:50,842 --> 00:36:52,010 Skittles, 569 00:36:52,844 --> 00:36:54,413 Black & Decker, 570 00:36:55,781 --> 00:36:57,816 Sunkist. 571 00:36:57,849 --> 00:37:01,720 There was Merrill Lynch. The Bull in the China Shop. 572 00:37:01,753 --> 00:37:04,022 COMMERCIAL VOICEOVER: Picking and choosing the right investments 573 00:37:04,055 --> 00:37:07,359 -requires very careful handling. -(ELECTRONIC MUSIC PLAYS) 574 00:37:07,393 --> 00:37:11,863 One wrong move could easily damage the best laid plans. 575 00:37:11,897 --> 00:37:13,632 SUZANNE: "Bull in the China Shop," 576 00:37:13,665 --> 00:37:17,235 what a perfect poetry to do sound to. 577 00:37:19,638 --> 00:37:23,542 I think for me, you know, it was about the dignity of the bull 578 00:37:23,575 --> 00:37:26,945 and that you wanted to give people confidence. 579 00:37:26,978 --> 00:37:30,148 And so I used a classical theme. 580 00:37:30,181 --> 00:37:32,718 And so as the bull marches through, 581 00:37:32,751 --> 00:37:37,356 it picks up in intensity a little bit, and he does get through. 582 00:37:37,389 --> 00:37:39,024 And then there's the logo at the end 583 00:37:39,057 --> 00:37:43,462 which lets you know that you can sleep well at night, 584 00:37:43,495 --> 00:37:46,565 because your money is safe with Merrill Lynch. (LAUGHS) 585 00:37:50,702 --> 00:37:53,104 We were doing quite a few spots for Atari. 586 00:37:53,138 --> 00:37:54,773 And we were the perfect match for them, 587 00:37:54,806 --> 00:37:58,777 because, you know, we were the high-tech music cast. 588 00:37:58,810 --> 00:38:03,715 (ATARI GALAXIAN JINGLE PLAYING) 589 00:38:03,749 --> 00:38:07,052 We were called to do a commercial for Atari. 590 00:38:07,085 --> 00:38:09,588 It was called, Nobody's Hotter Than Atari This Summer. 591 00:38:09,621 --> 00:38:12,491 And a lot of people got involved in that. 592 00:38:12,524 --> 00:38:15,527 You know, I laid the drum sound under the bass sequence. 593 00:38:15,561 --> 00:38:17,596 SUZANNE: It was kind of like a music video. 594 00:38:17,629 --> 00:38:19,798 You know, the image was that all these kids 595 00:38:19,831 --> 00:38:22,668 were marching with their boom boxes, 596 00:38:22,701 --> 00:38:25,303 you know, on the sand, 597 00:38:25,337 --> 00:38:29,508 and the sky would light up with Atari imagery. 598 00:38:29,541 --> 00:38:31,410 (JINGLE CONTINUES PLAYING) 599 00:38:48,760 --> 00:38:51,329 TV JOURNALIST: It seemed like an ordinary assignment. 600 00:38:51,363 --> 00:38:53,765 SUZANNE: Let's welcome him to the neighborhood. 601 00:38:53,799 --> 00:38:57,268 JOURNALIST: I was supposed to meet the queen of musical effects. 602 00:38:58,904 --> 00:39:00,205 (SYNTHESIZED PHONE RINGS) 603 00:39:02,173 --> 00:39:04,776 But I was about to find out that Suzanne Ciani 604 00:39:04,810 --> 00:39:07,312 makes a living turning the ordinary... 605 00:39:07,345 --> 00:39:09,247 (SYNTHESIZED DOOR SLAMS) 606 00:39:12,283 --> 00:39:14,319 ...into the extraordinary. 607 00:39:18,490 --> 00:39:19,925 MURTAUGH: She's conceptual. She's creative. 608 00:39:19,958 --> 00:39:22,728 She doesn't need you to describe the sound. 609 00:39:22,761 --> 00:39:26,097 They would tell you, you know, we have an airplane, or a washing machine, 610 00:39:26,131 --> 00:39:28,066 or we're gonna be jumping off a mountain top 611 00:39:28,099 --> 00:39:31,537 and she would create a sound perspective that would work perfectly. 612 00:39:32,838 --> 00:39:37,576 It heightens the reality to doctor the sound in certain ways. 613 00:39:37,609 --> 00:39:41,379 The same way people airbrush models' faces 614 00:39:41,413 --> 00:39:43,815 or, you know, in a sense it's cosmetic, 615 00:39:43,849 --> 00:39:46,585 in a sense it's emotional treatment 616 00:39:46,618 --> 00:39:50,489 so that a sound has a certain impact. 617 00:39:53,725 --> 00:39:55,661 (SYNTHESIZED SPLASHING) 618 00:40:06,371 --> 00:40:10,576 SUZANNE: A lot of what I did was married to an image. 619 00:40:10,609 --> 00:40:12,611 So there was a visual, you know? 620 00:40:12,644 --> 00:40:15,581 Black & Decker, you could see the visual of the motor, 621 00:40:15,614 --> 00:40:17,783 you know, whacking the weed. 622 00:40:19,685 --> 00:40:21,720 (SYNTHESIZED SLASHING) 623 00:40:28,860 --> 00:40:32,197 -The real sound always fell short. -(POPS) 624 00:40:34,399 --> 00:40:36,401 If you had a potato chip commercial 625 00:40:36,434 --> 00:40:38,770 and you needed the sound of a crunching potato chip. 626 00:40:38,804 --> 00:40:40,005 (SNAPS) 627 00:40:40,038 --> 00:40:42,941 And you would record somebody biting the potato chip. 628 00:40:42,974 --> 00:40:45,611 It never sounded like much of anything. 629 00:40:47,045 --> 00:40:50,682 You know, traditional instruments had a limited palette. 630 00:40:50,716 --> 00:40:52,584 (PLAYS SINGLE NOTE) 631 00:40:56,187 --> 00:40:59,791 Electronics added thousands of colors 632 00:41:00,826 --> 00:41:02,260 that weren't there before. 633 00:41:04,996 --> 00:41:08,033 You could create a sound 634 00:41:08,667 --> 00:41:10,969 (ELECTRONIC SOUNDS PLAY) 635 00:41:11,002 --> 00:41:15,874 that had all the fantasy that you would imagine that thing having. 636 00:41:22,714 --> 00:41:25,751 MERRIN: We had an assignment to do a GE dishwasher commercial. 637 00:41:25,784 --> 00:41:28,554 And it was my opportunity to use 638 00:41:28,587 --> 00:41:32,157 this kind of electronic genius I heard about Suzanne Ciani, 639 00:41:32,190 --> 00:41:36,494 and she created a, what we call, the beep soundtrack. 640 00:41:36,528 --> 00:41:39,164 This is where you cut to the commercial so you can see it. 641 00:41:39,197 --> 00:41:41,499 (RHYTHMIC BEEPING) 642 00:41:50,809 --> 00:41:55,280 SUZANNE: The GE beep was generated by the reality 643 00:41:55,313 --> 00:41:58,850 that the new dishwasher that GE was making 644 00:41:58,884 --> 00:41:59,951 had a beeping sound. 645 00:41:59,985 --> 00:42:00,986 (BEEPING) 646 00:42:07,192 --> 00:42:09,427 And they came to me to post score it. 647 00:42:11,062 --> 00:42:12,664 MONA-MATHUS: It was painstaking. 648 00:42:12,698 --> 00:42:17,235 The preciseness of just, like, the melody of the lights, and the sound, 649 00:42:17,268 --> 00:42:19,270 the right little sound for the lights. 650 00:42:22,641 --> 00:42:27,378 SUZANNE: Also because, in those days, there was no way to lock 651 00:42:27,412 --> 00:42:31,382 a multi-track to a video. 652 00:42:32,350 --> 00:42:34,119 You had to start the multi-track 653 00:42:34,152 --> 00:42:38,857 and start the video by hand each time you wanted to check, 654 00:42:38,890 --> 00:42:41,459 you know, whether the beep was in the right place. 655 00:42:41,492 --> 00:42:45,631 You have no idea how complicated this was. 656 00:42:46,965 --> 00:42:49,300 You know what? Were those scenes the same? 657 00:42:49,334 --> 00:42:51,469 They're slightly different. 658 00:42:51,502 --> 00:42:53,271 Because that's not running together. 659 00:42:53,304 --> 00:42:55,641 When the first one's on, the second one's off. 660 00:42:56,207 --> 00:42:57,976 (PLAYING NOTES) 661 00:42:58,009 --> 00:43:02,447 All I can say is that the spot was a challenge, 662 00:43:02,480 --> 00:43:06,351 and I created the personality of the machine. 663 00:43:07,686 --> 00:43:10,521 ZANTAY: I remember the people from the ads said, 664 00:43:10,555 --> 00:43:13,224 "We want a beep, but it can't be an annoying beep. 665 00:43:13,258 --> 00:43:14,926 "It has to be a friendly beep." 666 00:43:14,960 --> 00:43:17,729 You just... Sometimes you'd wanna say, "What are you talking about? 667 00:43:17,763 --> 00:43:21,232 "A friendly beep?" But she'll go, "Of course. Of course. A friendly beep." 668 00:43:24,202 --> 00:43:27,238 SUZANNE: The client absolutely went crazy when they heard it. 669 00:43:27,272 --> 00:43:31,142 So the commercial won, you know, awards. 670 00:43:32,010 --> 00:43:33,511 ZANTAY: It was a huge success. 671 00:43:33,544 --> 00:43:35,914 COMMERCIAL VOICEOVER: The GE 2800 dishwasher. 672 00:43:35,947 --> 00:43:38,449 It does almost everything but clear the table. 673 00:43:38,483 --> 00:43:42,120 (GE JINGLE PLAYS) 674 00:43:42,153 --> 00:43:43,621 (BEEPS) 675 00:43:43,655 --> 00:43:45,356 Well, in a moment, we'll meet a musician 676 00:43:45,390 --> 00:43:47,726 whose playful experiments with electricity 677 00:43:47,759 --> 00:43:49,961 may be the forerunners of a new approach 678 00:43:49,995 --> 00:43:52,497 to both listening and learning. 679 00:43:54,766 --> 00:43:57,703 SUZANNE: (VOICE DISTORTED) Welcome to Xenon. 680 00:43:58,336 --> 00:44:00,939 Welcome to Xenon. 681 00:44:01,907 --> 00:44:04,542 Welcome to Xenon. 682 00:44:05,243 --> 00:44:07,779 Welcome to Xenon. 683 00:44:08,513 --> 00:44:11,149 Welcome to Xenon. 684 00:44:12,984 --> 00:44:15,787 SUZANNE: I was in New York. I guess it was about 1980. 685 00:44:15,821 --> 00:44:18,256 A lot of stuff was happening that year. 686 00:44:18,289 --> 00:44:20,358 That's when I got the film score, 687 00:44:20,391 --> 00:44:22,327 The Incredible Shrinking Woman, 688 00:44:22,360 --> 00:44:26,231 and I was contacted by Bally in Chicago 689 00:44:26,264 --> 00:44:29,267 about designing sounds for a pinball game. 690 00:44:32,103 --> 00:44:34,139 "Okay. Why not?" 691 00:44:34,172 --> 00:44:36,407 MAN 1: When did you first get involved with this? 692 00:44:36,441 --> 00:44:38,009 Like, was the machine all designed already? 693 00:44:38,043 --> 00:44:42,547 No. As a matter of fact, I went to Chicago and they had the blueprints. 694 00:44:42,580 --> 00:44:45,650 So it hadn't even been, uh, finished, designed yet. 695 00:44:45,683 --> 00:44:47,518 They had schematics. 696 00:44:47,552 --> 00:44:51,622 And they had the whole blueprint, and then I went to the art department, 697 00:44:51,656 --> 00:44:53,859 and they showed me this drawing. 698 00:44:53,892 --> 00:44:56,227 I thought, "Uh-oh. (LAUGHS) 699 00:44:56,261 --> 00:44:58,263 "I hope I'm not denigrating women." 700 00:44:59,230 --> 00:45:01,466 (ELECTRONIC SOUNDS PLAY) 701 00:45:05,236 --> 00:45:08,807 I was very interested in getting the whole composition to work. 702 00:45:08,840 --> 00:45:11,943 To think of the pinball as actually playing a piece. 703 00:45:15,280 --> 00:45:17,315 So I can put in 704 00:45:18,249 --> 00:45:20,651 just a series of pitches. 705 00:45:22,353 --> 00:45:24,522 Okay, now I'm gonna ask it to play 706 00:45:25,423 --> 00:45:27,192 and see what it does here. 707 00:45:28,493 --> 00:45:30,528 (RHYTHMIC BEEPING) 708 00:45:36,567 --> 00:45:39,170 So did they involve you, like, did they want your voice, 709 00:45:39,204 --> 00:45:41,807 or were they more interested in the technology behind it? 710 00:45:41,840 --> 00:45:44,042 You know, they had two chips. 711 00:45:44,075 --> 00:45:47,045 -So this was the first time that they had two chips. -Right. 712 00:45:47,078 --> 00:45:49,547 And one was a little electronic generator 713 00:45:49,580 --> 00:45:52,017 and one was a sampler for voice. 714 00:45:52,050 --> 00:45:53,785 -Okay. -And so I had, like, 715 00:45:53,819 --> 00:45:56,922 a very little bit of time on the sampling. 716 00:45:56,955 --> 00:45:59,257 (VOICE DISTORTED) Try tube shock. 717 00:45:59,290 --> 00:46:01,592 Try tube shock. 718 00:46:01,626 --> 00:46:03,461 Try tube shock. 719 00:46:04,295 --> 00:46:06,397 Try tube shock. 720 00:46:07,598 --> 00:46:10,035 Suzanne has this amazing speaking voice. 721 00:46:10,068 --> 00:46:12,703 And it isn't just what she says, it's how she says it. 722 00:46:12,737 --> 00:46:15,941 SUZANNE: One, two, three. 723 00:46:15,974 --> 00:46:18,543 MURTAUGH: There's a sound in her voice that is so... 724 00:46:18,576 --> 00:46:21,779 If they brought back HAL as a computer, it would be Suzanne's voice. 725 00:46:21,813 --> 00:46:24,850 (VOICE HEAVILY DISTORTED) Xenon. 726 00:46:28,186 --> 00:46:30,755 SUZANNE: You know, I was watching people play pinball games 727 00:46:30,788 --> 00:46:33,758 and I realized how it would produce a sound 728 00:46:33,791 --> 00:46:35,560 and then you would responded to that sound. 729 00:46:35,593 --> 00:46:38,897 So when you hit the bumper, it would go... (GRUNTING) 730 00:46:38,930 --> 00:46:40,631 (DISTORTED GRUNTING) 731 00:46:45,103 --> 00:46:47,105 When I looked at that artwork, 732 00:46:47,138 --> 00:46:52,210 I thought, well, you know, this is a very sensual game that people are playing. 733 00:46:52,243 --> 00:46:53,811 So I had the idea that maybe there could be 734 00:46:53,845 --> 00:46:56,614 a little whip sound on the flippers, you know. (LAUGHS) 735 00:46:56,647 --> 00:47:00,385 And you'd whip, and then it would go... (MOANING) 736 00:47:00,418 --> 00:47:04,990 You know? And that one they weren't ready for. 737 00:47:05,023 --> 00:47:07,592 MAN 2: This is our sound chip, and this is our speech. 738 00:47:09,660 --> 00:47:10,795 SUZANNE: Great. 739 00:47:10,828 --> 00:47:11,930 Okay, we are all set. 740 00:47:11,963 --> 00:47:13,764 -Ready? -And we close this door. 741 00:47:13,798 --> 00:47:16,067 Would you like to go first? Power up. 742 00:47:16,101 --> 00:47:17,402 SUZANNE: Power up. 743 00:47:18,336 --> 00:47:20,438 (GAME POWERING UP) 744 00:47:24,075 --> 00:47:25,776 (DISTORTED VOICES PLAYING) 745 00:47:33,751 --> 00:47:35,954 SUZANNE: (VOICE DISTORTED) Welcome to Xenon. 746 00:48:00,811 --> 00:48:03,314 SUZANNE: I wanted technology to be sensual. 747 00:48:04,415 --> 00:48:07,285 That was always my directive. 748 00:48:10,588 --> 00:48:12,958 MERRIN: The advertising world at the time was... 749 00:48:13,824 --> 00:48:16,227 A male-dominated world. 750 00:48:17,828 --> 00:48:22,367 For Suzanne to be such a force in the industry was incredibly unique. 751 00:48:24,702 --> 00:48:27,772 PETER BAUMANN: I remember that I met Suzanne in New York. 752 00:48:27,805 --> 00:48:32,043 And that she was quite famous for the Coca-Cola commercial she did. 753 00:48:33,044 --> 00:48:35,080 Of course, it was extraordinary 754 00:48:35,113 --> 00:48:37,648 for a woman to be in the music business 755 00:48:37,682 --> 00:48:39,550 other than a background singer, 756 00:48:39,584 --> 00:48:40,986 you know, or a pop star. 757 00:48:45,090 --> 00:48:47,658 MONA-MATHUS: We were doing something together as women 758 00:48:47,692 --> 00:48:51,262 that required us to perfect our craft, 759 00:48:51,296 --> 00:48:55,266 because we wanted to be taken seriously, and we wanted to succeed. 760 00:48:58,169 --> 00:49:00,071 IANUZZI: What she really wanted to do from the beginning, 761 00:49:00,105 --> 00:49:01,839 was she wanted to be a recording artist. 762 00:49:01,872 --> 00:49:03,941 She wanted to make Suzanne's albums. 763 00:49:06,711 --> 00:49:10,648 SUZANNE: Advertising gave me the financial means 764 00:49:10,681 --> 00:49:13,618 of outfitting myself 765 00:49:13,651 --> 00:49:18,389 with a proper laboratory and the gear that I wanted to use. 766 00:49:18,423 --> 00:49:21,259 I'd like to give you a short tour of my studio. 767 00:49:21,292 --> 00:49:23,428 In the corner, I have a vintage Buchla 768 00:49:23,461 --> 00:49:25,763 that I've had for over ten years. 769 00:49:25,796 --> 00:49:27,898 Then I have, uh, two drum machines here. 770 00:49:27,932 --> 00:49:32,670 An earlier model of Roland and a Linn. 771 00:49:32,703 --> 00:49:37,142 At one point, I thought, you know, I don't need anybody else to do this. 772 00:49:37,175 --> 00:49:39,344 I don't need a record label to say, 773 00:49:39,377 --> 00:49:41,746 "Make us an album, you know? We want your album. 774 00:49:41,779 --> 00:49:43,248 "We think you're wonderful." 775 00:49:43,281 --> 00:49:46,484 I knew that I could just make it and that's what I did. 776 00:49:46,517 --> 00:49:47,785 This is all the pitch. 777 00:49:47,818 --> 00:49:51,389 So you don't have to really be able to sing to do this. 778 00:49:51,422 --> 00:49:52,490 So it's great. 779 00:49:53,558 --> 00:49:55,660 (MELLOW MUSIC PLAYING) 780 00:50:07,138 --> 00:50:09,240 SUZANNE: I look at Seven Waves and I think... 781 00:50:09,274 --> 00:50:12,943 What I was trying to do was create a very sensual, 782 00:50:12,977 --> 00:50:17,515 feminine, romantic, passionate, emotional music 783 00:50:17,548 --> 00:50:19,217 using machines. 784 00:50:21,486 --> 00:50:25,090 So I did that album, and since I had now something on tape 785 00:50:25,123 --> 00:50:28,959 I went to do another round at the record companies. 786 00:50:28,993 --> 00:50:30,428 And I even went to Europe. 787 00:50:30,461 --> 00:50:32,563 There was a group, Tangerine Dream, 788 00:50:32,597 --> 00:50:34,665 that was starting to get some notoriety, 789 00:50:34,699 --> 00:50:37,535 and I thought, "Ah, it's probably easier in Europe." 790 00:50:38,736 --> 00:50:40,305 So I went all over Europe 791 00:50:41,706 --> 00:50:43,341 and couldn't get to first base. 792 00:50:44,242 --> 00:50:47,145 Then one day, I thought... 793 00:50:48,012 --> 00:50:49,013 Japan. 794 00:50:52,150 --> 00:50:54,085 In America, when you have a record meeting, 795 00:50:54,119 --> 00:50:55,320 you know, the phones are ringing, 796 00:50:55,353 --> 00:50:57,922 people are walking in and out, nobody listens. 797 00:50:57,955 --> 00:51:01,292 In Japan, you go into to a listening room. 798 00:51:01,326 --> 00:51:03,728 No telephones, nobody comes in there. 799 00:51:03,761 --> 00:51:07,498 You have tea and you have a couch, and you have the speakers. 800 00:51:07,532 --> 00:51:10,635 And they sit, and they listen. 801 00:51:16,040 --> 00:51:17,908 It was astonishing. 802 00:51:17,942 --> 00:51:21,312 In the United States, nobody had listened. 803 00:51:21,346 --> 00:51:24,815 So I like to tell myself that part of the reason 804 00:51:24,849 --> 00:51:26,484 that the Japanese wanted this album 805 00:51:26,517 --> 00:51:28,519 was that they actually listened to it. 806 00:51:28,553 --> 00:51:30,855 -(APPLAUSE) -Synthesized music is something 807 00:51:30,888 --> 00:51:32,357 that is taken very, very seriously 808 00:51:32,390 --> 00:51:35,926 in the world of music, and this is an album. 809 00:51:35,960 --> 00:51:40,165 Once I had the Japanese deal, it was a lot easier for me 810 00:51:40,198 --> 00:51:43,201 because I had a product, so I had a record, 811 00:51:43,234 --> 00:51:46,771 and record companies, you know, noticed a bit more. 812 00:51:55,813 --> 00:51:57,782 I don't think I see anything in here. 813 00:51:58,716 --> 00:52:01,386 I think I looked at all these already. 814 00:52:02,887 --> 00:52:03,888 (GASPS) 815 00:52:04,655 --> 00:52:06,524 Okay. (CHUCKLES) 816 00:52:06,557 --> 00:52:08,058 Oh, my God. 817 00:52:08,092 --> 00:52:10,395 Now this is mis-categorized. 818 00:52:10,428 --> 00:52:12,463 This is definitely not... 819 00:52:12,497 --> 00:52:14,232 This is definitely not rock. 820 00:52:14,265 --> 00:52:17,535 This was my second album. 821 00:52:18,836 --> 00:52:21,572 (SOULFUL MUSIC PLAYING) 822 00:52:33,117 --> 00:52:35,085 The second album, The Velocity of Love, 823 00:52:35,119 --> 00:52:37,822 the song on that, The Velocity of Love, 824 00:52:37,855 --> 00:52:40,525 was the first time I had used acoustic piano. 825 00:52:40,558 --> 00:52:41,792 And that one, actually, 826 00:52:41,826 --> 00:52:45,463 is probably my best-known song to date. 827 00:52:45,496 --> 00:52:47,865 (PIANO PLAYING) 828 00:53:07,885 --> 00:53:10,755 To get music out in our culture, 829 00:53:10,788 --> 00:53:13,991 you have to belong to a category. 830 00:53:14,024 --> 00:53:16,627 You have to fit into a compartment 831 00:53:16,661 --> 00:53:21,065 where they can't market it, they can't put it some place. 832 00:53:21,098 --> 00:53:23,868 I remember, you know, my early album Seven Waves. 833 00:53:23,901 --> 00:53:26,170 I mean, I was in jazz, I was in classical, 834 00:53:26,203 --> 00:53:28,673 I was in electronic, I was in vocal, I was in... 835 00:53:28,706 --> 00:53:30,808 You know, there was no place for the album. 836 00:53:30,841 --> 00:53:34,879 Then, finally, there came this category, new age. 837 00:53:34,912 --> 00:53:36,681 And I was grateful, because now there was 838 00:53:36,714 --> 00:53:39,784 at least a place to put the music where people could find it. 839 00:53:43,554 --> 00:53:46,357 There's a quiet revolution happening in the world today 840 00:53:46,391 --> 00:53:49,560 dealing with meditation, reflection and inner peace. 841 00:53:49,594 --> 00:53:51,796 FEMALE REPORTER: And it's all being called, New Age. 842 00:53:52,330 --> 00:53:54,332 (KENNY G PLAYING) 843 00:53:56,967 --> 00:53:59,870 MALE REPORTER: Among the more mainstream artists are Kenny G 844 00:53:59,904 --> 00:54:02,340 whose Songbird was a top-five hit. 845 00:54:02,373 --> 00:54:04,375 Mannheim Steamroller, whose many albums 846 00:54:04,409 --> 00:54:07,445 include their popular renditions of Christmas standards. 847 00:54:07,478 --> 00:54:09,179 And Tangerine Dream 848 00:54:09,213 --> 00:54:11,716 familiar to moviegoers for their many film scores, 849 00:54:11,749 --> 00:54:13,618 among them, Risky Business. 850 00:54:13,651 --> 00:54:15,653 Former Tangerine Dream group member 851 00:54:15,686 --> 00:54:19,089 Peter Baumann now heads his own record company. 852 00:54:20,758 --> 00:54:23,661 New age is a category, uh, 853 00:54:23,694 --> 00:54:26,764 that the late-night talk shows make fun of. 854 00:54:26,797 --> 00:54:28,299 WOMAN 2: My sister's having a baby 855 00:54:28,333 --> 00:54:30,868 and, uh, she is having a natural childbirth, 856 00:54:30,901 --> 00:54:33,638 so we just decided to get some music for her. 857 00:54:33,671 --> 00:54:36,173 You know, so that the baby, when it's born, 858 00:54:36,206 --> 00:54:39,043 can come into beautiful sounds. 859 00:54:39,076 --> 00:54:42,813 It, in some cases, doesn't quite get the credibility 860 00:54:42,847 --> 00:54:44,248 as other music has. 861 00:54:44,281 --> 00:54:46,150 New age is an interesting topic. 862 00:54:46,183 --> 00:54:48,786 It's like a club that nobody wants to belong to. 863 00:54:49,654 --> 00:54:51,956 BAUMANN: It's usually for... 864 00:54:53,023 --> 00:54:55,960 Shall I say, a different personality type? 865 00:54:55,993 --> 00:54:57,828 You know, it's more reflective. 866 00:54:57,862 --> 00:55:00,230 You just got your new CD player you're a bit too old 867 00:55:00,264 --> 00:55:01,466 for rock-and-roll 868 00:55:01,499 --> 00:55:04,835 and classical music, for you, might be a little cerebral, 869 00:55:04,869 --> 00:55:06,871 and jazz is a little esoteric, 870 00:55:06,904 --> 00:55:09,173 but you wanna be part of what's going on in music. 871 00:55:12,843 --> 00:55:15,145 KITARO: This is called the waterphones. 872 00:55:16,681 --> 00:55:19,917 (ETHEREAL CLANGING) 873 00:55:26,924 --> 00:55:31,762 KITARO: Sometimes we can see the energies, the visible, 874 00:55:31,796 --> 00:55:35,833 but I believe more than the visible energies. 875 00:55:35,866 --> 00:55:40,004 Invisible energy is more inside of the body, 876 00:55:40,037 --> 00:55:42,106 and inside of the soul. 877 00:55:45,610 --> 00:55:50,347 So, that's the new age musics came out a long time ago. 878 00:55:51,215 --> 00:55:53,183 (MELANCHOLIC MUSIC PLAYING) 879 00:56:01,392 --> 00:56:05,329 You know, the old day the listener need to have an experience 880 00:56:06,096 --> 00:56:07,632 with the sounds. 881 00:56:07,665 --> 00:56:11,769 We have, uh, the cassette tape, put it, they put it. 882 00:56:12,903 --> 00:56:15,740 The peoples listening 883 00:56:15,773 --> 00:56:18,543 and then walking in the forest... 884 00:56:19,343 --> 00:56:20,411 Wow! 885 00:56:20,445 --> 00:56:23,180 And then the title is, like, uh, you know, 886 00:56:23,213 --> 00:56:25,650 the Forest Magic or something. (CHUCKLES) 887 00:56:26,517 --> 00:56:27,685 Yeah. 888 00:56:30,354 --> 00:56:31,589 (MUSIC CONTINUES PLAYING) 889 00:56:31,622 --> 00:56:32,757 (BIRDS CHIRPING) 890 00:56:48,072 --> 00:56:50,374 SUZANNE: Nature, you know, brings us peace, 891 00:56:50,407 --> 00:56:53,611 it gives us confidence that the world works 892 00:56:54,111 --> 00:56:55,513 without us. 893 00:56:55,546 --> 00:56:57,882 This is all orchestrated, not by us, 894 00:56:57,915 --> 00:56:59,617 we didn't plan it. 895 00:56:59,650 --> 00:57:02,687 It's just here and it's perfect. 896 00:57:04,188 --> 00:57:06,591 But the other thing about nature is that 897 00:57:07,958 --> 00:57:10,695 it's a little bit more chaotic. 898 00:57:10,728 --> 00:57:14,899 It's like birds and Bach, you know? 899 00:57:14,932 --> 00:57:16,767 (BIRD CAWING) 900 00:57:16,801 --> 00:57:21,572 The birds are beautiful, but it's not composed. 901 00:57:22,740 --> 00:57:25,710 So, for me, nature is 902 00:57:25,743 --> 00:57:28,979 a spiritual starting point 903 00:57:29,747 --> 00:57:31,549 because it brings me peace 904 00:57:32,116 --> 00:57:34,351 and a calmness. 905 00:57:34,384 --> 00:57:36,186 And that's what my music is about. 906 00:57:36,654 --> 00:57:39,456 (PIANO PLAYING) 907 00:57:46,497 --> 00:57:51,702 It was interesting to me, that in my period of electronic devotion, 908 00:57:51,736 --> 00:57:55,606 I actually didn't wanna touch the piano, 909 00:57:55,640 --> 00:57:58,008 even though it had been my childhood instrument. 910 00:57:59,109 --> 00:58:01,812 I'd like to show you my next album Neverland. 911 00:58:01,846 --> 00:58:03,948 This is recorded on Private Music. 912 00:58:06,150 --> 00:58:10,420 My albums, from Neverland on, I think showed a progression 913 00:58:10,454 --> 00:58:14,925 gradually back towards acoustic instruments. 914 00:58:14,959 --> 00:58:17,928 (ORCHESTRA AND PIANO PLAY) 915 00:58:33,110 --> 00:58:37,648 The piano was just a perfect universe 916 00:58:37,682 --> 00:58:39,650 to come back to. 917 00:58:39,684 --> 00:58:44,321 Because when I played it, I appreciated it even more. 918 00:58:44,354 --> 00:58:47,291 -(APPLAUSE) -The expressiveness that it had. 919 00:59:05,409 --> 00:59:08,813 My theory was, was that if I could express 920 00:59:08,846 --> 00:59:13,050 my deepest, personal emotions and feelings, 921 00:59:13,083 --> 00:59:16,420 that it actually would touch something universal. 922 00:59:19,489 --> 00:59:21,892 Neverland was a romantic song, 923 00:59:21,926 --> 00:59:24,428 and I have to say, my heart was broken, 924 00:59:24,461 --> 00:59:28,766 but in the video, you know, it's a song about a horse 925 00:59:28,799 --> 00:59:30,400 coming along the beach 926 00:59:30,434 --> 00:59:35,205 and finding this little girl who's building a sand castle. 927 00:59:35,239 --> 00:59:38,575 She suddenly grows into a woman, 928 00:59:38,609 --> 00:59:41,812 gets on the horse, and he takes her up into the sky to her prince. 929 00:59:43,580 --> 00:59:47,384 And that was really my concept of romantic love, 930 00:59:47,417 --> 00:59:49,219 was the prince. 931 00:59:50,054 --> 00:59:52,122 (DRAMATIC PIANO PLAYING) 932 01:00:14,912 --> 01:00:15,946 SUZANNE: My personal life 933 01:00:15,980 --> 01:00:19,784 was very integrated into my musical life. 934 01:00:21,919 --> 01:00:24,088 Even if I lived with somebody, 935 01:00:24,121 --> 01:00:26,857 it would be, like, five minutes in the morning, 936 01:00:26,891 --> 01:00:28,993 and then five minutes at night. 937 01:00:32,062 --> 01:00:33,698 MERRIN: Her studio was actually her living room 938 01:00:33,731 --> 01:00:37,034 and it was just full of giant mixing boards, 939 01:00:37,067 --> 01:00:39,670 machines that were blinking on and off 940 01:00:39,704 --> 01:00:45,109 wires going absolutely everywhere, and she's plugging stuff in. 941 01:00:45,142 --> 01:00:48,178 MONA-MATHUS: You were in her house, you had to take your shoes off. 942 01:00:48,212 --> 01:00:50,614 Nobody was allowed to come in the apartment with the shoes on, 943 01:00:50,647 --> 01:00:53,083 which, for advertising folks that came to the door, 944 01:00:53,117 --> 01:00:55,119 they were oftentimes shocked 945 01:00:55,152 --> 01:00:57,554 in that, "Do we really have to take our shoes off?" 946 01:00:57,587 --> 01:00:59,356 And it was like, "Yes, you do." 947 01:01:00,991 --> 01:01:03,627 It wasn't like she was faster 948 01:01:03,660 --> 01:01:05,329 than going into a regular studio 949 01:01:05,362 --> 01:01:07,497 with musicians and instruments. 950 01:01:07,531 --> 01:01:10,167 This actually could be maddeningly slow 951 01:01:10,200 --> 01:01:12,136 'cause she had to program everything, you know, 952 01:01:12,169 --> 01:01:14,304 and, you know, it was just so different then. 953 01:01:15,940 --> 01:01:17,875 MURTAUGH: You didn't know how long things were gonna take. 954 01:01:17,908 --> 01:01:19,844 Would the machines, you know, blow up? 955 01:01:19,877 --> 01:01:21,345 Would the wires come apart? 956 01:01:21,378 --> 01:01:24,381 Would things not work? Would the sounds not be right? 957 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. 958 01:01:30,154 --> 01:01:32,723 First of all, you can see there's a lot of pressure in this business. 959 01:01:32,757 --> 01:01:34,691 I mean, it happens very fast. 960 01:01:38,863 --> 01:01:40,564 MERRIN: She was constantly working. 961 01:01:42,266 --> 01:01:45,502 MONA-MATHUS: You had to work. You had to put in that kind of work 962 01:01:45,535 --> 01:01:48,472 in order to be the best at what she was doing, 963 01:01:48,505 --> 01:01:51,375 in order to achieve that kind of success that she had. 964 01:01:54,078 --> 01:01:56,313 MERRIN: The time pressure in advertising 965 01:01:56,346 --> 01:01:58,415 is always, you know... 966 01:01:58,448 --> 01:02:00,717 "We need it right now." "What do you mean now?" 967 01:02:00,751 --> 01:02:02,552 "I mean, really, now. Tomorrow morning." 968 01:02:04,288 --> 01:02:06,490 The commercials are like, you know... 969 01:02:06,523 --> 01:02:10,494 (STUTTERS) You have to go fast. This whole, "Time is money." 970 01:02:12,763 --> 01:02:16,233 MONA-MATHUS: We worked 12-hour days, 14-hour days, 971 01:02:16,266 --> 01:02:19,569 we worked weekends, overnights. 972 01:02:19,603 --> 01:02:22,472 I woke up this morning and I saw these circles under my eyes, 973 01:02:22,506 --> 01:02:24,041 and I thought, you know, 974 01:02:24,074 --> 01:02:26,710 "These circles are brought to you by Pepsi." 975 01:02:26,743 --> 01:02:28,045 (ALL LAUGHING) 976 01:02:29,947 --> 01:02:32,016 MERRIN: It was really hard work. 977 01:02:33,083 --> 01:02:34,551 It was frantic. 978 01:02:39,123 --> 01:02:41,158 SUZANNE: I was going full blast. 979 01:02:41,191 --> 01:02:46,964 And I ran out of medicine that I was supposed to take. 980 01:02:46,997 --> 01:02:50,901 The doctor said, "Well, I can't give you a prescription for these 981 01:02:50,935 --> 01:02:53,303 "unless you go and get checked." 982 01:02:53,337 --> 01:02:55,005 I said, "I can't get checked, 983 01:02:55,039 --> 01:02:57,041 "I'm in the middle of an album." 984 01:02:57,074 --> 01:02:58,542 "I'm in production." 985 01:02:58,575 --> 01:03:00,677 "I don't have time to go to a doctor." 986 01:03:02,179 --> 01:03:05,482 So I took a morning off, and I went to the doctor, 987 01:03:05,515 --> 01:03:08,618 and they did some kind of testing, 988 01:03:08,652 --> 01:03:11,155 and they said, "I'm really sorry to tell you this, 989 01:03:11,188 --> 01:03:14,892 "but it looks like you might have breast cancer." 990 01:03:19,729 --> 01:03:21,398 I basically panicked. 991 01:03:30,240 --> 01:03:32,843 It was a time of... 992 01:03:33,777 --> 01:03:35,812 Terrible crisis, really. 993 01:03:36,646 --> 01:03:40,217 When you face your mortality, 994 01:03:40,250 --> 01:03:42,752 and it comes out of the blue like that, 995 01:03:42,786 --> 01:03:46,090 it's an alarm that makes you shift gears. 996 01:03:47,524 --> 01:03:52,229 I made a decision that I had to leave New York, ASAP. 997 01:03:52,262 --> 01:03:54,298 I only stayed there long enough 998 01:03:54,331 --> 01:03:57,301 to have radiation treatment. 999 01:03:57,334 --> 01:04:01,071 I really thought I had a mandate to leave because of the breast cancer. 1000 01:04:01,105 --> 01:04:04,041 I thought New York, all the excitement and the stress, 1001 01:04:04,074 --> 01:04:06,610 and all the things I loved about it, 1002 01:04:06,643 --> 01:04:08,045 but I just made up in my mind, 1003 01:04:08,078 --> 01:04:11,281 that that's was, like, maybe it was killing me. 1004 01:04:11,315 --> 01:04:13,150 You know, maybe it wasn't healthy. 1005 01:04:13,750 --> 01:04:16,620 So I just left it. 1006 01:04:41,311 --> 01:04:44,915 Here we are at the edge of the Earth here, 1007 01:04:44,949 --> 01:04:46,650 or at least the United States. 1008 01:04:46,683 --> 01:04:50,420 So this is a pretty far western point here. 1009 01:04:50,454 --> 01:04:51,455 Um... 1010 01:04:52,256 --> 01:04:53,924 There is San Francisco, 1011 01:04:53,958 --> 01:04:57,661 this is the ocean, there is Stinson Beach. 1012 01:04:57,694 --> 01:05:01,966 And this kind of spherical space 1013 01:05:03,300 --> 01:05:06,336 is amazing because you see the horizon line, 1014 01:05:06,370 --> 01:05:10,774 and the dome of the sky, and the theater of the ocean, 1015 01:05:10,807 --> 01:05:13,710 and all the waves, the sound of the waves, 1016 01:05:13,743 --> 01:05:17,847 and, uh, you know, the surfers are out here every day. 1017 01:05:17,881 --> 01:05:20,250 I'm more of an observer than an actual surfer, 1018 01:05:20,284 --> 01:05:23,687 but this is where I moved in 1992. 1019 01:05:26,823 --> 01:05:29,893 (MELLOW MUSIC PLAYING) 1020 01:06:00,624 --> 01:06:06,296 You know, I had missed a good part of my... 1021 01:06:06,330 --> 01:06:10,400 You know, romantic life, just by working so hard in New York. 1022 01:06:10,434 --> 01:06:14,104 So, in a way, I thought, "Well, now I am in California, 1023 01:06:14,138 --> 01:06:17,807 "and I'm in a more relaxed situation 1024 01:06:17,841 --> 01:06:20,144 "I'm out of the fast lane in New York, 1025 01:06:20,177 --> 01:06:22,512 "and I really do have time 1026 01:06:22,546 --> 01:06:25,615 "for doing something personal." 1027 01:06:26,083 --> 01:06:27,817 It's Joe. 1028 01:06:29,619 --> 01:06:34,358 He was 18-and-a-half years younger than I was. 1029 01:06:34,391 --> 01:06:38,128 We were just very happy. I was happy. Everybody was happy. 1030 01:06:40,464 --> 01:06:43,267 We were married in 1994, 1031 01:06:43,300 --> 01:06:47,571 and we were divorced, officially, I think in 2001. 1032 01:06:52,309 --> 01:06:57,081 I think the idealism that I had about love 1033 01:06:57,881 --> 01:07:00,550 disappeared at that point. 1034 01:07:02,452 --> 01:07:06,022 Some of the songs that I wrote then, I could never write now. 1035 01:07:06,056 --> 01:07:09,526 I don't have, you know, that same... 1036 01:07:11,061 --> 01:07:15,165 Bubbly, cloudy, romantic, 1037 01:07:15,199 --> 01:07:18,235 mysterious concept. 1038 01:07:18,268 --> 01:07:20,604 I can still play the songs, 1039 01:07:21,471 --> 01:07:25,442 but my writing is not about that 1040 01:07:27,844 --> 01:07:28,878 anymore. 1041 01:07:33,683 --> 01:07:35,919 So, maybe it's perfect 1042 01:07:35,952 --> 01:07:38,455 for me to go back to electronic music. 1043 01:07:56,373 --> 01:07:59,309 (INDISTINCT CHATTER) 1044 01:07:59,343 --> 01:08:02,212 As I say, I've been living under a rock 1045 01:08:02,246 --> 01:08:05,249 for years now, as far as electronic music 1046 01:08:05,282 --> 01:08:06,416 has been going on. 1047 01:08:06,450 --> 01:08:08,352 I haven't paid attention. 1048 01:08:11,688 --> 01:08:16,460 Andy Votel at Finders Keepers contacted me, 1049 01:08:16,493 --> 01:08:18,128 and they said they wanted to release 1050 01:08:18,162 --> 01:08:21,598 my unreleased early electronic music. 1051 01:08:22,899 --> 01:08:24,634 He released them, and suddenly, 1052 01:08:24,668 --> 01:08:27,637 there was this rush of attention that happened. 1053 01:08:28,872 --> 01:08:31,808 I somehow have been reincarnated 1054 01:08:31,841 --> 01:08:34,911 as an electronic composer again. 1055 01:08:34,944 --> 01:08:36,980 (AUDIENCE CHEERING AND APPLAUDING) 1056 01:08:51,395 --> 01:08:56,300 For me, it is just you know, astonishing to come out and see 1057 01:08:56,333 --> 01:09:00,337 that there's this huge audience now for this experience. 1058 01:09:02,572 --> 01:09:04,774 (ABSTRACT ELECTRONIC MUSIC PLAYING) 1059 01:09:23,760 --> 01:09:26,095 (APPLAUDING AND CHEERING) 1060 01:09:31,835 --> 01:09:34,238 So now I have this legion of new fans. 1061 01:09:34,271 --> 01:09:37,441 These kids in skinny jeans, you know, that show up at my concerts. 1062 01:09:40,210 --> 01:09:41,611 LOWE: She's a true innovator. 1063 01:09:41,645 --> 01:09:44,681 And what she's done is absolutely important 1064 01:09:44,714 --> 01:09:48,552 to the history and the development of electronic music. 1065 01:09:48,585 --> 01:09:50,587 DORIT CHRYSLER: She found her own way. 1066 01:09:50,620 --> 01:09:52,956 She had to find her own way. 1067 01:09:52,989 --> 01:09:56,059 MURTAUGH: Music people stay young because they're always creating. 1068 01:09:56,092 --> 01:09:59,095 And music, more people discover it all the time. 1069 01:09:59,128 --> 01:10:00,797 ANNOUNCER: I am very happy to introduce 1070 01:10:00,830 --> 01:10:02,899 a true legend of electronic music, 1071 01:10:02,932 --> 01:10:04,468 -Suzanne Ciani. -(LAUGHS) 1072 01:10:04,501 --> 01:10:06,670 (ALL APPLAUDING AND CHEERING) 1073 01:10:08,338 --> 01:10:10,006 SUZANNE: I'm not an expert on all of this, 1074 01:10:10,039 --> 01:10:13,510 but I have noticed some of the same bearded people 1075 01:10:13,543 --> 01:10:15,679 that were new agers 1076 01:10:15,712 --> 01:10:17,714 are now ambient. 1077 01:10:20,350 --> 01:10:23,953 This generation is aware that they missed something. 1078 01:10:25,088 --> 01:10:27,891 They wanna know, like, "Okay, wait a minute, 1079 01:10:27,924 --> 01:10:30,360 "what was analog like? 1080 01:10:30,394 --> 01:10:33,129 "What were LPs like? What were cassettes like? 1081 01:10:33,763 --> 01:10:34,998 "We didn't have that." 1082 01:10:35,999 --> 01:10:38,101 And, so, it's fun for me 1083 01:10:38,134 --> 01:10:39,869 'cause I've already been there. 1084 01:10:42,005 --> 01:10:44,341 There have been so many chapters in my career, 1085 01:10:44,374 --> 01:10:46,643 and I'm still open 1086 01:10:46,676 --> 01:10:51,815 to there being more unsuspected chapters. 1087 01:10:54,318 --> 01:10:56,420 Because if there's anything that my life has shown me, 1088 01:10:56,453 --> 01:10:58,522 is that you just don't know what's gonna happen. 1089 01:11:15,038 --> 01:11:16,973 There used to be a house here, 1090 01:11:17,006 --> 01:11:19,509 and the house was two-thirds gone 1091 01:11:19,543 --> 01:11:21,177 when I moved here, 1092 01:11:21,210 --> 01:11:24,013 and, eventually, the owner took the water rights 1093 01:11:24,047 --> 01:11:25,515 and relocated. 1094 01:11:25,549 --> 01:11:28,552 And then I was able to buy this little piece, 1095 01:11:28,585 --> 01:11:30,053 and add it, 1096 01:11:30,086 --> 01:11:35,425 and make this wonderful, kind of unnerving precipice. 1097 01:11:38,428 --> 01:11:41,130 Clearly, I'm on the edge. 1098 01:11:41,164 --> 01:11:44,568 And it's kind of a race, who's gonna last longer. 1099 01:11:45,335 --> 01:11:50,507 Me, or the place where I live. 1100 01:11:50,540 --> 01:11:54,077 You know, people say, "Well, what's, what's gonna happen?" 1101 01:11:54,110 --> 01:11:55,244 "Do you know?" 1102 01:11:56,513 --> 01:11:59,349 I could ask a geological engineer 1103 01:11:59,383 --> 01:12:01,718 and he could say, "Well, this and that, 1104 01:12:01,751 --> 01:12:03,620 "and the scientific evidence is this and that," 1105 01:12:03,653 --> 01:12:05,989 but, for me, I got peace of mind 1106 01:12:06,022 --> 01:12:07,824 really just asking my astrologer 1107 01:12:07,857 --> 01:12:10,694 and she said, "Don't worry, you're fine. 1108 01:12:10,727 --> 01:12:12,161 "There's nothing in your chart 1109 01:12:12,195 --> 01:12:14,130 "that says you're going to lose your home." 1110 01:12:14,163 --> 01:12:17,233 So that, I don't know what that means, 1111 01:12:17,266 --> 01:12:18,668 but it means that in my lifetime, 1112 01:12:18,702 --> 01:12:21,805 however long that is, I'll be here. 1113 01:12:22,472 --> 01:12:24,674 So, that's all I ask. 1114 01:12:31,681 --> 01:12:35,284 You get a little fatalistic at a certain age 1115 01:12:35,318 --> 01:12:39,423 you know, when you're younger, you don't even see the edge. 1116 01:12:40,757 --> 01:12:42,526 And once you've gone over that, 1117 01:12:42,559 --> 01:12:45,094 you know, certain time frame, 1118 01:12:46,029 --> 01:12:48,297 you're looking at the horizon. 1119 01:12:52,402 --> 01:12:53,870 You know, I notice changes, 1120 01:12:53,903 --> 01:12:57,240 I notice things that have come and gone, 1121 01:12:57,273 --> 01:12:59,042 but I've always been romantic. 1122 01:12:59,075 --> 01:13:02,646 I mean, my music, everything I've done, artistically, 1123 01:13:02,679 --> 01:13:07,050 has been based in the concept of romanticism. 1124 01:13:07,083 --> 01:13:11,988 But I don't know if that can be whittled down to, 1125 01:13:12,021 --> 01:13:15,124 you know, just rapport between men and women. 1126 01:13:15,158 --> 01:13:19,262 My romanticism is with life itself. 1127 01:13:19,295 --> 01:13:21,164 You know, I like to see the best 1128 01:13:22,231 --> 01:13:23,800 in life. 1129 01:13:23,833 --> 01:13:25,869 The romance, the beauty. 1130 01:13:27,003 --> 01:13:28,672 And I choose to see that. 1131 01:13:29,639 --> 01:13:32,375 (WAVES CRASHING) 1132 01:13:44,387 --> 01:13:46,990 (ELECTRONIC MUSIC PLAYING) 85284

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