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Shaheed Diwas 2026
I've looked at pictures that my mom has of me, from when I was four years old at the turntable. I'm there, reaching up to play the records. I feel like I was bred to do what I do. I've been into music, and listening to music and critiquing it, my whole life.
I always loved the way music made me feel. I did sports at school and all, but when I got home, it was just music. Everybody in my neighborhood loved music. I could jump the back fence and be in the park where there were ghetto blasters everywhere.
Everything in my life has been about sound and making music, so Beats represents just that - the improvement of sound and the dedication to everything I've been doing from the day I started.
I don't even listen to the records after they come out. It's outlawed in my house. My wife and my kids can't play any of my music around me. Once it comes out, for me, it's just business. Numbers.
It's entertaining to watch somebody break my music down or explain what he thinks I was thinking during the process of making these records. Because... he has no idea.
One of the first people that believed in me, the first person to invest in my talent, me and this guy used to argue all the time in the studio, but at the end of the day, we both realized that we were after the same goal, and that was to make great music. And I'm talking about Eazy-E.
I just want people to hear the music the way it's suppose to sound, the way we meant for them to hear it. You sit in the studio all this time and make the music, tweak it, try to get it perfect. They should be able to hear it that way.
I would go to sleep with headphones on. My mom and pop - they would have music loud enough to shake the walls.
There is some sampling on my records and a lot of what I call replays, where I'd have musicians come in the studio and replay the sample from the original record. But mainly, we'd come up with our own music.
I don't ever see myself retiring totally from music, because I have a genuine love and passion for it.
The difference between the headphones and making music, it's like, okay, I have a new business here that I'm proud of, but my soul still remains in the music-making process.
I just make the music feel the way I want it to feel, and I don't put it out until I'm totally happy with it.
A lot of times when I'm at home kickin' it, I don't even listen to hip hop. I listen to all types of music.
The race factor was just a minuscule part of what I was doing with Eminem. It was really about the music and how well we worked together.
I strongly believe that Professor Longhair playing just instrumentals would be just as effective as stylized vocals; that's how much I believe in his music.
I was criticized by some people for my first album because they said I was taking sacred music. They knew nothing about what I was doing. That was no sacred music; that's music I wrote.
Where Charlie Christian left off, Papoose started a new thing; he was an innovator of the guitar. The things he did during his recording career with Fats Domino in the Fifties and Sixties until the day he died was as much a part of the music of New Orleans as anybody else has had to offer.
There was a lot of freedom, so bands in those days did not have to play for the public. They played for club owners that enjoyed music. You know, what happened - there was a lot of clubs that had bebop music or different forms of music. It was great for musicians.
When I'm writing, I'm thinking about how the songs are going to play live. Fifty bars of rap don't translate onstage. No matter how potent the music, you lose the crowd. They want a hook; they want to sing your stuff back to you.
I feel that when you care about your music, taking risks is something you should do to keep things exciting.
I feel connected to my generation through the music, but I also fear for us. We're in a very self-destructive state where we're addicted to outside opinions and we all feel like we have fans.
When I think of myself, I think of Toronto. My music would never sound the way it does if it weren't for Toronto.
I hope my fans will grow with me. I want to be like Michael Jackson: 5-year-olds love his music, and 75-year-olds love his music.
I would rather be on stage playing to 25 people with a band I love and the music I love than learning dance moves I don't want to do for 25,000 people.
My favorite Elvis era has always been his early Sun Records stuff. It was raw, just Elvis singing what he felt. It had all the influences of black blues that came out of Memphis and these gospel quartets that he loved. You can really hear that in his music from Sun.
This was a time when racism was still very rampant, but the music that came out of Sun Studio was absolutely color blind. It was all about feeling. It was music that anybody could understand, and that made a step towards bettering the world for everyone.
Napster is a consumer revolt. Napster is about my right to have this music and to share if I've paid for it. You know, so we start to see our decisions, our opportunities, our every choice is a consumer choice.
Big companies are like marching bands. Even if half the band is playing random notes, it still sounds kind of like music. The concealment of failure is built into them.
It doesn't matter how big the set is or how florid the music is: if it doesn't touch people's hearts, then I don't want to be in it.
The biggest problem is always getting hits. That's the one thing that has never changed. The way of delivering music has changed, the way of listening to it has changed, the way of distributing it has changed, but it's always the music.
One of the core reasons for creating 'Station to Station' was to provide a space for exploration and cultural friction between different mediums. It should be natural for mediums like music, film and art to cross over, and we wanted to empower that process.
The 20th century is a period defined by cultural and artistic movements. However, the 21st century creative-scape that we occupy now doesn't really have movements in the same way. Instead it's made up of diverse individuals working across various platforms simultaneously; art, architecture, film, music and literature.
I'm coming up with new music, I'm in the best shape of my life, I'm real sharp, my energy is strong. I look at it as: I'm just following the energy. That's how I sum that up.
I have new music coming out. I'm working on some television shows. I still do a tremendous amount of concerts. I'm doing my restaurant. I got a club coming in New York. The restaurant is called Doug E. The club is called Fresh.
I think the rebuilding of the city has to start with the spirit first. So the music, the vibe, the connection spiritually with the artists. Everybody out here is the main key. A lot of people are still in a lot of tough situations. My heart still goes out to the people of New Orleans.
The Flutie Bowl is a great event that brings together people who really care about the autism community. We always have a great time bowling and playing music.
Elizabeth Barrett Browning could write a poem two pages long. Could she have brought it to a music publisher?
When I was a teeny little girl, I was in dancing school, and I sang. We had to put a dance to a song, so I went to the 10-cent store one day and looked at all the sheet music. It was all laid out, and I picked 'Life Is Just a Bowl of Cherries.'
I was thrilled to be rehired for the 1919 'Follies.' Mr. Ziegfeld himself hired me. To me, that particular 'Follies' was his greatest 'Follies' of all - not because I was in the show, but because of the great cast and memorable music.
I was very good at math and physics. And that’s all. I can’t do music, art, so there was not a lot of choice for me. I think people should go with their strength and that was my strength.
When I think of music, I think of music in its totality, complete. From the lowest blues to the highest symphony, you know, so what I'd like to do is exemplify each style of as many periods as I can possibly do.
I'm an entertainer. I get up on stage and I try to make people enjoy my music, and that political arena - I'm going to stay out of it, right out.
Well, I think it's kind of interesting how the Osmond name has been really seen on both sides of the pendulum. There's obviously the bubblegum side, but for people who really know about music, it's clear on the other side. As a matter of fact, I find it quite ironic that Metallica used to cover 'Crazy Horses.' It was a cutting-edge album.
You always draw from your roots. I'm influenced by everything I hear and see, and that includes music today, but obviously I go back to my early influences: Stevie Wonder, Parliament, Earth, Wind & Fire, Ohio Players, Average White Band. Those kind of artists are what I look to. When I hear that stuff on the radio, I turn it up!
Sometimes when you have multimedia, people use it too much. It has to be a tool and not the end product, if you can use it as a tool. The same thing apples when you are recording. We had this problem in the 80's, we got so computerized there was no heart and soul in the music anymore.
My particular space has always been quite unique in popular music. I have a background in R&B and hard rock and straight pop, but I never went all the way with any of those genres.
The similarity between my music and The Beatles' music is it has within it a very positive quality. It's woven with humor.
Coming from art school, I had a great sense of style - as did The Beatles and the Stones - and I enjoyed projecting that. Image, attitude, great music and great lyrics - that was the '60s.
'Sunshine Superman' was a pioneering work that for the first time presented a fusion of Celtic, jazz, folk, rock, and Indian music as well as poetry.
Having had polio never held me back as I got older. Although having one leg smaller than the other isn't much fun, I could always get about without any trouble. Luckily, in the music industry, everyone was only interested in my singing and playing and not the size of my legs.
I was listening to a lot of bebop. And to Miles Davis. Everyone thinks I was just in the folk world in 1966, but in 1963 and 1964, I was absorbing enormous amounts of music, from baroque to jazz to blues to Indian music.
I was making the music and writing the songs which reflected the emerging consciousness of my generation.
A young person coming up and saying, 'I absolutely love your music,' is very encouraging.
My dad would always ask, 'How's the money?' but I was never interested. Millions came and went, stolen by the robbers in the music industry. But as someone said, 'You'll never be poor as long as you can pick up a guitar.'
My music translates again and again to younger generations of players because I broke all the rules, and they can break all the rules now, too.
It's really much more than the plastic of album covers and record sales and dollars and cents. Music is just everybody's mother. Music is the power of you.
I love music, and a lot of it. Jazz is probably on the top with guys like Miles Davis. But I even enjoy music from the '60s and '70s.
I'm involved with a baroque opera company here in Italy. I write some of their booklet material, comments on operas. I also write for some baroque opera festivals because this music is my real passion.
I love music. But I've never owned a TV in my adult life, and I've never lived in a place with a television.
Sound should bring you in. We have people in all these specialized departments to make it one whole. They are supposed to work together to bring us into their world, not push us away. For example, rock music has to be loud, but it doesn't have to be too loud.
I listen to a lot of different stuff, from Mozart to Johnny Dowd to Monster Magnet. I don't listen to music while I'm writing a draft, but I do listen to it when I'm revising.
I've been very fortunate. I've been in theater, films, television, radio, tragedy, comedy, farce - I've been in a musical and in music halls, in pantomime. I was once ringmaster in a circus.
I call 'Community' the best day job in the world, because between takes, I get to write music. I get to write sketches. I get to write movies. It's the best job ever.
The only reason I'm able to do music is because I'm making money on 'Community.' If I wasn't, I couldn't pay for things.
When state funding for Irvine public schools began to diminish some time ago, my Irvine Company colleagues helped me to provide private funding support for continuation of basic science, art and music programs that had been eliminated by lack of state funding.
They use all of the music that I did in the '50s, '60s and the '70s behind people like Tupac and LL Cool J. I'm into all that stuff.
I can take any series of numbers and turn it into music, from Bach to bebop, Herbie Hancock to hip-hop.
I thought that I would like to be affiliated with some school or institution. As time went on, I also decided on the subject that I wanted to get involved with in addition to music: it was Black Studies.
Anthemic rock music is inherently fascist - anything intended to move huge masses of people is politically offensive to me.
Radio is not a partner in the industry. I think that the music industry has continued to depend upon radio, but has ended up pandering to a medium that doesn't care.
The human brain can soften as a result of incessant listening to music with an intent to commit prose.
I could hear and feel music going on in me, and I couldn't get it out. You can always depend on a guitar.
Michael Jackson is an accidental civil rights leader - an accidental pioneer. He broke ground and barriers in so many different realms in artistry, in pictures, in movies, in music, you name it.
I'm glad that my music has helped other people as it's helped me. It makes me glad that I did what I did with my life.
I don't relate to what's left of the music business. There doesn't seem to be any point to it anymore. The business that I grew up in and loved, we made records a different way - there were record companies, there were stores where you could buy albums.
I was always just into my music and maybe into trying to save the world a little bit. I never really thought I'd have a hit record or anything like that. I was prepared to travel around all over the country, kind of like a Johnny Appleseed, and sing.
No matter how happy or hopeful I am, I always tend to drift back to that. It's underneath all the music I've ever written... An artist is trying to tell you how he's feeling. And if that accidentally becomes entertaining, it becomes a career.
All roads lead to 'American Pie.' 'As American as apple pie' was the saying. It was some kind of a big American song that I wanted to write, which would be a conclusion for my show and bring all the songs home, which it still does. I can go anywhere I want with American music and come home to that. And it all makes sense.
My parents were not musical, and they were not effervescent people; everything was very quiet. The music that I played was loud; it used to drive them up the wall. My father died, and that was a tragedy for everybody, but suddenly I didn't have anybody to stop me from doing what I wanted to do.
My expectations for myself were never high. I had a very unusual way of writing songs and of thinking about music. I wasn't at all like Bob Dylan or Simon and Garfunkel. I was completely different - I didn't have a David Geffen at my side.
The marketing department is really an important part of getting an animated film to work. If the people running it are used to selling live action films and the hard rock music and the sex and all those things... Anything outside that, they just don't know what to do with it.
Now is a good time, 10 years ago would have been a good time, and 10 years from now it will still be a good time to see a dynamic, entertaining movie that's wall-to-wall Miles Davis where the music will hopefully spark some desire to know more about the man.
There was no match for Barry White. His music is just going to live forever. It's not limited to disco or soul or hip-hop or anything.
I figured as long as the music stayed hot and important and good, that there would always be a reason for 'Soul Train.'
I always felt a love for music, but I never got my nerve up enough to try a musical instrument in school.
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