I really don't care at all what people call me as long as they're listening to the music and talking about it. They can call me a space-jazz flautist. I don't care at all.
I would say I grew up listening a lot to Barbra Streisand and Judy Garland and Joan Baez and Joni Mitchell. I grew up listening to those because my parents were kind of into folk music.
I thought the '60s was the most exciting time and the most vital music, and we were really together as one mind then. Then afterwards, the songs and the bad drugs, that took its toll.
I don't listen to music when I write. I need silence so I can hear the sound of the words.
It is hard to describe the thrill of creative joy which the artist feels when the conviction seizes her that at last she has caught the very soul of the character she wishes to portray, in the music and action which reveal it.
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 happe...
While I was into many different types of music, and played with many different local groups, I really didn't have a band to call my own until Dire Straits was formed in 1977.
It's annoying when you've got a guitar and you're working on music and then you have to go and do the shopping or someone calls your mobile and you get distracted or you have to go out and do something.
The main thing in making your own music is that it's an expression of someone's personality and being. That's what people want to hear, and you can't really teach that - that's just something that comes out. Teaching just hones that.
I am a futurist, projecting trends in science into the next decades and century, but ironically my two daughters - one is a neuroscientist and the other is a pastry chef - tell me that my taste in music is positively prehistoric.
I have strong sentiments toward Iran, since I distinguish between the Iranian regime and the Iranian people. I highly esteem Iranian music and culture.
My heart, which is so full to overflowing, has often been solaced and refreshed by music when sick and weary.
The music I have created, along with the other Beach Boys, has taken me all over the world. For these past 50 years, I guess you could say, 'I get around.'
I'm really fed up with all the credibility talk. A lot of times it seems to be more important than the music. Well, I guess for a lot of people it actually is. We don't care for credibility.
Some people only work to recorded music because it's so reliable and exactly the same every time, which is exactly why I don't.
I can read music, but I have no technique, and singing was never an option even though I sang a lot growing up.
When I was very little my mother would read to me in bed. She gave me a fascination for stories, and for the music in words.
Music is my only guide. I don't care if people pigeonhole me. Miles Davis is my hero. He covered Cindy Lauper and Michael Jackson, and he didn't give a hoot about what the purists said.
I always tell people that the music industry may be frustrating sometimes, but the singing never gets old. It's something I grew up doing, and I take the bitter with the sweet.
I grew up in Synagogue in the boys' choir. We didn't listen to music in the house; only at temple. Then I went to a mostly African American high school on the South Side of Chicago and joined a gospel choir.
My first break wasn't professional - I was in 'The Sound of Music' when I was five. I played Gretel, the youngest one, because that was what kind of took off for me in terms of loving acting.
