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Shaheed Diwas 2026
I was born in Cleveland, Ohio; raised primarily in Phoenix, Arizona; and, after running away from home in my teens to play music and bouncing around a bit, settled in Oxford, Mississippi, which I consider more my home than anywhere else in the world.
I don't feel as though I've graduated from commercials or music videos. In my mind, they aren't compartmentalised.
I want to change things with everything I do, not for the sake of changing things, but for the sake of taking greater and greater risks, or how minimalist I might be able to be, or how I can involve elements or ingredients in music videos that are not musical, for instance.
I like movies, because it's kind of a combination of every art, it's like it's picture, it's story, it's music, it's kind of like a clash and a collide of every art. It's really neat.
Yeah... I like films, I like movies, I like playing different characters and working with different actors and filming in different places. I like movies because it's kind of a combination of every art: it's like, it's picture, it's story, it's music, it's kind of like a clash and a collide of every art. It's really neat.
For years, I've thought about a project or a way where I could do acting and music together, and I never really thought that would happen. Then 'Nashville' came along, and it was like a dream come true to marry both of those worlds.
Being on 'Nashville' and working with some incredible people like T-Bone Burnett and Buddy Miller - so many wonderful, incredible musicians that I've been blessed to play with and observe - that has continued to shape the process of arranging music, writing music.
That's what rock music is, I think - constantly searching for authenticity, and being as honest as possible.
My YouTube videos have literally millions of views... Yet I'm still airbrushed out of the BBC Stalinist revision of history; the chart shows have been instructed not to play my music!
When I listen to music, I don't want to hear about flowers. I like death and destruction.
It's really cool to see glowsticks at the show, to see dance music culture infiltrating and becoming one with the metal community.
I felt from time to time that shooting live music is the most purely cinematic thing you can do. Ideally, the cinema is becoming one with the music. There is little artifice involved. There's no acting. I love it.
I love doing fiction. I love doing performance films and I love doing documentaries that don't have music. I love to shoot and I love to shoot things I'm enthusiastic about.
I still go out, but not a lot. If I go to see music, it's usually to the Blue Note, jazz clubs, things like that. When I travel, I find out where the jazz clubs are.
I often find myself feeling that filming music is somehow the purest form of filmmaking. This crazed collision of sound and images, the intense collaboration, these incredibly cinematic performances. And for the nights you're filming, a non-player like me gets to feel somehow part of the band.
I like seeing the cameras because it helps visualize how the music people and the movie people teamed up.
The best, most beautiful, and most perfect way that we have of expressing a sweet concord of mind to each other is by music.
You have a wine tasting of different years, and we're sort of doing that with our music, giving them a taste of what Journey used to be like.
You can't make everybody happy. We just put our head down and went forward. We said, 'This music is bigger than all of us.' That's how we felt. We said, 'You know what? We'll prevail. We'll bet on these songs.'
We're a staple in the American music culture. Like us or not, we're here to stay.
Bands are about these little relationships that make everything tick, and when you create new music you're testing those relationships.
We're a gumbo of American music, and aren't ashamed to play pop or soul or rock because we all grew up on radio.
I play trumpet. And I took all the music courses in college, so I can also play the string instruments, keyboard, the brass and woodwinds - but only well enough to teach them. If you put a violin in front of me, you wouldn't say, 'My God, that guy can play.' It'd probably sound more like Jack Benny.
I think if you're going to get anything done in the Senate, you have to be on the same sheet of music. If you don't get people on the same sheet of music it comes out pretty horrible.
'Climb Every Mountain' is a beautiful statement of philosophy. Critics may think 'The Sound of Music' is saccharine, but I think it's profound. The message, that we can't accommodate evil, is just as important today.
The one thing about Essex is that there's a lot of people there that are into their soul music. And I'm talking '80s and '70s soul music, that was a big part of my childhood, there was Al Green, Luther Vandross, Stevie Wonder, people like that.
I come from a songwriter background, so essentially with my music, I'm trying to make songs that will last a lifetime and although 'Fast Car' was a cover, it reflects what I'm trying to do.
Trying to write new music is definitely daunting, but I try not to overthink it.
The concept of 'Blue' is to transport its listeners to a different world with music. And I chose to release a full-length album because it enables me to experiment with many different production styles, not just a single sound, and take listeners on a journey.
It's great to see Latino music coming to the mainstream, but at the same time, there are also a lot more styles to explore: African music, Indian music, Chinese music.
I grew up with all different genres of music, and I want to include that in my production as well.
Obviously the music I listened to growing up helped create my musical pallet. My parents were into pop, soul, disco, RNB, Latin, jazz and Middle Eastern music.
I love touring, it gives me the ability to see the world and meet some amazing people who are into my music.
What is pop music? It's not a genre. It's just the music that is popular at a given point in time.
I find in America, actually, I actually prefer it because it's all about energy. It's all about making everyone feel happy and smiling. In the U.K. sometimes people are a bit too concerned about, 'Did you play that track? Did you play that track?' It's not so much about the music in the U.K.
I'm really not one of those deejays who go, 'I play music that I like.' I play it for the crowd. I believe that's what a deejay should do.
That's the whole part about being a deejay: You've got to make sure you are prepared. At the end of the day, you do have your genre - house music, dance music - but there are many different ways of playing that.
I can be a traditionalist but also play with Luke Bryan and get the crowd to go crazy. I think that mix is a lot of what has kept me going and kept people fired up about the music.
I always want to have the traditional country soul while meeting the new standards of country music.
With this new album, I prepared for it a long time, and I was happy with the songs and the production. I felt that I proved myself with the first album, and with this new album, I just want to share some of my music. And that was always my feeling and my intention.
A real active music set, based and really concentrated on what the music's all about. That's what I'm all about - singing and a really good strong music set.
I started in high school to be interested in music and from there, I decided to study in college. Yeah, you're right, I did start late, but luckily, because of my schooling, I picked up a lot of ground pretty quick.
I just lived it and did my own thing without looking over my shoulder. I think I'm very lucky, considering when I started everything, and the fact that I have a masters in music, and I've always worked in music, and that's what I wanted to do.
If you write songs and if you write music that's very sincere and very honest, it's pop music, but it is pop music with a lot of honesty and a lot of heart.
For me, I can only do that from my own experience with people I've known and things that I've lived and experienced. That's what good pop music is all about, pop music that does reach out to people. It's very personalized and very real, honest and sincere.
And my career, the things that have happened have happened because of my music education background.
I was a teacher for a long time. I taught at a community college: voice, theory, humanities. And nowadays, music education is a dying thing. Funding is being cut more and more and more.
When the Beatles cut old rock n' roll, they were recording music still in their performing repertoire, and besides, they never thought of the music as old.
The Beatles did their best cover work on Little Richard's 'Long Tall Sally' and music influenced by Richard, such as Larry Williams's 'Dizzy Miss Lizzie.'
Since her landmark 'Tapestry,' Carole King has both oversimplified and over elaborated that masterful album's style until her music has become something more overtly but less effectively personal.
Bob Dylan was the source of pop music's unpredictability in the Sixties. Never as big a record-seller as commonly imagined, his importance was first aesthetic and social, and then as an influence.
In the end, the sign of Aretha Franklin's artistry is that she always leaves her mark - first, on the music, then on us.
Carole King's second album, 'Tapestry,' has fulfilled the promise of her first and confirmed the fact that she is one of the most creative figures in all of pop music. It is an album of surpassing personal-intimacy and musical accomplishment and a work infused with a sense of artistic purpose. It is also easy to listen to and easy to enjoy.
Soul was the music made by and for black people. For most of the Sixties it was thoroughly divorced from white popular music, but by the end of the decade several artists with their roots firmly in both soul and R&B traditions had crossed over.
'Dance to the Music' was just Sly Stone being his natural crazy self right from the beginning. The man was an original and his first AM hit was nothing if it wasn't the example per excellence of the Sly Stone music machine.
I love classical music; I love the way it's worked... all those chord sequences so I often use that sort of effect in my solos.
I would like all my friends, followers, fans and fellow travelers to know that I am fighting cancer and will therefore be taking a break from performing while getting the treatment and cure. I shall of course be continuing to write music - in my world it just has to be part of the therapy - and I fully expect to be back in good shape next year.
But I do think that we approach music, in of itself, with a religious attitude.
I just wanted to say one more thing: I also think that when you go to play music, you're there to play music.
I think it's like music for the sake of music, and a lot of the words stem from liking music a lot, wanting to be a good band and having a good sense of humour, and living in a situation where we're free to pretty much do what we want.
I think that generally music should be a positive thing, I like Bob Marley's attitude: he said that his goal in life was to single handedly fight all the evil in the world with nothing but music, and when he went to a place he didn't go to play, he went to conquer.
The Grateful Dead were an influence on our music but they weren't by a long shot the biggest influence.
To try and create a transcendent state through music has always been the intention.
The first thing I remember hearing was just the dance music that was in the charts when I was growing up. I don't remember many of the names of specific tracks - they were just kind of early acid house things.
Writing music - particularly music without lyrics - calls almost exclusively on the subconscious.
That's the thing with electronic music, you set up systems to bring in an accident, to bring in quirks you didn't choose, but you still will have had to set up systems.
I was guided into piano lessons and 'guided' is a nice way of saying 'forced.' I don't regret it, but I think music theory as a concept doesn't work.
I'm more akin to things like Sigur Ros, Mogwai, possibly. But when I'm making solo electronic music, techno stuff is just the most exciting form of rhythm.
Your music essentially reflects everything you do, everything you've been through, in the deepest part of you.
It's great to do something that makes your brain just switch to a different mode, and music can do that really powerfully.
Some machine-y music is great, but you can apply any groove to any song now - there's literally a massive drop-down menu on most programs. And that's what takes the human being out of the process.
I tend to listen to podcasts while running. I don't like to listen to music because my brain would try to get me to run in time with it.
When I was 23, I felt like I was further back than when I was 21. After two solo albums for this small indie label Just Music, they'd gotten no real profile. So I kind of turned away from the solo thing a bit.
You don't make this kind of music expecting to have to do TV press and stuff like that. I don't mind doing it, but it's a fairly underground type of music. You do it for the love of the music more than being a star or anything.
What kind of music keeps its relevance? That's why I purposely try and avoid any particularly current trends in electronic music. I do actively stay away from the most popular rhythms of the moment. In six weeks' time, those will sound out-of-date.
I'll always be an actor first. I grew up doing musical theater, so music and acting, to me, have always gone hand in hand. I'm going to be an actor first because it's my career, but music will always be a part of me.
I love music, I love all kinds of music, particularly jazz. Jazz is an extension of America. There's no other country in the world that could have produced jazz.
I'm from Kenner, Louisiana, where music is played for every occasion in life. There's music for being born, there's music for dying... It's just natural. Families get really good because they play a lot together.
Imagine if you grew up in a place where your lineage was there for a hundred years, and part of the culture was to play music 50 percent of the time. You'd probably have a lot of musicians in your family too.
Whatever I do with music, I try to make it align deeply with the values and principles of who I am and what I believe the purpose of my life is.
Early American music and early folk music, before the record became popular and before there were pop stars and before there were venues made to present music where people bought tickets, people played music in the community, and it was much more part of a fabric of everyday life. I call that music 'root music.'
There's a tradition - in New Orleans it still exists - where people play in the street. People play outside of the venues. Food, music, and that cultural exchange, it happens anywhere.
I just never really though you could or couldn't listen to a certain type of music.
I think some of the best music throughout the actual history of music itself came from cultures where they're not really looking for outside themes. It's developed from their hometowns - it's what they love and what they love to do.
I always think I'm the Tom Cruise of music - a lot of success and fans, but no critics, darling.
We are at a crossroads in the music business: with the rise of the internet, the world we live in has changed, and the past is not coming back. But I see the glass as half-full: the internet and social networking are new avenues for the next Bob Dylan to be born on.
Music looks very formidable to people outside of it and it looks like it's this realm of spooky genius.
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