I think things can have more than one meaning and still connect with people. There's a lot of meaning to the title 'Music For People' and they're all true and they're all accurate.
Instrumental music can be about anything. It's about a mood, and I usually title my instrumental songs long after they're written. Sometimes I figure out the titles when I'm doing the CD package, and that's very common for a lot of people who write instrumental music.
To me, it's always a joy to create music no matter what it takes to actually get there. The real evils are always whatever stops you from doing that - like if your CPU is spiking and you have to sit there and bounce all your MIDI to audio. Now that's annoying!
I don't think music affects what words I choose to type in what order, within what punctuation, at this point, because I'm rereading and editing each sentence, at this point, in my published books, probably 100-150 times each, on average, and listening to probably 20-60 different songs in that time.
Now is a good time, 10 years ago would have been a good time, and 10 years from now it will still be a good time to see a dynamic, entertaining movie that's wall-to-wall Miles Davis where the music will hopefully spark some desire to know more about the man.
I would love for people to enjoy our music and have feelings from it. That's all I can hope for.
I will always make music with Stone Sour. Stone Sour will always be here.
When there are no lyrics, people can picture what they want. It's a reflection of where they are in their lives. Music becomes a mirror.
Where would I be without Johann Strauss's beautiful 'Blue Danube?' Without this piece of music I wouldn't be the man I am today. It's a tune that brings out the emotion in everyone and makes them want to waltz.
Some people think electronic music is cold, but I think that has more to do with the people listening than the actual music itself.
I used to consider the listener. But now I'm in a space where, if I'm not inspired, I can't really do the music. I can't feel it.
There's music every day. I don't think I could write without it. Not that I listen while I'm writing. It's more hearing a piece of music that I want to somehow convert into prose, as a creative inspiration.
The social scene in Daytona Beach was simple. The white cats surf, and the blacks play music.
My pure love is playing music.
People are like, 'Wow you started your own record label,' and treat me like I'm some sort of innovative genius, when I'm not at all. You've got the Internet and music - you put them together, and people hear your music.
Black music is too big and too powerful not to have its own awards show.
Music is so crucial to every film, I think.
I think it's all about the people who listen to your music, and loving playing and writing. Once you've got those two, and they're your main two priorities, then radio and TV and all the other stuff that comes with it will come. But that's not the be-all end-all.
I'm in love with music, and I'm pregnant by it. It's like having twins. Or triplets. Or eight-lets!
I think where it's going is toward what the music industry is like, where channels will be considered more like labels that carry the type of TV show that you like, and then you'll consume them however you can. For example, I don't really watch Showtime, but I bought 'Homeland,' and I've been watching every episode on my iPad.
I would like for people to hear my music and hear/realize that people and experiences are deeper than what's at face value. Hopefully, with the span of my career, I can try to convey that in more ways than one.
I think my music is so personal that it lets people in. And they identify with me more because of that, you know, so it's like my story; it's who I am as a person.
I love music. I love filmmaking. I love law enforcement. I love doing a lot of the green work that I do, the charity work that I do, and I don't think that any one person has to be just one thing.
We will always make music, but Die Antwoord is... finite.
I'm putting out this free music, constantly putting it out.
That's what I'd rather be doing more than anything. I love to play and perform and write, record, do whatever - just stay in music.
The paradox is that I have no love for myself as a human being, but I have immense pride in the music I make, and I believe it has an important place. Others do, too, and the thousands of people with Morrissey tattoos certainly proves something.
I never played music, but it's an important thing ... the studying, the inspiration.
There's an institution here called the National Sound Archive, and there's a character who works there, Paul Wilson. He takes a very special interest in the history of the music and advised Martin Davidson of the existence of these tapes.
The first music I was ever exposed to was Irish folk music, like the Clancy Brothers. My father plays that and Christmas songs.
I think the '60s was a great time for music, especially for rock and roll. It was the era of The Beatles, of The Stones, and then later on The Who and Zeppelin. But at one point in the '70s, it just kind of became... mellow.
If you get rid of music, images, videos, words and literature from the smartphone, you just have a simple phone that would be worth $50.
I just play music, you know what I mean? That's what I want to spend my time talking about.
Dub has been a big influence in terms of production. It's inspired so many people and so much music - in terms of music where mixing desk was the instrument. Central to that is the echo chamber, and I think there's a little bit of a romantic thing there.
The reality is that people think it's okay to steal music.
Joaquin Sabina is one of my favorites. He's like a legend. He's like our Bob Dylan, or our Bruce Springsteen. He's one of the most talented writers of our Latin music.
