I think that people should learn about that. In most music, there's one way that you do something, and that's the only way. In jazz, it's a lot different.
Engineering producers who don't play and have technology as a background may be the reason why there's a lot of cold non-musical music, for lack of a better description.
Music fills in for words a lot of the time when people don't know what to say, and I think music can be more eloquent than words.
Plus, you know, when I was young, there was a lot of respect for clowning in rock music - look at Little Richard. It was a part of the whole thing, and I always also believed that it released the audience.
Taking employment out of the country - now that's taking away jobs. These shows employ a lot of people: production, post-production, music supervisors, camera people. A hundred people or more.
My music is pretty versatile; I have a lot of genres and styles. I don't think I should be pigeonholed into one thing. So we'll see where my career goes.
I've given up trying to understand what people think about me. It seems like a lot of people don't like the music we make and don't know me, or something.
I've spent a lot of time playing Bach partitas. One of my first jobs was to play for ballet and modern classes, so the music in 'Partita' is kind of like choreography for me.
I know a lot of people who wouldn't be comfortable with everything that comes with being in a band as big as Nirvana. The thing that I don't understand is not appreciating that simple gift of being able to play music.
I believe that in music and in a lot of things it's kind of like surfing, you can have a really big wave sometimes and then you can have a smaller wave.
I don't listen to a lot of music any more and even the people I've loved for years - the Nick Drakes of this world - I can't go back to them and listen to them over and over.
Musically, I didn't relate to Berlin. There seemed to be a lot of machine music made there - I don't think I saw a stringed instrument in two years.
It takes a lot of people hours to make music because they focus so much on one thing. I just do it, and I make something you can just vibe to.
I didn't have a lot of overtly political songs. I think it was more the actions of the group that were threatening to the authorities, and also our political philosophies apart from the music.
I think, basically, the music industry is scattered and in a mess. I think you've got lots of people that are so-called 'experts' that have no idea where it's headed.
A lot of people are going to hate me for saying this, but one of my least favorite kinds of music, or the kind of music that I feel I've so got out of my system, is musicals music.
A lot of the music that you listen to now is because of the things that the Meters did, the Neville Brothers did, and they're there, the guys who invented those beats that the guys sample today. Such an enormous opportunity.
It's easy to get sidetracked with technology, and that is the danger, but ultimately you have to see what works with the music and what doesn't. In a lot of cases, less is more. In most cases, less is more.
Music has done a lot to enhance the emotions of sports. It's played in arenas. Whenever there is footage cut together they're always using music. And it goes together, you know.
Because it's dance music, you can't really have a lot of changing in there. It's really not for me because there's too much repetition. I like more diversity.
When I lived in the U.K., I recorded a lot of ska and rock-steady styles of Jamaican music. But people there weren't accepting it. So I began using a faster reggae beat.
