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Shaheed Diwas 2026
My intentions with any of my music is to keep it futuristic and updated and be experimental and try new things.
It's important that when kids are listening to my music they don't think of it as their parent's music.
I just want to make music as long as I can and reach as many people as I can.
Music is timeless, so I want to give people shows they'll never forget so that I can do this forever.
I really love rap music. I grew up in the '80s and '90s with Public Enemy, N.W.A., LL Cool J - I'm a hip-hop encyclopedia. But I got kind of frustrated with the chauvinistic side of rap music, the one that makes it hard to write songs about love and relationships.
I don't want kids listening to my music thinking it's for their parents. I want them to feel it's theirs.
Everybody comments that I'm white. I'm surprised I haven't gotten more criticism for it. I'm always expecting any day now it's gonna come. I guess I just attribute the lack of hate to people hearing the music and hearing how much I genuinely love it.
Change is always happening. That's one of the wonderful things about jazz music.
We're five people, five individuals who came together to create something, to make music and to complete each other musically, to form a perfect circle.
I just hope that our fans are people who are inspired by music, and just use our music as a background or inspiration for whatever it is they do.
There's no doubt that there's certain songs and arrangements of music that release a chemical reaction in my brain. This sounds a little goofy, but I really believe that. It's such a euphoric experience that I sort of want to chase that experience as often as possible.
Find a beautiful piece of art. If you fall in love with Van Gogh or Matisse or John Oliver Killens, or if you fall love with the music of Coltrane, the music of Aretha Franklin, or the music of Chopin - find some beautiful art and admire it, and realize that that was created by human beings just like you, no more human, no less.
I decided that I wanted to explore all kinds of music with my cello, not just the Western classical tradition. I just wanted to try and expand my vocabulary and bring that different kind of music to my audience.
Post-minimalism implies music that's genre-less. Minimalism was very important because it came at a time when contemporary music had become so complex, so experimental and detached that people turned away from it. Minimalism broke that trend and brought music back to the people.
It's wonderful when music is intellectually stimulating. But ultimately it has to be a visceral experience.
A person can do a lot of reading and research as I have done. I went to Spain and spent a whole summer there with my family, immersing myself in the culture. But all that isn't really necessary to experience the music.
'Provenance' is more than a multimedia concert. It's a journey that unifies cultures through music, theater and beautiful visuals.
I grew up in a kibbutz in the Galilee, but we were surrounded by Arabic villages, so I heard all these sounds and all this music. My father was very close friends with one of the Bedouin tribes, so I would always go there, to weddings, and I was always very fascinated by that music.
I love Katharine Hepburn. I love Liesl in 'The Sound of Music.' I love Julie Andrews. I love Audrey Hepburn.
There's a certain groove you pick that makes the music flow, and when you have it it's in your pocket. It's the feeling behind the rhythm... to me, the hardest thing to strive for is that feeling, behind the groove.
I start with the music before I start writing the movie. It's such an important part for me, emotionally, to set up the tone for the movie.
Soul music is soul music. It can be wrapped up in a neo soul package; it can be called hip-hop soul. But soul is soul, and it's been around; it will never go away.
A lot of people thought my career was over. If you're not releasing records, then something must be wrong. Either the record company doesn't like your music, or you've been dropped. It has to something negative. It's not like you wanted to take a break, or want some balance, or smell the roses.
I'm really maturing into soul music. It's not my attempt or karaoke try. I feel like I really embody the music now that I am 36.
I'm confident in my intentions and why I'm making music. I'm not making music because I want to be on your TV screen or the cover of your magazine.
If somebody says, 'Well, what are your favorite composers?' really, what they are saying is, 'What are your favorite composers apart from Bach?' Because obviously, Bach is your favorite composer if you are involved in music at all.
I lived in Scotland a long time, and I became aware of Mogwai really from the beginning. They seemed to be fusing hard music structure and sort of raw sonics. They're just very creative thinkers, musical thinkers.
When I'm working with pictures, with images and storytelling, it's really about the sentiment and the emotional trajectory of the characters. That's really where the music lives, I think. That's what I'm focused on; that's what I respond to most strongly.
There's different ways to approach music for sleeping. Things like white noise are functional, like a lullaby. This is more like an inquiry, a question about how music and sleep fit together.
I don't have synesthesia, but I think when music is really intense, it's almost like it's more than just hearing. If you're at a gig, and there's just something amazing going on, it's not really just hearing: it's more of a total body sense, isn't it? You get transported, and all your senses kind of join up.
The thing that makes me want to write a piece of music is having something to talk about, you know? Something I want to get across. Because I'm a composer, music is my first language, and that's what I reach for when I want to convey something.
I came from a Conservatoire background where the idea of complexity was very much bound up with good music - good music was seen as complex and difficult to understand.
I'm suspicious of the idea of categories in music and this idea of things being in boxes. To me, that seems unnatural. I write the music that somebody with my biography would write, and the thing that's always driven me is an enthusiasm for the material. I sort of follow the notes to where they want to go.
I assumed no one would ever listen to my music, and for quite a lot of years, I was right.
It feels like when novelists say they find their characters are doing things they never thought they'd do, the material comes alive, and that's how I feel making music.
In Germany, people feel like they own classical music, that it is somehow theirs. Over there, everyone still learns to play, and the great composers don't seem alien.
It's true that many of the best-known composers were German or Austrian, but we should remember how good the music tradition is in Britain, too, because it has an informality and a fluidity that should really be celebrated.
All music is just a collision of sounds until you know its internal conventions and understand the nuances. It's a question of familiarity.
I can't usually sleep if I'm listening to music. It seems to fire up my mind, and I keep engaging with it to see what it's doing.
When I'm not shooting, I love going on adventures with friends. I love zip-lining through rainforests and different natural habitats, and I love writing music on the side, and I love drinking coffee. I'm a big coffee drinker and go to a lot of cafes and stuff.
I bring my ukulele everywhere I go, play a little music in the park, always have it with me.
I liked being in a smaller theater. I love doing shows of all sizes, but sometimes it's nice to be in a smaller space and to strip away some of the music so that you can be a little less than larger-than-life; you can be a little more naturalistic.
I hate to be general, but I rely on Andrew Keenan-Bolger for all things music. Every season, he releases a mixtape on his blog of the most incredible and current music. I download it instantly, and it gets me through the season and keeps me educated musically.
Starting in the mid-1990s, the end-to-end ubiquity of the Internet, combined with its cheapness, spontaneously combusted to give us Napster - a site that revolutionized the music industry overnight. We got P2P file swapping in the film and TV industry as well.
It's music. It's supposed to be fun and inspirational. You have to be inspired. If I did it because it was my 'job,' and I only did it to make money, I don't think I'd still be doing it.
The producer should decide what kind of music is being made, what it's going to sound like - all of it: the why, when, and how.
I believe in the cause, and I believe in the people, and by supporting Music Rights Awareness, I very much hope - and believe - we can make a difference.
'Teen Spirit' is a celebration of the power that music can deliver to the cinematic experience.
When I'm in the car sometimes it's like, 'Yeah, man, just put on the pop music.' You know what I mean? I don't want to listen to Tom Waits.
Music is intangible and ephemeral, but it comes from the home world of the spirit, and though so fleeting, it is recognized by the spirit as a soul-speech fresh from the celestial realms, an echo from the home whence we are now exiled, and therefore it touches a cord in our being, regardless of whether we realize the true cause or not.
Music would lose its charm were not dissonance interspersed at frequent intervals. The closer a composer can come to discord without actually entering it in the score, the more pleasing will be his composition when given life through musical instruments.
When you make a movie with a lot of music in it, you can't always put all the songs onto the soundtrack. They just don't all fit.
I am a huge Sublime fan, and I think their music immediately puts you in SoCal when you listen to it.
I love the tradition of male coming-of-age films like 'Saturday Night Fever' or 'Mean Streets' or 'Go.' I love those films that work music into those stories.
It was so wonderful outside that even the wild senselessness of this enormous death, whose music I hear again and again, could not disturb me from my great enjoyment!
Growing up, I didn't really like folk music - I wasn't a fan of Bob Dylan. I grew up mostly listening to rap and hip-hop; it was this new form of music.
I started playing the piano, pretty much on my own, when I was 5, and I started writing music when I was 7. In fact, I won a composition award. It was a crummy little piece, but I won with it.
The best music of my life I heard at my grandmother's church, this little wooden church up on a hill.
Yes, TV is the dominant medium in Pakistan, but it was a conscious decision to have an Indian film as my first release. Being launched in an Indian film with a great script, character, and music is half the battle won. The rest is destiny.
I have learned that music helps a lot of people survive, and they want songs that can give them something - I guess you could call it hope.
Contemporary art will never achieve the audience of football, pop music, or television, so I think we should stop comparing its possible area of influence to that of big mass-media events.
Lovers of painting and lovers of music are people who openly display their preference like a delectable ailment that isolates them and makes them proud.
I write the music because I can't really write lyrics. But I can write chords like Robin's never heard of. So I provide the music for them to add the lyrics to.
When I was 15, I did not know nothing about what concerned the world of music.
In that long sequence, when Lawrence enters in the desert to rescue a lost man, Lean listened the music I wrote and wanted to extend the scene to let my work stay completely.
The idea in The Man that Would Be King was that the music should recreate all that majestic surrounding and emphasize the adventure, but also speak about the frustration or, rather said, the curse of both protagonists, even before happened what happens them.
Nowadays, if a studio assumes that his film is bad, there is always an executive that gets more nervous than usual and thinks that if they change the music, the film will become a masterpiece.
Perhaps, once I am gone, the one thing I might be remembered for is having sung a great deal of Mahler with a great many phenomenal conductors. It is wonderful music, very spiritual.
I was pretty sheltered growing up. I just started getting into heavier music with the Tooth & Nail/Solid State era, which really kind of brought this whole thing to life for me, so I am really thankful for that label.
At the beginning, my folks were pretty upset with the whole thing at first, the music, the tattoos - but after observing the music scene I'm in now for a couple of years, they totally get it - they actually love it. They are so proud. My dad actually flew to Japan to see us play. My mom comes to the shows near home in Washington.
Progressive metal is one of the hardest styles of music to pull off live, especially while providing a tasteful show.
I listen to a lot of different kinds of music and at the moment I listen a lot to house music.
Creativity is much better when it's free. Someone can take it and sell it if that's what it needs, and from that standpoint, you have to have a label. If you could make your music and just give it away and somehow make a living - that would be the best scenario.
He helped make Living Things even more crazy than I wanted it to be. He added old-fashioned piano and classical folk music - that weird otherworldly vibe - all these elements got onto the record.
It wasn't so much that I had to leave to make it in the music business as I was curious to be out on my own and sort of explore. I never felt that where I was ever influenced my songwriting.
More labels should be like that. Instead of putting these records out myself, I should have just signed with them, but they probably don't like my music (laughs).
When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.
I actually grew up break-dancing. When you break-dance you listen to hip-hop and rap, so I've been listening to that music since I was a kid.
We always talk about our kids being a great way to judge whether it's a hit song because there's something very basic about the way they perceive the music that I think needs to be there if it's gonna be a hit.
The most important thing I can say is to make music that moves you. Don't try and chase what's on the radio or what you think people want to hear.
I was always into music, but I wanted to do film when I was kid. I remember seeing big movies and wanting to do them. Then I was lucky enough to act in some of them, and I fell in love with it.
I suffered a bout of depression that pushed me to reevalute things in my life, and I learned a lot about myself and the world and my spirituality. I sat at a piano, and the ideas fell into my head. I started playing, and I felt comfortable with my music for the first time.
I'm not a great guitarist, but I do bits and bobs. I'm mainly a songwriter and a composer. I've done a lot of scoring and some stuff for British pop music that did pretty well, but I've mainly been working on my own stuff with Duncan Sheik.
I'm very conscious that I want the dance audience to respond and respect what I'm doing, so I'm always very true to the music and I honour the music in the way I see it - I don't mess around with the music.
I love classical music. Yes, I was in a conservatory when I was younger and played guitar and all that stuff, so I also love rock.
When I was 17, I taught music; I had 65 students a week, and I did that for a year. So that's pretty regular. But it was great to give the gift of music to people, seeing them learn. It's great to influence young people in a creative way.
I approach music and acting the same way, through spontaneous improvisation. I never really try to rehearse anything, do it over and over, except when we're inside a take.
The very first show I ever saw was The Judds, and that influenced me to not play country music.
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