Music Quotes
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Shaheed Diwas 2026
What we have to get clear to kids is that when you offer your stillness and open yourself to the experience of music, it pays you back more than you give.
Fun can happen on the interior. Nobody knows about it, but there are fireworks going on inside your spirit when you hear a great orchestra playing great music.
The simple act of sitting down and playing something enormously complex and spiritually uplifting on a harpsichord just bores kids to tears. There's no sizzle, there's no grab. But it's the great lesson of serious music, that it invites you to listen, rather than demands that you listen.
Sometimes you get so jaded, you don't have those initial connections and emotions with music, because you are promoting your own.
I naively thought I had to go door to door, find somebody who could record me singing some songs. I didn't know Music Row, I didn't know anything! So after six or seven months, I went back home and went to college.
I went to the London Academy Of Music and Dramatic Art and returned to New York where I started my career.
I had no interest or intention of ever writing music. I was a professional violinist in my 20s. I was obsessed with conducting, and I was conducting as much as I could, and I was studying as much as I could. I went to USC; I got an undergrad degree in violin and a master's degree in conducting.
I think there has never ever been a career like John Williams'. That whole 'Jaws' phenomenon - there's nobody that knows how to use music like Spielberg, and John is just the perfect analog to Spielberg.
To this day, I adore classical music, and I'm very interested in opera, which I found out later my father was also extremely fond of.
I want to write theater pieces, opera, or some kind of amalgamation where there is singing, music and theater.
I'll probably always write film scores. It's the one place where a composer has almost unlimited resources at his beck and call. When music you have written works well in a film, nothing can beat it.
To me history ought to be a source of pleasure. It isn't just part of our civic responsibility. To me it's an enlargement of the experience of being alive, just the way literature or art or music is.
I don't generally listen to music while working, but sometimes music can help me get past minor writer's block.
Music has been there for me. Whether good or bad, it's the way that I process experience. As a listener and as a writer.
I do think that one of the best effects the Internet has had on music is that it's allowed these false walls between different music communities to vaporize. We can see that this is a big, complex, interconnected web.
A few things I've noticed about myself as a listener, and the music that I relate to and the music that's continued to mean something to me since I was a little kid or a teenager, is that they're songs that tell stories and songs that come from a place of experience.
Bjork has this kind of abstraction and formalism that you associate with art music or avant-garde music.
When I first heard Bjork's music, I felt like I was a similar-minded thinker, both harmonically and melodically. She takes those things that you naturally assume to be opposite because they're presented that way most of the time, and the way she twines them together is so beautiful. To be able to do that is so powerful.
A lot of the music I was inspired by growing up - college rock, DIY, what they used to call indie rock - has a value system where truth-telling and authenticity are oppositional with mass media, showbiz, and commerce.
With 'Stillness', I don't think I appreciated how very codified all the different genres were in radio formats and the various constituencies of the culture. But music is music, too.
When it comes to music, I am a dictator. Making a Dirty Projectors record come to life is like making a movie; I'm the one that makes the picture, and then we all figure out how to realise it.
I never really thought of music as a particularly social thing. I experienced music through recordings as opposed to concerts. It just makes you think about the way things are put together, the way things are written as opposed to the showbusiness of something onstage, so no regrets there.
Most of the creative industries have been deskilled by these really powerful ideologies of punk in music and Warhol in the visual arts. I think it would be great for us collectively to ask whether it's had a negative or positive effect in contributing imaginative stuff to our culture.
I remember when I first saw 'Guided by Voices'; those earlier recordings are so deconstructed, kind of like four-track music, and so artful in their collage and in their weird fragility.
What appeals to me about 'Blind Willie' is just how sparse that music is. Just this idea - the grain of it, the rawness of it and the simplicity of it. The directness of the language.
The first musical stuff I worked on was after the tour for 'Swing Lo Magellan' had ended and I didn't really know what else to do. I didn't know what music I would write. I just did work for other people - arranging, producing, writing - and all of that seemed to be in L.A.
People like to put music and art up against the dehumanizing character of commerce and business corporations.
At the end of the touring on Bitte, looking back on all that stuff, I feel really proud of having written that music and of us for having really played awesomely on those tours.
I'd always tended to regard song lyrics as sort of a bastard medium because they're subjugated under the music. If you were to regard them as poetry, it would be bad, embarrassing, confessional poetry - a lot of the lyrics I love.
The business side of film has goofed up so many things, but even that's changing. It happened to the music industry and now it's happening to the film studios. It's crazy what's going on. But artists should have control of their work; especially if, as I always say, you never turn down a good idea and never take a bad idea.
Music as background to me becomes like a mosquito, an insect. In the studio we have big speakers, and to me that's the way music should be listened to. When I listen to music, I want to just listen to music.
I've loved music always, and my music fire was lit by Elvis Presley, really, and all that was happening back then.
Music deals with time and timing. It's so magical, but when you get into it, every little sound and every little space between the sounds, it's critical, so critical. And if it's not there, it not only feels wrong, but it ruins things.
I love music, of course, and many, many, many genres. There are hardly any songs I would say that I hate. There's a couple, and I don't even know exactly why I don't like them.
A lot of music doesn't do one thing or another. It just doesn't do anything. Then there are those pieces of music that thrill your soul. It's such a wide range, and it's really interesting that we all love different things.
I think that commercials can really ruin a song. You know that the person sold the song for a good deal of money, and that was the tradeoff. But, music and picture can marry in a beautiful way, and the reverse also.
A lot of painters listen to music, I think, while they paint. But I hate to do that. It's a horror. I can't really listen to the music. I'm not really concentrating on it, and I'm not really concentrating on the painting.
Music will always be there. I own a piano. I have it in my apartment. I play it every day, and I have a lot of musician friends who I play with.
Music is like girlfriends to me; I'm continually astonished by the choices other people make.
You want a hero in the music world? James Brown. He brought a feeling to music without really using words. He's just famous for his sound.
My ambition is to further create a signature sound, a signature spirit, that makes some kind of contribution to music in general.
There are only so many letters in the alphabet. When I talk to young musicians or authors and they ask for advice, I say, 'You gotta learn all the letters of your own personal alphabet. With music, you need to know all the different kinds of music and everything in and around your given instrument.'
It doesn't matter the kind of music, it doesn't matter whether it's a cowboy hat or a yarmulke. I don't care if it's outer space or pop, the spirit is the same.
Oratory is the masterful art. Poetry, painting, music, sculpture, architecture please, thrill, inspire - but oratory rules. The orator dominates those who hear him, convinces their reason, controls their judgment, compels their action. For the time being, he is master.
Playing music is the best thing in the world. It makes show business almost bearable.
I'm compelled to paint nearly every day. I just felt like making a painting, went out and bought paints and a canvas. Now it fulfills me creatively when I'm not doing music: it's something you can do by yourself and it's totally yours. It's a great adjunct to my life.
Music is my love and to me acting is more mercenary. I don't pound the pavements for roles: if it happens, it happens. I hate that auditioning thing.
I think we as a band, as individuals, understand that all popular music stems from blues and jazz and even pop, but rock 'n' roll especially comes from blues.
The first Latin music that blew my mind was bumba, which was a Puerto Rican beat.
It's been a while since I checked in with Malcolm Gladwell's 'Revisionist History' podcast. The episode 'The King of Tears' suggests the author is raising the bar. His argument is that country music is the genre that makes us cry because, unlike rock, it's not afraid of specifics.
The podcast 'A History of Jazz' began telling its story in February - 100 years after the recording of 'Livery Stable Blues' by the Original Dixieland Jazz Band, the start of jazz as a legitimate branch of music.
John Lydon must be more famous for his efforts on behalf of dairy products than his music.
I'm totally not a nostalgic person. I always look to the future and as much as I've enjoyed the ride until now and the different phases, I'm more excited about the next music.
So dance music is now pop music. So now, as a dance producer, what do I have to do? So I'm starting to do alien music, because pop is not pop anymore; we need to go alien to be independent.
My studio is a laptop. Everybody I work with is the same. We make computer music, we're the laptop generation.
I have studios in the different places where I live - in Ibiza, Paris and London - but they're not crazy studios, they're just rooms with good monitors, and all I do is plug my laptop in. It's a different way to make music, but for me, I love it, because it's more connected to the world.
If I had to play only for people who liked the music because they heard it on the radio, it wouldn't make me happy. That's why I'm working so hard to have, yes, a profile as an artist, but also a profile as a DJ.
All the big artists I talk to say that they are trapped in a formula and they are looking for the music of tomorrow.
I am trying to walk a tightrope; trying to keep the DJ community happy while trying to spread the message about dance music to more people. That is the mission that I am on.
There's many different genres, and when you see R&B and pop and house, as well as electronic, come together, that's the reality of what music is.
I think I could walk into any music shop anywhere and with a guitar off the rack, a couple of basic pedals and an amp I could sound just like me. There's no devices, customized or otherwise, that give me my sound.
I am a lover of all sorts of different music. I love blues and every piece of music that I have listened to has become an influence.
If people would like to come to my concerts I'd love them to come. And if they like the music that I make, I love that too. But I do not make music for other people. I make it to please myself.
I was never particularly gregarious. I was quite shy, closed in. It's a classic isn't it, your psychiatrist will tell you, that's how I release it, through music.
I can't help other people's frustrations. I don't owe people anything. If people would like to come to my concerts, I'd love them to come. And if they like the music that I make, I love that, too. But I do not make music for other people. I make it to please myself.
I think that most of my romance comes out in my music. And if you look at my track record of three ex-wives, maybe there's something to that.
I publish my own music. I'm creating my own songbook. It works that way for me; I'm very independent.
In the music industry, we value large success. I realized that while I would like that, that it's not what my writing is about. And if I start making it about that, it becomes impure.
I like Madonna's music but not her movies. She should stick to what she is good at.
I'm still a businessman. But what I do for my primary living and what is my life is music, and that will never change.
Other music that 'Ride The Lightning' led me to discover was to start really kind of sinking my teeth into some of the thrash of the era that I literally had no exposure to - whether it was Slayer, whether it was Testament, whether it was Megadeth. It was the opening of a doorway, for me, to a whole new palette of music.
I have to be involved. Whether it's me writing by myself or with other people, I definitely want to have my hand in the creative process. That's part of why I got into music in the first place.
I absolutely think the Seattle grunge sound was instrumental to my music education.
I've always loved music, very simply, as a vehicle to express myself and that hasn't changed.
My father being in the movie business, I thought being an actor would be great. But when I started singing to people in coffeehouses, you know, singing folk music and then, later, singing songs that I started to write myself, I felt more than an affinity for it.
Describing Woodstock as the 'big bang,' I think that's a great way to describe it, because the important thing about it wasn't how many people were there or that it was a lot of truly wonderful music that got played.
When it all started, record companies - and there were many of them, and this was a good thing - were run by people who loved records, people like Ahmet Ertegun, who ran Atlantic Records, who were record collectors. They got in it because they loved music.
The American Music Awards mean more to us; that's a people's award, and we're a people's band. The Grammys are the critics.
A musical is really one of the most complicated beasts. It's a play, and there's music... and there's dancing... it's unbelievably satisfying to get something up out of your brain onto a piece of paper ... and start the process and then see it on the stage.
How do we keep it up? Because that's what we do; we're musicians, and we love to play and make music. And with every album, we get better, and with every tour, we get better.
Glass and wearable technology is an example of another step in consumer-facing innovation that will change how we share the music experience with our fans in the future.
In times of joy and sorrow, love or hate, peace and unrest, music has always been an important outlet for expressing our emotions individually and as a nation.
I just wanted to release an album of piano music for music's sake. I'm not expecting to sell millions of albums. It's was just nice to be able to sit down at an acoustic piano and make some music.
It didn't even occur to me that I'm the last person in the world who should play salsa or Brazilian music.
I'm not suggesting people abandon musical instruments and start playing their cars and apartments, but I do think the reign of music as a commodity made only by professionals might be winding down.
The imminent demise of the large record companies as gatekeepers of the world's popular music is a good thing, for the most part.
People are already finding ways to make their music and play it in front of people and have a life in music, I guess, and I think that's pretty much all you can ask.
You create a community with music, not just at concerts but by talking about it with your friends.
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