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Shaheed Diwas 2026
Not one person from the music world has ever come with - as if I could get a rock'n'roller up at four in the morning to play golf - but that's fine. I have way too much going on to sit around waiting for tee time at two in the afternoon.
I want to travel around the country and make my living playing music. I also try to behave in a way that I would appreciate as a music fan. That's how we conduct ourselves, be it in writing music or playing it live.
Now I have never met a group of people who hate music more than professional roadies, and it is clearly obvious that 99.9 percent of them know nothing at all about music. Nothing. I find this to be quite strange, really. It's like someone who works in a bakery knowing nothing about baking.
Most people involved in the music business, and it's probably not just the music business... aren't necessarily people that I like.
Poems have a different music from ordinary language, and every poem has a different kind of music of necessity, and that's, in a way, the hardest thing about writing poetry is waiting for that music, and sometimes you never know if it's going to come.
My genre of music is called Afro-Fusion because I fuse different types of music into a ball.
I would find myself being inspired by things that I've heard as a kid: Nigerian music or African music, some French music or some Jamaican music. When it's time for music to be made, it's almost like my ancestors just come into me and then it's them.
Music is more than just listening to it. People use the music for them protection at times.
Music is creation. In reggae the lyric, the music itself, arrangement, that vibe, such melody - everything within the music moves the people, understand?
Dig into the roots of culture, and it will grow. It's like a grass that is growing, and it cannot stop, and music is like the fertilizer for that.
Whatever I do, I do for the universal. It's not like an individual thing; it's not like something from me. What I present to the people is for all of us, you know. I present music for the people.
Music is my work, writing songs is my work, touring is my work, going into the studio is my work.
I believe music is like medicine. Like a good tonic, it can open your mind, strengthen and possibly even cure you. Music can work on many levels, and nothing I know of possesses the healing force that exists within music.
I'm not a rich person financially, but I am in mind and soul. I have so much energy and strength, and I can do a lot of things that make me, and I think my fans, quite happy. When everything's gone, music alone shall live on.
Reggae music don't really focus on one thing, you know. If reggae music is speaking about the struggle of people, and the suffering, it don't mean black people. It mean people in general.
Every musician tries to blend in some reggae. It's the only music that brings all people together, different races, different religions.
The kind of music I'm dealing with is more a long-term music. Sometimes a little discourage runs along on your thought, but I am here to push it back. Discourage is a sign of weakness, and I don't like to be weak.
Music is supposed to create an associate level, wherein I and you and you and I can associate without any misunderstanding.
I started playing piano with a little band in high school. I was terrible. I thought I had absolutely no talent. I couldn't keep time. I only got into McGill, which was a lousy music school, because they were taking American music students.
The music is the last thing I'm thinking about right now, in order of what's important.
I'm enjoying the hell out of playing straight. It seems to be the case with everybody. We're having a lot more fun. The energy is going into the music now, instead of all the side trips we got into in the '70s.
That was my first love growing up - classical orchestral music, especially Impressionism.
Nobody is playing music like this, like the Allman Brothers, and there's still a lot of fans out there, so that's what we're doing with Les Brers.
This is show business, and there's room for the shows and the personalities. But I think there's also room for music, for people to play music, and there seems to be an audience developing that's willing to go listen to music again, rather than just be blown away by drum machines and choreography.
The Allman Brothers 1969 to 1971... were all about... jumping off the cliff... Just taking music and being adventurous with it.
There will always be kids in every generation that understand that Lady Gaga is not music, it's theater.
I've never missed a gig yet. Music makes people happy, and that's why I go on doing it - I like to see everybody smile.
Once I was checking to hotel and a couple saw my ring with Blues on it. They said, 'You play blues. That music is so sad.' I gave them tickets to the show, and they came up afterwards and said, 'You didn't play one sad song.'
If anyone asks you what kind of music you play, tell him 'pop.' Don't tell him 'rock'n'roll' or they won't even let you in the hotel.
I think the drummer should sit back there and play some drums, and never mind about the tunes. Just get up there and wail behind whoever is sitting up there playing the solo. And this is what is lacking, definitely lacking in music today.
I was using computers for music in the '70s, '80s and '90s, and people didn't get it. They thought you should only use computers for your taxes and making pie charts.
It never occurred to me that I was important enough to have some politician go out of his way to silence me. I only found out about it in the '80s by accident - a broadcaster announced they received letters of commendation from the White House for having suppressed my music. My career was so highly impacted in the U.S. it will never recover.
I didn't get into the music business because somebody made me take piano lessons, you know. I got into music because I was a natural writer and had a lot of curiosity about sound.
The music speaks for itself. You either like it or you don't, or you're somewhere in between. That doesn't change whether I'm in the band or not.
Part of what I enjoy about writing classical music is communicating through the score and collaborating with such amazing musicians.
For me, the exhausting thing about touring is the sitting around, which is why working on my concert music is really great - and also seeing concerts and seeing friends and, whenever possible, getting out to see a museum.
For a composer of concert music, 40 is actually very young. But for a rock musician, 40 is almost past due, where you think of rock music as really part of more youth-oriented culture.
I've got this diverse education, growing up in classical music and existing between that and music that is more visceral, so for sure, I've always been interested in music from other cultures.
In terms of the music, it feels almost like trouble's a good thing - you never know when a song is going to surprise you. We look for these subversive moments in songs.
There is a kind of adventure- and risk-seeking audience in classical contemporary music that is really empowering and part of what draws me to it. The people that come to these concerts are open-minded and curious.
I came from a classical background, and I was teaching and earning a living out of music at a certain level, so it's funny to make it as a rock star when we're 40 or whatever.
If you make rock music with guitars in it, the Radiohead comparison is inevitable.
My background in music is classical - I did graduate school in music. At that time, I was studying composition, but I was studying classical guitar very seriously.
For many people in the music conservatory world, the message was always, Focus! 'You can't do everything; you really need to specialize.' And especially at an early age, I ignored this advice.
Early on, I was a performer playing classical music. It's in my DNA in a way that I can't begin to extract it.
Me, who's educated classically, I went toward rock music 'cause it was sort of a natural evolution from where I was playing with my brother. But I was always drawn back into classical music.
When I'm writing instrumental music, I try to find musical and non-musical inspirations.
There is much more immediate access to creative music through online communities and blogs which have touched all corners of the music world including contemporary classical.
With 'Boxer,' we made the kind of music we wanted to make and didn't really worry about what the expectation was.
A lot of people ask how I ended up doing classical music given that I'm in a rock band. The truth is that it's the other way around. I was trained as a classical musician and then started playing in a rock band later.
Obviously, any living musician born after 1960 has been touched by rock and roll. It's the music of our time, and it's 'in the air,' as Steve Reich would say. My experience of it is just really direct because I'm actually playing in a collaborative band.
Working with Bob Weir directly, we learned how high the bar is for Dead music.
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.
When I'm writing for certain instruments, you want to write within what you know about that instrument but also challenge the player. Something like 'Aheym' is very virtuosic - but because I have a history of performing music, I don't like unplayable music.
There is a reactionary conservative side of classical music, which is not the most exciting side of it. The side that draws me in, there's a real encouragement of risk-taking, going back to masters of that tradition like Beethoven and Bartok and Stravinsky.
The thing I realised about composition is, we remember most composers for four bars of music. Four singable bars of music. Pretty much any major composer from Debussy to Ravel to Mozart to whoever else - you can kind of hum it.
It doesn't necessarily take four years to write a good piece of music. It might take four hours. It just depends on when your inspiration comes.
Playing pentatonic scales over orchestral music is not something I want to do or listen to.
I can imagine myself as an old man writing music for choir or orchestra. I don't know that I'll be touring six months out of the year in a rock band when I'm 60.
If you have a recital to do, you have to memorize the songs. I never use music when I do recitals. It produces an instant barrier, both for yourself and the audience.
I enjoy all aspects of singing and I'm luckily given the choice to be part of different styles of music.
I want to start recording and writing as soon as I can and get music that I love out as soon as possible.
If everyone loves you for the person you are, let alone your music is incredible, I think that's a really great place to be.
Everybody's family plays them music, and my grandma used to play a lot of old-school stuff, like Ron Isley and Gladys Knight. Earth, Wind & Fire is the one I started paying attention to. My uncle introduced me to R&B, like Dru Hill, 112 and all those dudes.
I like Kehlani a lot because she's on her grind; she does everything herself. She's writing her own music and, you know, putting all the vocals together, and she's just dope. She just reminds me a lot of me.
One thing Drake is known for is putting out good, quality music. To acknowledge me and my music was all I needed to hear from anybody. Nobody could tell me anything after that.
Everybody always thinks you have to move out of the city and go where the music industry is, but it's possible in Louisville, and it's possible anywhere. You just have to believe.
I listen to a lot of songs, and they aren't talking about anything. I don't connect with them. I'll listen to something like Musiq Soulchild's 'Just Friends,' and I'm like, 'Wow, I really feel what he's talking about.' That's how I want people to feel about my music.
I released a song called 'Let Em Know' off SoundCloud, and some fan commented on it and was like, 'Trap soul movement,' and I was like, 'Man, that's dope. What is that?' And it just sounded like my music. That was the perfect word to describe my music, so I was just like, I'm going to call my project that.
Michael B. Jordan is actually cool. He's like the homie. I'm actually talking to him. He reached out to me a while ago and just showing love for the music after 'TRaPSOUL' dropped.
I grew up with my little brother, and we were raised by my grandmother. I was an insider for real. I stayed in the house a lot, writing songs or playing video games, watching TV, or chilling with my girlfriend. It wasn't until 9th grade that I got into music. This guy in school heard me singing around the hallway to girls and stuff.
I'm in R&B/Soul, and I feel like all my music is R&B driven. Even some of the songs that are more rap have an R&B feel, so I'm with that.
I think the main thing was me having a daughter. I just knew that I had to be a man, so I grew up real quick. Then I started caring about my music more, and I feel like that was the main change between 'Killer Instinct' and 'TRAPSOUL'. I was just like, 'I need to take this more serious and watch the things I say'.
I just wanna make music that people love. If they love the next project that I put out, 'Thank you' because that means that I can take care of my family.
You know, I think when people fly the nest a little too soon, as far as getting involved in movies, anything beyond the music can make it suffer, I just want to make sure that I'm not that guy.
I'm from the Bob Wills and the Little Richard school of music. Bob Wills did what the hell he thought, Little Richard did what he thought, and those were my big influences.
I never expected to record again. I knew I had done everything I ever wanted to do. I was satisfied. But... all the time I'm watching the country music horizon. And I'm sayin' 'Lord, is there anybody gonna come?'
If you want me in the Hall of Fame put me in because of some contributions that I have made to country music.
I'd like just to be remembered as a guy that came along and did his music, did his best and showed up on time, clean and ready to do the job, wrote a few songs, and had a hell of a time.
Secretly, I wanted to look like Jimi Hendrix, but I could never quite pull it off.
Oh yes, much, because music is just something that comes to you. You don't question it.
All those rappers, they're the only glamorous people working in music now. They dress up in these chains of gold, cars, girls and this and that, high-heeled shoes.
I don't think of my music in terms of a career. I just want to get it out there and do it. I'm not manipulating my sound to be like anybody or trying to write to sound like anybody else.
Seriously, my music really does help my acting, and, like, getting in and out of a character from a different lifestyle and writing a song about it. Likewise, my acting inspires the music because I can write a theme that I wouldn't necessarily approach at all in life.
I've always gone back and forth between acting and music, but for music I'm not trying to be a pop star - I just like to do it.
Country Music is great music because it really comes from real life experiences. It is such a great haven for reality.
I grew up with all kinds ofmusic, but my heart was particularly drawn to Country Music because of the guitar playing, the lyrics and of artists like Steve Warner and Vince Gill.
I think some people record songs and make records a certain way to cater to radio. If you're born to make commercial music that's cool. But if you're born to not make commercial records, maybe you're meant to cater to another market.
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