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Shaheed Diwas 2026
My eyes went blank, and I stared off, and the music started. It was raining, and the sun was shining at the same time, and there were these big bay windows, and there was the blue in the sky, and the sun on the trees, and it was drizzling.
I'm really looking forward to it because it will give me the opportunity to do the whole other kind of approach to the music live that I haven't had a chance to do. and I think is important for me to do.
I grew up the son of a Seventh Day Adventist minister, so I was really close to the church and sang church music between sips at my bottle, you know? I sat on the piano bench next to my mother. She was the church organist, so that music is deeply inside of me.
I was singing doo-wop on the corner under the streetlight with four other guys when it wasn't called doo-wop. We just got together and sang, so that music is inside of me. It's a lot of stuff that has been rolling around in here and becoming this compost and has made me who I am as a singer.
I'm not sure it's a better music world of appreciation and performance. I think the listener is a different guy, and listening is something he does in passing, with other stuff going on. There's less care and understanding of the relationship between the song and the listener.
Music is such a balm. Always has been. It's such a heartbeat, like blood thrumming through the womb. That's why music appeals to people.
It's always been about making music. I've never gotten caught up with the trappings. You can't get caught up in the limousines and the chicks. The most important thing is the music.
I'm touched by rock n' roll. I'm touched by the Beatles. I want some of the music I do to reflect that.
I love Sly Stone and James Brown and Stevie Wonder, and I want my music to reflect some of that.
I'm touched by Jon Hendricks. I want some of my music to reflect that. And when I write, you're going to hear it.
There's a wonderful tradition of jazz people getting on stage and jamming and finding some feeling for music with audiences who may be fresh. For others, it might be just like a comfortable shirt they've been wearing.
Jazz should be recognized as music of the people, based in a lot of accents and melodies. What is jazz but music that people danced to? Jazz has the dynamic thing. I don't think you have to be playing only Charlie Parker licks on your horn or whatever the new version of that is.
Jazz told people about the special music that came out of America and about America in general and this kind of liberty and freedom that we have.
What I try to get beyond is playing music at people and, instead, to play music with people because audience members are constantly part of the experience. What they say in their body language, what they say in their eyes, what they sing with me... it's an 'us,' and there's a communication that's like... it's like church, man.
The Metropole Orchestra is like Count Basie or Duke Ellington with strings... it's strings that swing. Strings that swing like Dizzy Gillespie... keep swinging, baby. And when you have all of that special excellence of the Metropole Orchestra, then your music just flies - it soars in a way that's really magical.
I have this image in my head of me in the house I grew up in, and hearing this incredible music on the television show, going over to it, and there's Jon Hendricks, Dave Lambert, and Annie Ross. It knocked me out of my socks, and I'm still in flight.
Music - special magic that communicates feelings and sensitivities that are human and what is so wonderful about the art. Let your kids get involved in the arts and study this workshop of human sensitivities, sadness, joy, happiness and aware of sadness and joy and happiness in their lives.
I tour Europe a lot. They still have a love and a fascination with the basic thing about music - how it feels and that being the focus. I've got people bringing their kids. And their kids bring their kids. The grandchildren are getting selfies with their Uncle Al.
The band and I really enjoy working for people who enjoy the music. I haven't made a bazillion dollars doing this. I do it because I love it. I did it for free and will do it for free in the morning.
It is a very serious consideration for a lyricist to step in there and suggest the meaning to a song. The music is speaking for itself.
When you do a lyric for 'April in Paris,' those who have heard it before can hear it in a different way now. It can add perspective to a great piece of music that does not have a lyric and may be inaccessible to lot of ears because people don't deal with complex music very well.
I'm touched by the Beatles. I want some of the music I do to reflect that. Here I am. I love Sly Stone and James Brown and Stevie Wonder, and I want my music to reflect some of that. Here I am. I'm touched by Jon Hendricks. I want some of my music to reflect that. And when I write, you're going to hear it.
I think being a little older and a little more determined and being a little more evolved in my case and maturity in the kind of music I was doing and how I was doing it really helped to keep me grounded and with an audience that could appreciate what I was doing, who grew with me and evolved with me and kept me alive and around.
Everyone reaches their point in time where either they die or they get sick of doing drugs. It started getting debilitating. I enjoy my music a lot better than my drugs.
If I did all the stuff I've been accused of - or credited with - there's no way I could make all this music. I'd be drinking myself into the grave.
I'm done with industrial. Seriously, my iPod collection at home has no industrial music on it; it's strictly jazz, blues and country.
I don't like music that much... I put on the TV. But I often play things like fast-tempo disco or Queen. I've liked those since way back when.
I've always loved music videos - I used to make my own for bands like Pearl Jam. My favorite directors are Michel Gondry, Spike Jonze, and Patrick Daughters.
The moment artists can just do what they love to do then music will go right back to where it used to be. I mean back in the '60s and '70s and '80s, that's what it was.
I just like music all the way around the board. I can't stick to one thing - I've got to move around.
It's always the music first for me. But if the music isn't selling, there isn't gonna be no business. So you gotta make sure music is always the first priority.
While I'm here, I'm gonna milk it for all I can, so when I'm no longer hot - and I know that day is coming - I will step over here and enjoy everything I've created up to this point. The music is just opening all these doors, so I can relax.
I had teachers in high school to point me in the direction of the University of Indiana School of Music, and after IU, I went on to study at the Academy of Arts in Philadelphia. I graduated in 2006.
I love all the arts - so museums, theatre, music, walks near trees or by the ocean, time with people, psychological readings.
It's more important for me to have a good record with good music and be part of a movie that's good and where the music is used in a really great way. That's the important thing. The other stuff you want to say about it, I don't care.
Everyone's just extracting meaning and feeling and emotion from almost every aspect of music, and I think that for me, it's a huge antidote to that to have a concept album.
There's a lot of music that sounds like it's literally computer-generated, totally divorced from a guy sitting down at an instrument.
I certainly understand that we're all trying to make a living, but I'm not thinking about that when I'm making it. And if that's your sole motivation, it's going to reflect that narcissistic greed, and you're going to hear it in the music.
I have a 6-year-old, and his thing is to turn on Radio Disney in the car, and I get such an allergic reaction to listening to that music and the context into which it falls. I'm really working on him about that.
You know what, the drummer is my manager. He's busy. And I'm busy. I don't need the dough, though. But having said that, there's a limit to how much bad music I wanna play. I did it when I was young, and some of the music was OK, but it wasn't great.
I don't really consider my music anything other than 'moody.' I don't know if that's a genre.
Once I accepted music was my path, I rebelled by wanting to do it my own way. I also didn't think it was respectful to my father's career and creativity to assume that I could jump on the back of all he had worked his entire life for.
You can't fake comedy. You can't make it look beautiful or put an interesting bit of music on in the background: funny can only be funny if you're funny.
We got lucky because we both happened to land TV shows. It was easy to ride that wave as long as possible because making music takes up so much time.
We love U2, adore their music, just blown away by who they are as artists. They just seem like really good people.
If I had a free afternoon, I would play music, sit in my backyard, and drink coffee.
Many fail to realize this great recording industry was built by so-called jazz artists. And at the other end of the spectrum, a base in European classical music as well.
We like to think of film and music as art, but actually art is something that is not restricted.
Everyone felt like they knew Ray Charles and in a way they did, because he was embodied by his music.
I love Ray Charles. He can still teach everybody a lot about how to make great music. Not necessarily how to make hits, but how to make great music. Of course, part of it is his incredible talent. Who are the greatest jazz singers in the world? Louis Armstrong, Billie Holiday and Ray Charles.
Soul lyrics, soul music came at about the same time as the civil rights movement, and it's very possible that one influenced the other.
I'd be happy if people said that I did a little bit to raise the dignity and recognition of the greatness of African-American music.
Really, my biggest risk was just the initial step to quit my day job to do music. I was packaging and shipping for an art gallery in Manhattan; I went to school for painting, so I always wanted to work around artwork, even though I wasn't really contributing anything to the scene.
I've been able to tour because of my music and I've learned a lot about myself while on the road. I think some of the imagery of my writing are snapshots of where I've been and my feelings about the world.
I think I'm always surprised at how much the musicians I meet put weight on things that aren't music.
Rap music started because they were bored of other music so they created something really new.
Most artists - painters or writers - I think create out of stress or negative situations. Look at rock music. It's about getting things off of your chest, and it's a means of venting in many ways. That's what my work is about.
I am hoping to improve my writing and rapping, as well as get a better grasp on how to make beats and music that complements what I do vocally. It's a learning process that hopefully won't end.
I think I learned very quickly after I started putting out music... you just learn that people are going to take what they want and make it fit their agenda or make it fit their interpretation. And you make peace with that or you suffer forever.
I love the playfulness and braggadocio that accompanies a ton of rap music - that's basically what makes up the foundation for most rappers. But there is nothing 'weirder' to me than someone who has never doubted themselves.
How you act, walk, look and talk is all part of Hip Hop culture. And the music is colorless. Hip Hop music is made from Black, brown, yellow, red and white.
The thing that's good about Hip Hop is that it has experimented with a lot of different sounds and music.
Every James Brown cut makes a party get crazy. He's the god of all music. I always play different wild remixes of his songs because people start bugging out when they realise what I'm playing.
My definition of hip hop is taking elements from many other spheres of music to make hip hop. Whether it be breakbeat, whether it be the groove and grunt of James Brown or the pickle-pop sounds of Kraftwerk or Yellow Magic Orchestra, hip hop is also part of what they call hip-house now, or trip hop, or even parts of drum n' bass.
All music is dance music. But when people think of dance music, they think of techno or just house. Anything you can dance to is dance music. I don't care if it's classical, funk, salsa, reggae, calypso; it's all dance music.
What worries me are these so-called radio stations with program directors who don't play all the different flavors of hip-hop. They should play the old with the new, 24/7, 365 days a year. A lot of these program directors are just jiving around and not playing all the good music for the people.
I was in school - I was a good learner; if I wanted to get something done, I could get it done. I was lazy, though. I was always, like, sort of an outcast. And when I got home, I was always doing music, but when I was doing music, no one was there to judge it, you know? It was just me in my bedroom. It gave me freedom and made me happy.
When I started producing, I was just making music under all different names. 'Black Afro.' 'Super Grandmaster.' 'Mister Bull.' Like, the most stupid, idiotic names. 'Afrojack' was one of those idiotic names.
If you really want to be a music producer, stop watching 'Friends' when you get home from school. Start trying to make music. If you're not going to try, then it's impossible. When you try, it's always possible.
When I had my first gig, I was 18 in January in 2007. My first gig that I got paid, I was playing for 10 people in a 250 people capacity venue. The promoter wanted to book me because he liked my music. I played a couple of songs that made people dance. To me, that rush has always stayed the same.
There's nothing better than making music and hearing 3,000 people chant, 'Afrojack! Afrojack!'
Most music that comes out of Holland is basically the harder part of dance music - hip-hop, drum'n'bass.
At a festival, a lot of people came to see other artists, so you have to put on a signature set and performance: 'This is what I do, this is why I'm here.' At solo gigs, I'm a DJ - I'll play two-and-a-half hours, and not just my own music, also my favorite songs by other artists.
I think the most important thing about dance music is the connection. If you put 80,000 people together, no one knows each other, and once the music starts, everyone loves each other. That doesn't happen with a lot of genres. If you go to a hip-hop club, it's not like when one songs comes on that everyone suddenly loves each other.
Holland is a really small country, but with a very strong club and festival scene. Dance music has been huge in Holland since the late eighties. So there were a lot of opportunities for producers and DJs to release records and play live.
I have been fully involved in designing my stage shows; it's important to me to do something really unique and almost off-the-wall to bring the music and the visuals together. I love design and actually went to school for a bit for graphic design, so it isn't so much 'pressure' for me; it's a way to be creative, and I really enjoy it.
My debut album, 'Forget the World,' is all about not listening to the negativity around you and to continue to do what you love, no matter what people think. I love what I do. Dance music is my passion, my life. There is no greater feeling than being one with my fans, partying to the music we love.
The truest expression of a people is in its dances and its music. Bodies never lie.
I'm very happy that I got introduced to music only as something you got pleasure from.
I really believe it's not bad to look back within music. I don't mean retro, but using your own memories to make a song because our memories are what make us who we are.
Even though music is something I travel around doing, it is also a very private thing. A sort of escapism.
I learned that music should be fun and should be a way to express yourself - that there aren't really any rules.
Feelings such as loneliness, longing or love are sometimes hard to put into words; maybe that's why we all love music, because it resonates with something we can't share.
When I started working on my own music, I didn't have the chance to record in a big music studio, so I had to record everything myself.
There was a time when the music fell silent. Both within me and around me.
We love high-end art, but when you're looking at high-end art in music, a lot of the time, it's appreciated academically, but you can't feel it as much.
As a freelance artist, you have to please somebody instead of just making music. But when the employer trusts and leans on you to determine what is right for a scene or feeling, that's ideal.
I grew up, and I'm getting the chance to make music with the people I idolized.
I'd never record digitally. It's not because its' a horrible way to record, it's just not the best way to record my music, because my music is rawer, darker and a little more nostalgic.
My music sounds different because the techniques are archaic, seeing as most people only record digitally.
I always feel like young people are more emotionally in tune with new and timeless music.
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