Music Quotes
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Shaheed Diwas 2026
That's my fun time so, to me, doing my homework, studying on what I do, watching the movies, listening to music, all that inspires me so I focus a lot on that and practice.
Still, to this day I go back and listen to music that inspires me to write now.
A great script might come my way, and I could be in the middle of music. So, it's a huge choice that I have to make - if I'm going to go do a movie or if I'm going to turn it down - because it could be an opportunity that could send my career through the roof, and you never know.
There are a lot of options when it comes between music and acting. For me, because I'm so passionate about my music career, you have to be extremely passionate when you have opportunities like films and real money actually coming to you compared to with music.
My father's in the military, so we moved a lot. I was born in Jersey but grew up in Maryland until we moved to L.A. to pursue my acting career. Music came into it after that.
My 'Chili Palmer' was my mother. Her name is Carmen Milian, and she's my manager. Before getting into music, we actually educated ourselves, and I went to college for music as a business and learned the business side, and she read a lot of books.
I will always do music, and now - with where the world is going with social media and people dropping stuff for free and doing this and doing that - there's no excuse.
'Shelby Star' is going great. We shot a music video, and I'm building an app and some other things for the project.
Yes, my first memory of singing, in general, was of a Christmas song. And then listening to Christmas music was really the first music I was ever connected to.
Music has been my everything since day one. It's been my shoulder to cry on, my rock and my best friend.
The core of all the music I love is a good bass line and a good rhythm.
I remember studying so hard for so long and saying to my parents, 'I will be a teacher.' And they were looking at me like, 'Girl... you just want to be on stage. Stop pretending.' So when I chose to do music, they were relieved. My parents were more intelligent and lucid than I was.
I'm a huge pop music lover. I do love the immediacy, the organic fever that happens when a pop track is so infectious.
Most people know Serge Gainsbourg's 'Histoire de Melody Nelson' album, but what's interesting is that in the early '90s, he actually went into a dark, weird phase that French people don't really like. They consider his music from that time weak. But for me, it's the best.
When I started to write music, I desperately wanted to relate to people. But when I became famous, I could relate less. I thought, 'Oh, am I trapped in my own creation?' I was really lonely.
I have an obsession with haters: the great mess of the Internet expressing itself. I love to type my name on Twitter and read everything. It's always enlightening to see what they hate about you: I'm not pretty enough to be on stage, or my music doesn't make any sense. It feels good to read that, like I'm heading in the right direction!
Music is contagious and everywhere and democratic, and that's what drew me in. I was interested in acting and being a director, but one of the things that bored me about theatre was that it was not accessible to everyone.
Being a photographer is like listening to music. If you have a camera, by just living your life you're bound to find some things that are worth taking a picture of. You don't have to be an audiophile to have taste in music. It happens through osmosis.
Man I mean, the great thing about playing clubs in Harlem is people have an appreciation not just for the music but for the history of the music.
New Orleans is a place where people are deliberately undereducated so that they can be a labour class - the economy there is tourism, and one of the only outlets that black males have traditionally been allowed is to play jazz music, y'know?
The music that I make, the younger musicians are referring to it as 'stretch' music.
Jazz is really 20th-century fusion music. You take West African harmony and rhythm, mix with European harmony, and boom!
I listen to the Mars Volta and Fiona Apple every day. I feel if you do write music, you write what you listen to, and you couldn't possibly write in another genre. So those are the two that I usually use.
I respect artists so much, and I absolutely love music as the ultimate art.
Pop is actually my least favorite kind of music, because it lacks real depth.
I turned to music originally because of my past and needing a release or an outlet to get out anger or frustration or hurt.
You used to have to sing and convey emotion, and now, well, technically you can do anything with technology. It sucks for music today, but that's why that old music feels so good to me.
Blues and soul and jazz music has so much pain, so much beauty of raw emotion and passion.
These things I sample, or clip, are things that we share - music, films, sounds. It triggers a layer of participation from the audience as they recognize the material and remember it.
If the music in a groove fits with what you're playing, then play it; if not, then you can play it backwards. If that doesn't work, you try it at a different speed. If it really doesn't work you just break it. The whole ritual to put a record on a turntable just to listen to it, I don't do that too often.
One of my big passions in the offseason, or just when I get time off in general, is playing music, and I've been fortunate to be around people who are a lot more talented than I am.
People say to me now, 'Oh, you've given up the piano.' How can you? Music is a virus.
I'm very happy in my 18th century worker's cottage in Kent and playing my music for the dog-walkers paused outside.
From his very first works, it was clear that Henri Sauguet would bring spontaneity, romance, and a nonacademic approach back to modern music.
I get paid to lie to people as an actor. Country music is the one area that I don't lie. I tell the truth.
I grew up with the Highwaymen, which was Johnny Cash, Willie Nelson, Waylon Jennings and Kris Kristofferson. Mom and Dad rode rodeo, so country music was always in the house and the car. They threw in some Dolly Parton, too.
I started rocking and rolling when Guns N' Roses came out. It wasn't until Garth Brooks came around that I really got back to country. He made it fun again. To me, in country music, the rigor mortis was setting in and it just wasn't fun anymore. Garth brought everyone back over to country and made it cool again.
You can read books on stuff all day long, but until you get out there and just do it, if you want to start playing, and you want to make some music, then go out and play. Go find yourself a venue and play, even if it's in your home. Just play every day. You win the fight by fighting.
For the first five years of music and first five years of acting, I don't remember it because I was running to where I was going. Finally I was like, 'Man, I missed everything.' So I just stopped, and I started looking around.
I mean, the shoe - there is a music to it, there is attitude, there is sound, it's a movement. Clothes - it's a different story. There are a million things I'd rather do before designing clothes: directing, landscaping.
Breakfast is a peaceful moment for me, so I never have the radio on, no music, no noise around. The only noise that is permitted is people's voices. It's a way for me to wake up without too much of a high speed feeling.
Istanbul is inspiring because it has its own code of architecture, literature, poetry, music.
When they sold me on 'Supergirl', I went and sat down with Andrew Kreisberg and Greg Berlanti, and they described the character to me. Greg Berlanti used a couple of music theater references to kind of explain who the character was. They threw up Chris Pratt in 'Guardians of the Galaxy' as a reference point.
Everybody has their favorite sad songs. That's part of what I love so much about country music. Country music is never afraid to go with a sad song.
Everybody influences everybody else, in my opinion. There are different trends in music all the time. No matter who starts them, if it's a true trend in the music, it ends up influencing other people as well.
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.
I think the biggest way of connecting with people is through your music and kind of saying what you want to say as an artist. And hopefully, you're making something that someone's going to be like, 'This is my favorite song.' That's always your goal, I think, anybody in any genre.
Any time I'm trying to find that groove on a big tempo song, I go back and listen to some Aerosmith records. 'Love in an Elevator,' 'Rag Doll,' all that stuff was really great music. It's something that I still dig and go back and listen to.
Your family are people you lean on and learn from. When I told my family I wanted to do music, they were really supportive.
Meeting all the wonderful, new people and people appreciating my new music has been a really fun and blessed ride.
I'll make music as long as I can sing and stand up and hold a guitar and I feel like doing this.
The only thing I've ever offered the public is some music. If they like the music, that's great. Turn on the radio. If they don't like it, switch it off.
I just liked music, and I really liked rock guitar. I didn't think I was going to be a rock guitar player, because I was a girl. I would've been too shy to play with guys.
Music reflects the time that it's being made in, and so certainly, the music that's being made in 1986 by a 14-year-old kid will reflect some magic of 1986 for him if he's an inspired and creative musician.
I didn't want to be told what to do. I don't want to water down my music to fit into their formats. I know what rock and roll is to me, but everything's turning into one big commercial.
My music is how I feel, and that's changed from being twenty years old to being forty-three years old.
Right now, I've never been more impressed by the new bands that we meet. I may be 10, 20 years older, but we're all on the same page about culture, music and life.
Since the early Nineties it's been very fashionable to say, 'It's all about the music.'
Being a pop artist or making music like a jingle or something - I don't do that.
We did do the whole of the live suite from 'Fly From Here,' and that was very enjoyable to do. In fact, that is actually our longest piece of music, I think, that we'd ever done.
All movies, when they're about the music business, tend to have a bit of a wide latitude in terms of how things really were.
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 was working in a music store in London, and this particular place happened to be the importers for Rickenbacker guitars into England. So I started seeing these basses coming in.
I guess the idea of doing albums in their entirety, in sequence, appeals to people. I guess it's the memory of being able to hear the music in the way it was originally presented.
The Seventies were just an interesting time for us because we were building the brand of the name but also varying the style of the music on each of the albums we did. Very creative time of us.
Jon Anderson and I, we really liked a lot of classical music, and we wanted to get some orchestral arrangements going on 'Time And A Word.'
'Close to the Edge' is the album where we first attempted to do the extra-long-form piece of music, having one song taking up the whole side of a piece of vinyl.
You can't ever really replace Jon Anderson because he's been such a force in the music business.
I just try to make the best music that I can. People are going to label it whatever they're going to label it.
I think the path is different for everybody. Go after the doors that are open to you. That has always been my motto getting into the music business. Do the things that seem to be good opportunities and work hard at it. Try to make good decisions and be nice. Hopefully all of that will pay off at some point.
A lot of great bluegrass comes out of Kentucky. There's a lot of great music, like the Judds, Billy Ray Cyrus, Ricky Skaggs, and Keith Whitley. There's a lot of bluegrass intertwined with country music.
I like things that don't sound particularly processed or mechanical or made by machines. I like music that contains human elements, with all their flaws. There's air in it, and you can hear a room of a bunch of guys playing. Those are the magic parts.
We have a history in country music of writing about the darker side of things - maybe not as much in modern times, but there's a lot of cheating and self-deprecation. We sort it out in song, in country music, as a genre.
We have that storytelling history in country and bluegrass and old time and folk music, blues - all those things that combine to make up the genre. It was probably storytelling before it was songwriting, as far as country music is concerned. It's fun to be a part of that and tip the hat to that. You know, and keep that tradition alive.
I think the best part about music is that you can do it anywhere at any time and it's always with you.
I think it has most to do with the way in which a story is told, whether it feels real either via the music of the telling or the 'honesty' of the story.
Ragtime has about the same amount of respect as comics. And in a way they're similar art forms. Ragtime is highly compositional, and the emotion in the music is built in, whereas in jazz a lot of that emotion comes from the way it's performed.
I was listening to a lot of hip hop, music like Public Enemy that was about raising consciousness, and I realised I could feed that directly into my work, using images in a way that was a bit like sampling - taking images from diverse places, exploring the contradictions without trying to hide the seams.
I don't quite know how the urban music category came about, but I suspect it had something to do with trying to maximise sales.
I've always found music inspired me in the studio to try to do new things. If someone comes out with a new album, it's like, 'Gosh, they've been working hard - so should I.'
When I was in my mid-twenties, I was a copy editor at Doubleday, and for a brief period, it was my job to help shepherd Pat Conroy's 'Beach Music' into the world.
Whether it's music, loss of something, loneliness or friendship - if that emotion is heightened in some way and painted to fit in between the covers of 32 pages, that can become a picture book.
When I present the Charlie Parker book, I do a call and response that works quite well. With the Thelonious Monk book, I play the music and work with kids in a group to create a color wheel and show how the wheel can be mapped on a 12-tone chromatic scale.
If the heads of all the music companies had known about music and about Chris Rea fans, they wouldn't have worried about 'Stony Road.' My regular fans have always known that side of me.
When I was young, I wanted, most of all, to be a writer of films and film music. But Middlesbrough in 1968 wasn't the place to be if you wanted to do movie scores.
I am in that unique little club where I went into music because I love music, not because I wanted to be rich and famous.
My ambition, a long time ago, was to be a film music writer. A compromise then was to be the guy who wrote songs for a band and played slide guitar. Then the singer didn't turn up for an audition, and I was the only one who knew the words. That was it - bingo! Life took a different course.
None of my heroes were big rock stars, and I thought, 'This isn't how it's meant to be.' It wasn't about making music so much as selling it.
Touring is easy. My wife will be with me a lot of the time. We get spoilt rotten, and all I have to do is go on stage in wonderful places and play music.
After I got back my career and my artistic freedom in 1982, my golden rule is the music must never suffer.
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