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Shaheed Diwas 2026
I don't always have to be on what is the newest in music is. I'm slowly educating myself in music. For me, I feel more free in not knowing everything in what I'm doing. You can start making up too many rules for yourself. It should just be love and fun and feeling good.
I'd love to do a live album, like a little bit old school but still progressive, influenced maybe by more electronic music. I like everything, but I don't know anything about music. So it comes in to a lot of different ingredients. I love hip hop.
I'm a real genre jumper, but all good music belongs to the same family. I love Dave Sitek, a producer I've been working with a lot since I moved to L.A. He will change the game.
I always go in very emotionally when I'm doing music. Sad or happy, I'm always into it. I have a hard time writing for other people, writing with someone else in mind.
I was 17, still in school, and my manager saw me in school, and then we hooked up, and after that, I went straight into making music.
I stumbled into soul music at a very young age. It had something that really spoke to me.
I grew up listening to a lot of soul music, which has probably informed the way that I sing on my tracks.
I don't listen to music when I write, but I do turn on appropriate music when I read portions of my manuscripts back to myself - kind of like adding a soundtrack to help shape mood.
When I was to come to Washington the first time as Music Director of the Boston Symphony, Mrs. Johnson phoned us to find out if they could give us a party and who we would like to meet.
Many composers use software to write music - programs like Finale or Sibelius. There are also recording programs. I should say I'm still very old-fashioned, I still use pencil and paper. But almost every composer I know does it the 'new way.'
As a composer, I know that all sorts of sounds I hear are making their way into my brain and soul and later sneak into my music.
I can't write music unless I'm deeply connected to it and that connection almost always comes from some experience that I have had or am having.
I write music that sounds complex but isn't. I frankly never think in terms of theory.
The virtual choir would never replace live music or a real choir, but the same sort of focus and intent and esprit de corps is evident in both, and at the end of the day it seems to me a genuine artistic expression.
I truly thought I was going to be in pop music. And then I joined a choir to meet girls, and everything changed in the first rehearsal.
With vocal and choral music, first and foremost, it's the text. Not only do I need to serve the text, but the text - when I'm doing it right - acts as the perfect 'blueprint', and all the architecture is there. The poet has done the heavy lifting, so my job is to find the soul of the poem and then somehow translate that into music.
When you look back on music history, it falls into these neat periods, but of course, the period you yourself are living through seems totally scattered and chaotic.
I'm a self-confessed geek, and my whole concept of music at first was entirely electronic. In many ways, it turned out to be an advantage. I was so green, so utterly naive about the nature of classical music, that I did things that made me look totally, deliberately unorthodox.
Since I first fell in love with choral music when I was 18 and began composing at 21, I've been listening to these recordings of British choirs. I just fell in love with that sound - that pure, clean, pristine sound - and I think it's probably been the biggest influence on my sound.
I can spend the day without writing or reading, but I can't spend a day without listening to music.
I can spend the day without writing or reading, but I can't spend a day without listening to music. I listen to music on a Walkman; it's from the 19th century, I know.
My scratching I don't really think communicates to intelligent life forms. Anyone with more than one brain cell would think Kid Koala music is completely retarded.
The iPod has taken away the whole platinum record sales prospect. Sincerity and specificity are going to be the hot commodities in music. Everybody can have anything that they want, so now it gets into what specifically you have to give.
People are used to seeing kids jump around. You know, the target audience, the audience that's spending money on music, like rock and hip-hop - they're used to seeing people get really physically involved in their music.
You know, jazz is the mother of all American music. R&B and pop and rap and everything are the branches on the main tree of the life of music, American music, which is jazz.
One of my reasons for living in California is its close proximity to Mexico. The Latin influence is in every corner of the community. My love of Spanish music hasn't wavered since the '50s. I could hear the blues voicing from the Flamanco families and I always dig for inspiration in Latin music.
I was in college, and very disappointed. I majored in commercial art and interior design for three or four years. At that time, it seemed the thing I really wanted to do, production design, just wasn't available in the U.K., so I turned to music.
When I was a kid, I went through a lot of musical phases, and one was when I'd learn everything that The Beatles ever recorded. After I started drums, I fell in love with their music so much that I just wanted to learn everything.
I went to my dad when I was 17 and said, 'I want to be a country music star.' Which every dad loves to hear. And he said, 'I want you to go to college.' So we had a discussion. And I'm pretty stubborn. I'm a lot like him. And he said, 'If you go to college and graduate, I'll pay your first six months of rent in Nashville.' So he bribed me.
I think right now, you've seen these artists pop up over the last decade who've flirted with branching together a lot of different kinds of music. Some of them have been huge, and sold millions of records. And I think over time it's become a little bit of what the industry can be.
Once your career becomes about something other than the music, then that's what it is. I'll never make that mistake.
Music's cyclical. There's always that next generation that always comes along.
I think we make too many records. One record a year is crazy to me. But some people have to sell tickets. The label has to meet their quarterly number: 'We need a record a year.' All of a sudden, the tail's wagging the dog. It's not the music; it's everything else making the music. That's just backwards. It's wrong.
I've always believed that you put everything into making the best record you can make, regardless of how you release it and regardless of the press and the hype - that the music wins.
Very much like that, and very much a loner, do you know and I didn't fit really into sport or all kind of group activities as a kid, I couldn't find a niche. And music was not really part of the kind of village curriculum it would, you know.
It was stumbling on to really the bible of the blues, you know, and a very powerful drug to be introduced to us and I absorbed it totally, and it changed my complete outlook on music.
Although they can do it all the time, you know, they're far better than me, on a musically, on a theoretical music level. You know, they're out of my league.
When all the original blues guys are gone, you start to realize that someone has to tend to the tradition. I recognize that I have some responsibility to keep the music alive, and it's a pretty honorable position to be in.
From the beginning, I knew intuitively that if nothing else, music was safe, and that nobody could tell me anything about it. Music didn't need a middleman, whereas all the other things in school needed some kind of explanation.
But I did go to music really early on, even when I was 4 or 5, I was responding to music probably in ways other kids were not.
I sought my father in the world of the black musician, because it contained wisdom, experience, sadness and loneliness. I was not ever interested in the music of boys. From my youngest years, I was interested in the music of men.
My dedication to my music has driven everyone away. I've had girlfriends, but I always end up on my own. I don't particularly like it, but I don't see a way 'round it.
I remember hearing Sonny Terry and Brownie McGhee, Big Bill Broonzy, Chuck Berry and Bo Diddley and not really knowing anything about the geography or the culture of the music. But for some reason it did something to me - it resonated.
I used to do crazy things that people would bail me out of, and I'm just grateful that I survived. But the music got very lost; I didn't know where I was going, and I didn't really care. I was more into just having a good time, and I think it showed.
Music became a healer for me. And I learned to listen with all my being. I found that it could wipe away all the emotions of fear and confusion relating to my family.
If you looked at my iPod, you would get a trip out of all the different music, from the real heavy metal to bluegrass to classical.
I don't really know how music and comedy are similar. I try never to dissect it theoretically or academically.
I've sort of had an investigatory relationship with being a musician. I really wasn't sure what I wanted to do. I felt I had had my run - I had done Jane's and I wasn't particularly interested in music anymore.
I said to myself a long time ago that I didn't want to be that hanging-on-for-too-long, aging-rock-musician guy, and that's why I sort of got away from music.
I started getting into Internet technologies and computers. I wasn't especially interested in being a musician, but I wound up finding my way back to being interested in music through computers.
When I listen to music from different eras, I sense different things. The 1940s music, there's so much optimism and romance, maybe because they just solved the biggest problem on Earth at that time - World War II. In the 1960s, there was so much creativity and innovation in sound.
I come from a background of experimental music which mingled real sounds together with musical sounds.
I don't know the names of any pop musicians. Pop music is standardised; it's made to please the largest audience possible. I also compose to please a large audience, but when you listen to my music, you understand that I have studied and applied the whole history of composition.
My more risky or avant garde music is not that well known to a wider audience, but I wish it was.
I often use the same harmonies as pop music because the complexity of what I do is elsewhere.
If you scroll through all the movies I've worked on, you can understand how I was a specialist in westerns, love stories, political movies, action thrillers, horror movies, and so on. So in other words, I'm no specialist, because I've done everything. I'm a specialist in music.
I have to see a definitive cut of the film before I even start thinking about the music, I tell the director what my feelings are and what I would like to do. He accepts what I say or discusses it or destroys it. Eventually, we have to find a compromise.
De Palma is delicious! He respects music; he respects composers. For 'The Untouchables,' everything I proposed to him was fine, but then he wanted a piece that I didn't like at all, and of course we didn't have an agreement on that. It was something I didn't want to write - a triumphal piece for the police.
I want people to know about all the kinds of music that I write. Some believe I just write film scores, which is not true.
There are some directors who actually fear the possible success of music. They fear that the audience or the critics will think the film has worked because there was a very good music score.
When I have to score a film, I watch the movie first and then start thinking about it. And from that moment on, it is as if I were pregnant. I then have to deliver the child, so from that moment on, I think always about the music - even when I go to the grocery store, I think about it.
I really like conducting my music in concerts because I'm convinced it's not just for films; it has its own life. It can live far away from the images of the movie.
Some movies work really well with music from Bach or Mahler that existed long before the film, so music has its own autonomy.
In music, what is very important is temporality of space and length, based on the breathing space the director gives the music within the film, by separating the music from various elements of reality, like noises, dialogues... That's how you treat music properly, but it doesn't always happen this way. Music is often blamed, but it's not its fault.
I can't be enthusiastic as soon as I write something on the music sheet. The music sheet is only the beginning: it has to be listened to, played by the instruments, and then heard by the director, but most importantly, it has to be listened to by the public.
Yeah, exactly, you can talk about politics in music, you can talk about something else, but that's always going to change, and love is never going to change.
Realistically, English is a universal language; it's the number one language for music and for communicating with the rest of the world.
I know it sounds corny, but when you follow your dreams, it happens. And if it's music, take it seriously.
The power of music in Spanish is so strong, that I couldn't stay away from it any longer.
Writing music on your own makes you think a lot about your life. Who are you? Would you change anything about yourself? This is where it comes from.
With my music, I can express myself so much. A lot of the fans can sense that I'm relating to them something that's quite personal.
When making music I sink myself into the process as deeply as I can and forget all of the success.
The success of Watermark surprised me. I never thought of music as something commercial; it was something very personal to me.
Over in the UK, the music press can be brutal. They can say wonderful things about you one week, and the next week, you're in the can.
I am really a very shy person. If I appear, it is because of the music, not because I want to be seen.
I find that music makes people just sit and listen, firstly. Then, they seem to interpret their own emotions with the music and it makes them ponder their own life a lot. And then they start to question: Am I happy in my work? Am I happy in my relationships? What am I striving for?
I always felt that the music sells by itself. The music has always been the successful aspect on my career, and that means that, to me, I can always still stay very focused on music.
It's very easy for me to keep a low profile because the focus I feel is always on the music. Success and fame are two different things. And so I feel the success is always towards the music, which means that I can have a very normal and private lifestyle.
I've been working with a lot of people out in Hollywood on writing scripts, screenplays, directing, producing, and making music.
I've been in the studio experimenting on making a CD of my own. I'm trying out different producers, styles, sounds. With music, as opposed to acting, you are not playing a character. You are showing people who you are. I really want to have my spirit in it.
I'm nowhere with country music. I don't hear much of it, so I shouldn't venture an opinion, but when it finds me, it seems formulaic.
I have to have a guitar sitting around. I sing in the shower. I sing around the house. The music comes secondary. The lyrics come first.
I was a folk singer who became totally over the edge with country music. I found my voice and style working with Gram Parsons. I learned how to listen to George Jones records and the Louvin Brothers.
'La Marseillaise' sounds best ringing around a packed sports stadium. Its lyrics evoke revolution, conflict, taking up arms, preparing for the fight - everything my music does not! Even in our largely peaceful times, it retains its rousing, martial air that gives it a power that hasn't diminished.
I never wanted to be a movie star because it takes up too much of your time. I prefer the style of touring and making new music.
What music does to me, it helps me balance my inner pressure so that I can deal with the forces outside that are trying to pressure me.
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