Quotes of All Topics . Occasions . Authors
Many people love my music. Many do not understand it. In general my music is more easily understood by younger people in Mali, and by people outside Africa.
It's not like I listened to music and then stopped. I still don't have a real appreciation for music because I didn't really start listening to it until my 20s.
The history of popular music is littered with great partnerships. Rodgers had his Hammerstein, Lennon had his McCartney, and Lloyd Webber had... his photocopier.
As music becomes less of a thing--a cylinder, a cassette, a disc--and more ephemeral, perhaps we will begin to assign an increasing value to live performances again.
My music is also one part of my inner process, and people also seem to connect with me on that - especially the ones who have the same questions for their own lives.
Well, right now, my music is - it's just happy. I'm not in a relationship, but I know who I am now. I have wisdom. I have the power of knowing who I am. That's huge.
[On Werner Erhard, founder of est:] If I wanted a new belief system, I'd choose to believe in God - He's been in business longer than Werner, and He has better music.
The only thing that I miss lately in all music is somebody that will put out a melody that you can whistle. It doesn't seem like there's anything happening like that.
Music, when combined with a pleasurable idea, is poetry; music, without the idea, is simply music; the idea, without the music, is prose, from its very definitiveness.
When I heard Elvis Presley, then I knew I had to do music. Music is my god, and is the only love that has never left me. It has always been there and is my best friend.
I always wanted to know what the music behind some music was, or where it came from, and that gave me a point of reference for understanding the music I was listening to.
When music becomes a job, you all of a sudden have other jobs and you become like a manager of time. If you have no ability to do that, your job gets very hard very quickly.
Here, in the US, people like our music because it's very similar to blues. It's the same thing in Europe. Everyone listens to blues and rock, it's universal. Everyone dances.
The idea of a rock band to me is the ultimate in subversion, in leading the charge to revolution. My fave part of music is that it cuts to the chase and goes right to the id.
Music is probably the only place I get energy from. Music and maybe watching a really tremendous performer, watching a terrific performer like Jagger or watching a great movie.
Going back to the paradigm we live in, the only way to do music is if I can sustain living off of it. If I can't live off of it, I'm not going to be able to make as much music.
Without sounding cliché, music is like air. It provides for me. I don't necessarily look for what I can get out of it. It's a compulsion. I've always gotten out of it everything.
Our music is always, as you know, very spacey- computer graphics, music, images, lyrics, and visual art we make ourselves, or that we make with artists. And it's all synchronized.
Life ain't a concept. Music is not a concept. My titles are poetic abstractions of something that is with me all the time, not necessarily in music, but in life. Everybody's life.
What excites me is doing shows now. I don't really get excitement from doing music because you never know what your music is going to bring. It seems like now it's all for nothing.
Bashing the elite is what I'm all about in my music because they absolutely don't deserve the privileged position that they're in, and we're seeing this around the globe right now.
Even if I don't think in visuals about the music while I'm doing it, after the music is finished, it could be great to incorporate that in the live show or doing my own music videos.
My gift and my curse is that I really want to be loved. What drives me to make music is love - whether it's shallow or deep or whatever. I want to do things that make people love me.
I just think music is so intrinsically linked with images in the culture that we live in that youll be hard-pressed to have an experience with the music without a preconceived notion.
The music industry isn't converging toward dance music. Dance music is dance music. It's been around since disco - and way before disco. But there's different versions of dance music.
The profession of music is lacking in horse sense, not only because the commonplace variety of horse is absent from its operations, but because parts of the horse are noticeably present.
I'm a folk preacher. A folk therapist. A folk musician. I come from authentically that which is of my experience. Therefore, the music is strictly from the soul, strictly improvisational.
The Divine Music is incessantly ringing within all of us, but the loud senses drown the delicate Music, which is unlike and infinitely superior to anything we can perceive with our senses.
I've always hid behind the music despite the fact that I have a huge personality. I'm thrilled that the music is bigger than me and will outlive and outlast me. It frees me up to take risks.
It's better when you don't understand the words in music. Because when you don't understand the words, you have to listen to what somebody means, not what they're saying. And if they mean it.
Music is just a word for something we love largely because it consists of things that words can't express. Likewise, the heart is just a word for something in us that music sometimes touches.
I didn't want to play music because the whole family did it. I wanted to work in a cubicle. I saw Office Space as a young tween and missed the point of the movie. I was like, "This looks good!".
Music is something that I have to do on a regular basis. It really is my life and I absolutely love it. It's a part of my day-to-day. So if I had to choose, it would be music. But I love acting too.
Dance music is Madonna's base. It's what she likes, it's what she listens to. It's not anything other than that. She doesn't read what's on the charts. And if it's on time, great. This is who she is.
If I'll be sexualized, it wouldn't be because I was wearing sexy clothes, because I look like a baby. But music is an inherently sexual thing. If something sexual is going to be expressed, it's going to be in my music.
I feel that Christian music is a subculture directed towards the Christians. It's not really being exposed to non-Christians and it's not really created for non-Christians, so non-Christians almost never hear any of this music.
My concern with this approach is that music becomes a substance devoid of people. It's a consumer model of what music is: subjects listening to objects. For me, music is subjects listening to subjects. It's about intersubjectivity.
I think a lot of people are having their midlife crisis in public. I think if you left something unfinished, go ahead and do it. But I guess I can't really answer that question in respect to my own music, because it's inconceivable.
Folk music is not for a select group of people who feel that maybe he taught them about this music and that it belongs to them. It doesn't belong only to them. It belongs to everyone who's interested in the blueprints of good songwriting.
I really want to try to protect as much as I can, to safeguard peoples' first experience with a record. Because I want you to get the whole thing as one integrated piece, because it's not like I'm narrating stories with music behind them.
I used to say that I was making "country music," because it was the quickest, easiest answer. I'm obviously heavily influenced by country music. There was a three-year stint in my life where I listened to nothing else, so, I learned it very well.
I love synthesizers and I love electronic music and I love the avant garde and I always want to try and have some kind of element of that in the music. So once the music is put down and recorded, that's when I start to tinker with it using synths.
The whole appeal of dance music is being liberated because music is liberating and it's not about club culture or the social aspect of playing the mating game or whatever you're doing at a club. It's more about the euphoric aspect of listening to music.
More often than not, I'm worried about, where shouldn't we have music? Because the tendency is just to put everything everywhere all the time in a lot of movies. You end up just numbing the audience when you do that and it's not the best way to tell a story.
I don't like talking about myself; I like to let the music be the spokesperson for me. So doing a memoir and all that chronological 'and then this happened and then blah blah' doesn't appeal to me that much. I think there's more mystique in what you don't know about.
I have had very little interest in being an icon or visual representation for my music. I like playing music with my bandmates and I have more and more fun onstage these days, but the part where you're supposed to be a salesman for your music is pretty unappealing to me.
And more than anything, I like the improvisation of jazz. That's the same thing with DJ-ing. There's so much improvisation you can do with cuttin' and scratchin' that's reminiscent of jazz music, because it's all about how you feel. You're capturing a vibe and just going with it.
I have absolutely no interest in rock and roll. I'm just being David Bowie. Mick Jagger is rock and roll. I mean, I go out and my music is roughly the format of rock and roll, I use the chord changes of rock and roll, but I don't feel I'm a rock and roll artist. I'd be a terrible rock artist, absolutely ghastly.
The translator has to be a good writer. The translator has to hear music too. And it might not be exactly your music because the translator needs to translate the music. And so, that is what you are hoping for: a translator who gets what you are doing but who also gets all the ways in which it won't work in the new language.
What connects architecture and music is that neither one is really an object. It's more like an ambience, a surrounding and a context. You can do other things while you're listening to music and of course, you can do other things while you're in the middle of architecture. The notion of multi-attention seems to me like it's the keynote to the beginning of the 21st century.