Quotes of All Topics . Occasions . Authors
To me, 'Auto Music' wasn't work. It was in-between work.
To me, this degree was an acknowledgment of my work in music.
Movie music allows me to work with players as creatively as I can.
Music is 80 percent fun and 20 percent work. Video games, for me, is all fun.
Music is not a work for me - it's a form of meditation, and you don't need to work hard for it.
There was, like, a point where music was slow for me, like '09. I wasn't getting that much work.
Having this other career in music made me work harder as an actress. It's made me more professional.
Music really gets me going, so I've always got to make sure I have my iPod to give me energy to work out.
I feel confident that the work I've put in will make people see me as a music artist before anything else.
I do my music for me, second for my entourage, and at the end, for the people. It's healthy to work that way.
For me, there is no day or night for music. I often work through the night - without phone calls disturbing me.
During the day I'll work on music. I have a sampler and a drum machine out with me and I write new songs while we're on the road.
I was lucky that I could work with directors like Kamal, Lal Jose and Sibi Malayil. They understood music and gave me a free hand.
For me, my number one priority always has to be the music, and I'm going to work school around my music - not music around my school.
For me, music makes my smile brighter during my workouts. It adds that extra something that motivates me to go further or work harder!
I go through periods listening to specific types of music. Because I'm a musician, listening to music is... it's a bit like work for me. A little bit.
Listening to hard rock on the subway doesn't work for me, especially modern hard rock. Driving in L.A. helped me to understand the appeal of that music.
My music can be a little obscure. It does worry me that the music might be too complicated for people to take in - that they have to work too hard at it.
It's always very special for me to work Chicago. Both of the record companies I was with, early on, were based in Chicago. The music was always huge there.
Environment is very important to me. Sometimes I have to perform during the day for festivals, and my music does not work in the daytime. It is nighttime music.
All of us, including me, can work on our skills. Music is such a huge ocean, you can never feel that you know everything. There will always be something that you can learn.
I don't really listen to a lot of stuff that sounds real similar to me because I work on that kind of music all day. I end up listening to more jazz, stuff that I can't really play.
Sometimes I'll turn the channel and there's the movie and I can honestly say that those last few minutes always fascinate me. It's one of the rare instances when image, music, and drama work effectively.
After the first three or four years of me taking rap seriously, it started to look more promising. I started booking shows and more people were playing my music, so I starting believing this could actually work for me.
Listening to music for me is like homework. Music will give me enjoyment, but as soon as it's giving me that enjoyment, I want to analyse it, and then it becomes work. Why does it sound like that? How?... then I dissect it.
The biggest misconception people have about me is that I'm a chancer and they think I'm lucky! They don't realise that I have actually earned it, because I have worked with so many bands. That's all I've ever done is work in music.
I'm just trying to make my favorite music. That's how I work; I just do things based on the way they feel to me. I want to be touched by the music I'm making. Luckily, other people have shared that response to my work over the years.
I feel pretty used by the music industry, in that my contracts are written in such a way that I don't get paid. And that makes me wanna quit working for whoever thinks it is that I work for them. But I've clearly got a job that I can't quit.
I had to beg to get out of my contract with Capitol. They wanted me to work with big producers. I wanted to produce my music, and they weren't having that. I'm sure they were happy to let me go. I just didn't want to do what they wanted me to do.
Being called a 'music legend' is a very funny thing. It's nice to know that my work has been appreciated and that people have given me that status. On a personal level, however, I can't think about it too much. It means a lot... but then it doesn't.
I think in work like 'Passion According to St Luke,' which I wrote when the Church was being persecuted by the Communist regime, it mattered to me to declare for the cause. I sided with the militant Church and I think my music fulfilled an important socio-political function.
When I got signed to the 'Fader' Label, they got really excited about having me as their new artist. They were promoting my music everywhere. Pharrell was one of the producers who wanted to work with me, so I was really lucky to be one of those people who got to work with him.
School work and intellectual interests such as music and the arts were not especially important to me while I was growing up, although mathematics, my favorite subject, was fun. Baseball was my first passion: I played sand lot and Little League and rooted for the Brooklyn Dodgers.
I was first inspired to make music by my cousin Oran. He was making music on an old Mac II by himself in his little lab, and I just started taking up after him. He was the first person to put a machine in front of me to work on. He was like my big brother, someone who I looked up to.
More people are asking me to come and sing for them, so obviously I am getting more work. But apart from singing, I have been parallely programming and producing music tracks and assisting music directors. That is my bread and butter, which is how I survived in Mumbai. Now I can't leave it.
Music and literature have always and continue to be massive influences. Writers such as Seamus Heaney and Frank McGuinness. I have always admired the humanitarians that I knew growing up in Derry whose influence steered me in the direction of some of the work that I have chosen in the past.
Balanchine is the number one influence for me. His work was really musically driven. He and Jerome Robbins were the ones who really showed me that dance could be about the inner relation between movement and music. When I was a student first seeing their work, I was like, 'Oh, this is a thing?'
I put a lot of work into my mixtapes, and I want everybody to understand I am doing this genuinely. I don't even want to be paid for this; I just want you all to hear my music and appreciate it. I think it brings me closer to my fans because they know I'm doing this for them and not just to get the bucks.
It made a lot of sense to me that the music part of our site would work for filmmakers as well. They'll be able to upload clips. There will be a section where you can watch what they are doing. They'll tell where their screenings are. It took a lot longer than we wanted to because we were growing so fast.
I know that often times a lot of people who work in music, whether they be labels and so on or even artists, want personal recognition. We want to be recognized for something, for what we did. I'd rather my song be recognized for what it's doing and that's important. It's not so important how many people know me.
We are all human, and we are all able to listen to music that we cannot understand. I used to listen to English music like Notorious B.I.G., and I didn't know what he's talking about in all of his tracks, but I'm a fan. It's rhythm and a groove that makes me dance, so I'm convinced that my music can work in the U.S.
I got a chance to work with Miles Davis, and that changed everything for me, 'cause Miles really encouraged all his musicians to reach beyond what they know, go into unknown territory and explore. It's made a difference to me and the decisions that I've made over the years about how to approach a project in this music.
I spent two years figuring out how I could turn it into something that would satisfy me as a musician but also make some kind of cross-cultural link. I feel that I kind of at least touched on the possibilities of cross-cultural music, but it is a lifetime's work, and I don't profess to be anything other than a novice at it.