Quotes of All Topics . Occasions . Authors
I've only written 30 songs or something. Dylan's written over 500 songs. There's no comparison. He's the Shakespeare of rock 'n' roll and popular music.
When you're a young person, the solace one can get from popular music is something I just have tremendous nostalgia for, affection for. I still have it.
Every now and again, the alternative culture is cherished by the mainstream for what it is, rather than how it should be, like the mainstream popular music.
I have a varied collection of music on my phone. I like a lot of the popular music that has a really energetic beat to it, as well as some classical things.
Have you listened to the radio lately? Have you heard the canned, frozen and processed product being dished up to the world as American popular music today?
Popular music usually has a chorus that needs to repeat, and people need to remember the song. That's sort of the major guideline when you're writing a song.
I think we as a band, as individuals, understand that all popular music stems from blues and jazz and even pop, but rock 'n' roll especially comes from blues.
I feel like more artists like me should be on the radio. Everything is, like, so controlled by, like, super popular music. You know what I'm saying? Like, c'mon.
Amplification of guitars revolutionized the popular music scene. Youngsters look for quick fame and big money with amplified guitars and working with rock groups.
Just as I have broken the monopoly of film music as being synonymous with popular music in our country, I want to prove that cricket is not the only glamorous sport.
Copland was one of the first American composers to forge a truly modern style of American classical music while also making use of American popular music - including jazz.
What is classical music if not the epitome of sensuality, passion, and understated erotica that popular music, even with all of its energy and life, cannot even begin to touch?
Entertainment isn't just based on the very structured syndrome of European popular music, and it's great that there are so many thousands of people who are of the same opinion.
As late as the early '50s, jazz was still, for the most part, a genuinely popular music, a utilitarian, song-based idiom to which ordinary people could dance if they felt like it.
I was a piano performance major at USC. I left before I graduated because I realized at some point I wasn't going to be a concert pianist and I was too attracted to popular music.
My particular space has always been quite unique in popular music. I have a background in R&B and hard rock and straight pop, but I never went all the way with any of those genres.
The country experience was more of a departure. When you consider my education and my upbringing, you can see that was more of country rock outgrowth of my popular music aspirations.
The good and bad are all tangled up together. American popular music is loved around the world because of its African rhythm. But that wouldn't have happened if it wasn't for slavery.
The great countercultural movement that we all know from the mid-1960s was epitomised by popular music. But within a few years another shift happened: the birth of alternative theatre.
I turned popular music on the radio, and I never listened to it again after that, in about 1985. That's when I switched over to classical music, and I pretty much stayed with that since then.
Although we are being presented in Carnegie Hall, we have to furnish a budget for our guest stars, and for the music writing - which is a huge budget in any orchestra that plays popular music.
For instance, I'm always fascinated to see whether, given the kind of fairly known and established form called popular music, whether there is some magic combination that nobody has hit upon before.
Making an album should be an honest experience. It shouldn't be about trying to gauge where popular music is today; it should be about artistic expression and putting down what you want to put down.
When I was growing up, music was music and there were no genres. We didn't look at it as country music. Popular music in Tuskegee was country music. So I didn't know it in categories. It was the radio.
Mumford and Sons and Adele are both incredible artists and are great for popular music. There's a lot of club music with heavy beats, so to have that Mumford record and hear banjos being used is so cool.
It was Muddy Waters who took the Delta blues north to Chicago, electrified the sound, and changed the course of popular music as we know it. That's pretty much the judgment of history, and it is mine as well.
The first half of 'Book Reports' deals with the history of popular music and rock criticism. When I hooked all those historical pieces together, building on the minstrelsy piece, it became my history of popular music.
In country music the lyric is important and the melodies get a little more complex all the time, and you hear marvelous new singers who are interested in writing and interpreting a lyric and in all form of popular music.
The trick of Afrobeats is it doesn't just move your upper body, it moves your hips as well, and I think that's what people have been missing in popular music for a while. I think that's what people need around the world.
Popularity gets up people's noses. But I understand the importance and the function of popular music. There is an artistic purpose. Popular music helps people to develop a curiosity and leads them towards classical music.
Adele ultimately did well in such a large way because she affects everybody, and the way that she writes seems to be popular music, not because of her skin color but because she writes great music, and it's popular in that way.
I grew up listening to popular music. My father was a Peruvian folk singer. He played the guitar at home. He sang songs with a waltzing rhythm, yet you can still hear the Spanish influences. I accompanied him to his performances.
I think I'm writing for an intelligent stranger - you know, in my mind I can't remember who coined that phrase first. I don't want to write anything that makes me cringe, first of all. I cringe a lot - mostly when I hear popular music.
Obviously spending my teenage years in music, and in popular music, I wanted to continue this career, but in a way that allows me to dictate it and create it myself as opposed to relying on third party or more corporate decision making.
Soul was the music made by and for black people. For most of the Sixties it was thoroughly divorced from white popular music, but by the end of the decade several artists with their roots firmly in both soul and R&B traditions had crossed over.
The basic function of popular music is to create an environment for courting, lovemaking, and doing the dishes. It's useful because it addresses the heart in the midst of all these activities, and it will always be useful in this very important way.
My mum was very good at making me take up musical instruments, so although there was no popular music she made me learn the recorder when I was three, the violin when I was five and the piano when I was seven. I took up the guitar myself when I was 14.
His belief in the power of music to convey ideas - not just entertain - has filtered down to musicians in every field, from alt-rock to hip-hop, from Bruce Springsteen and U2 to Arcade Fire and Kanye West. Popular music is different because of Johnny Cash.
The way popular music is categorized and formatted cuts down on everyone's options. And although people don't talk about it, there are a lot of issues of race determining musical categories of what's rock, R&B, or even folk. It ends up restricting creativity.
In each medium - popular music, literature, and visual art, respectively - the woman has broken form, shed a skin, with each phase of her career, whereas the man has returned to ever-deepening iterations of the sound or sentence or imagery with which he began.
In my opinion, it seems like music is taking a bit of a turn. Look at Mumford and Sons, and the Lumineers. It seems like people and music fans are enjoying the more artistic side of music, and that popular music is taking a turn and accepting that, so I appreciate that.
Popular music is one endless love song that, I suspect, the basically solitary Ella Fitzgerald approached much as the basically solitary Marianne Moore approached poetry: reading it with a certain contempt for it, Moore said, you could find a place in it for the genuine.
I only hope that one day, America will recognize what the rest of the world already has known, that our indigenous music - gospel, blues, jazz and R&B - is the heart and soul of all popular music; and that we cannot afford to let this legacy slip into obscurity, I'm telling you.
It's a great thing that the United States has given the rest of the world - no other country has given such great popular music to the Far East and Europe. When I play those great countries, a lot of times, the audience starts singing the songs with me. They know them. They love them.
I'm into old-time music; I'm not very interested in modern, popular music at all. And if I'm really into some particular old-time musician, some fiddler or banjo player, I'm always dying of curiosity to see what they look like. So there's some connection between visual images and music.
I try to create something that draws you in without overthinking it. Something that resonates with you automatically that you don't have to think about. That's what the best pop is about: Michael Jackson, The Beatles, Nirvana - these guys made some of the most authentic and popular music.
One of the disadvantages of poetry over popular music is that if you write a pop song, it naturally gets into people's heads as they listen in the car. You don't have to memorize a Paul Simon song; it's just in your head, and you can sing along. With a poem, you have to will yourself to memorize it.
I want people to feel what it was like in the '40s. That's when popular music in the United States was so beautiful. Frank Sinatra, the Pied Pipers, Duke Ellington, Fletcher Henderson, Tommy Dorsey, Billie Holiday. That's when popular music had deeper values, to me. This was music that was selling millions of records.
I don't think I'm turning back the clock by doing these old tunes. I love rock and roll and popular music. It's just that the spirits of the singers whose songs I do are living within me. That's why the songs come out in the voices of the original singers. I'm not doing imitations. That's the way they sound inside me.
I particularly enjoy cello music because our daughter plays the cello. I have listened to her practice for so many hours that I am familiar with the music written for that instrument. I am also fond of the popular music of the 1930s because my future husband and I danced to it so many Saturday nights when we were in college.