For me, a paragraph in a novel is a bit like a line in a poem. It has its own shape, its own music, its own integrity.
After the success of 'Rumours,' we were in this zone with this certain scale of success. By that point, the success detaches from the music, and the success becomes about the success. The phenomenon becomes about the phenomenon.
I can't just listen to music walking down the street unless I have a reason to. I can't just listen to music as a piece of junk in the background. It drives me insane.
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.
You can never judge any music by their audience. That's the main reason people in England have a prejudice against someone like Skrillex. You judge people by their music. That's always been first and foremost.
I love the music business very much.
When I'm scoring something like a string quartet, it's all notated music, so it's meticulously written in the score, which is very different than doing things by ear.
Most people don't know I grew up singing country music; that's what I sang right up until I did 'Idol.'
The possibilities are endless for me - Broadway, TV, music and film.
If I could, I would not do anything else. I'd just be in the studio for my whole life. I would never go to parties, events, and red carpets. I would rather just be in the studio for the whole time. I don't even care. Nobody has to know what I look like. I just want to make music.
I don't consider myself just a rapper or just a singer. I'm a music producer, lyricist. I'm a poet as well, and acting is also a part of big entertainment.
The kind of music I'm trying to make is conscious, to make people think and feel and get inspired.
The first music-learning thing that I took seriously was piano lessons when I was a kid. I guess that was probably the only time that I was forced to perform music, because I had piano recitals, and my school also had mandatory music classes that had some performing required.
I've always been a big advocate of making shows affordable because a lot of these bottle-service clubs and events are geared toward really expensive experiences. Club music is for everyone, and it drives me crazy that people are getting priced out.
I grew up in a largely black community during the '70s and '80s that scoffed at 'white' music. That music - folk, rock, some disco - was considered soulless, aberrant, just one more example of the Caucasian's desire to scream and yell and demand whatever their privilege and perpetual adolescence dictated they should demand.
But then I'm one of those guys that is still a bit afraid of the telephone, its implications for conversation. I still wonder if the jukebox might be the death of live music.
I grew up with a heavy diet of gospel, folk, and blues because those are kind of the cornerstones of traditional American music.
I have more to offer than music that is automatically dance.
All my music is inspirational. You just gotta listen to the words and get what you can get out of it.
Most good things happen with time; especially music, which needs time to breathe and to find its own way.
Lata Mangeshkar is a living legend. She has enthralled millions of hearts all over the world with her music.
I never grew up on Jodeci. I never grew up on things like that 'cause my dad was a preacher, and he kind of kept us away from music like that.
Actually, the language in Shakespeare is wonderfully musical. You need to hear the music to connect with the words.
While I'm working, I stick with music that won't distract me - the dub stylings of Scientist and King Tubby, maybe some Beethoven string quartets.
My music is going to be true. I'm not out to sell records. I'm experiencing something, and it's what I feel.
One of the things I like about music is it's an abstract art, totally abstract, where you can convey an emotion, which I find amazing.
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.
Once you've changed who you are or who you've portrayed in your music, the fans, they'll catch it... Once I feel like the world knows me for anything else but my music, then I feel like I failed.
After my touring life, I'd love to be more involved with charity. It gives me a lot of fulfillment, you know? I would love to get people who are into my music more active in charity work. In the future, when I have more time, I'd love to do spend more time on that.
Baseball fans! Good lord! I feel like sports fans get mad at you easier than country music fans. It scares me. I'm glad that country fans don't get mad every time I mess up.
My music is very versatile, very mixed.
Cultures have long heard wisdom in non-human voices: Apollo, god of music, medicine and knowledge, came to Delphi in the form of a dolphin. But dolphins, which fill the oceans with blipping and chirping, and whales, which mew and caw in ultramarine jazz - a true rhapsody in blue - are hunted to the edge of silence.
I write a lot of my music, but not all of it. I have always subscribed to the 'best song wins' theory when making an album.
Music helps me immeasurably in the writing process.
I encourage people not to be passive consumers of music and of culture in general. And feeling like, yeah, you can enjoy the products of professionals, but that doesn't mean you don't have to completely give up the reins and give up every connection to music or whatever it happens to be.
The people who were learning from me tended to be more commercial performers who were gonna rip off the salient idea to do it in a way that will sell, but they weren't going for the music.
