Quotes of All Topics . Occasions . Authors
I like a lot of soul, but I also put a lot of folk into what I do.
Real popular culture is folk art - coalminers' songs and so forth.
I became interested in folk music because I had to make it somehow.
I read a lot of W.E.B. Du Bois, who wrote 'The Souls of Black Folk.'
I grew up listening to a lot of soul music, and a lot of folk music.
My grandmother valued her Southern roots, folk culture, and healing.
I came through folk music simply because it was easy to get into it.
My masters are strange folk with very little care for music in them.
There's a similarity between European and North African folk musics.
Give ordinary folk the chance to buy the same things as rich people.
Like all right-listening folk, I am an implacable enemy of all muzak.
I grew up listening to spiritual music, Blind Willie Johnson and folk.
There's not that much English folk music that is really that appealing.
Real folk music long ago went to Nashville and left no known survivors.
The way I approach things is from an experimental folk music standpoint.
The truth is there's always a hum of people playing folk music in cities.
We have to preserve folk in its authenticity. Else folk will become fake.
I didn't grow up with classical music. My father was a folk music singer.
Human folk are as a matter of fact eager to find intelligence in animals.
We say Black lives matter, but a lot of white folks don't know Black folk.
Folk songs express the dreams and prayers and hopes of the working people.
There are no bridges in folk songs because the peasants died building them.
Folk art has never been much about politics; it's about action and utility.
New Orleans is gumbo. You get so man types of things... jazz, folk, Zydeco.
A folk melody can exist uniquely but also still be somewhat familiar to you.
I have a deep rooted folk sensibility that I can't get away from completely.
The way I feel is that if you don't like folk music, stay away from my shows.
I like folk songs, but ten horses couldn't bring me to a concert or an opera.
I like narrative storytelling as being part of a tradition, a folk tradition.
People seem ready for a more in-depth idea of folk music, culture and history.
Everything that has ever been called folk art has always reflected domination.
I was using them as teachers for technique but I was never trying to be a folk.
I've been getting into Nick Drake lately, the folk singer. Sad, gorgeous stuff.
I come from a folk tradition where you just dance however you feel comfortable.
We are a puny and fickle folk. Avarice, hesitation, and following are our diseases.
I started learning Bharatnatyam from the age of three. I have also learnt folk dance.
Folk music usually romanticises the road. 'Back in my Body' tells the opposite story.
Fairy tales and folk tales are part of the DNA of all stories and great fun to write.
I would love to be one of those fellows who combine formal and folk music approaches.
I don't know about folk music. I play guitar, so there's a feeling I make folk music.
I sing a mixture of everything from opera, folk music, Broadway. It's a mix of things.
Well, I don't think it ever did, but in the early '60s I got interested in folk music.
Folk tales, which are usually written for children, become a bigger lesson for adults.
When I think of folk music, I think of topical songs. And I don't write topical songs.
The Marathi film 'Natrang' has amazing songs. I also like and have sufi and folk music.
Folk tales are the most authentic way of understanding a region, its legend and people.
In Georgia, apparently, men are men and women are women - at least in their folk dance.
I went to school for folk music back when I was a teenager and learned hundreds of songs.
It's fun. I sit down every day and tell stories. Some folk would kill to get that chance.
I feel just as passionately about experimental electronic music as I do about folk music.