Finally, I would like to remind record companies that they have a cultural responsibility to give the buying public great music. Milking a trend to death is not contributing to culture and is ultimately not profitable.
I'm one of those guys that is still a bit afraid of the telephone, its implications for conversation. I still wonder if the jukebox might be the death of live music.
But then I'm one of those guys that is still a bit afraid of the telephone, its implications for conversation. I still wonder if the jukebox might be the death of live music.
The reward is that you can actually create a world separate from reality with a story, actors, music, and camera design. When it works it can entertain, move people and teach us all.
The new Zune may not be an iPod killer, but it does offer a clean interface, great industrial design, HD radio, and a subscription model for music, making it significantly less expensive for big users.
The Lounge Lizards were relating with a tradition and it was like I was playing within a musical context. The guitar playing stood out as being different in some way. That was a real education for me.
I mean the public likes it more in Europe than they do here because the state supported organizations have felt that playing contemporary music was part of the education of the public.
I was a teacher for a long time. I taught at a community college: voice, theory, humanities. And nowadays, music education is a dying thing. Funding is being cut more and more and more.
You begin to see that all of these things are connected: The kind of cuts that mean less environmental protection are also the kind of cuts that mean less musical education for the schools and that also mean more overcrowded schools.
So I wanted to sing inspirational music, and that's exactly how I approached it - only the words have been changed to declare my relationship with God.
Playing someone drum 'n' bass for the first time in 'Pass Out' - they're like, 'Oh my God, what is this?' I'm having a lot of fun and a good time showcasing the music.
You have to find a way - and thankfully for me, it's been music - to separate yourself from the racial identity. It's not easy, and I continue to work, God bless, and I'm really, truly appreciative of it.
Back when we were first making records, you didn't just make the music, you put a great deal of energy into the way it looked, and every word that was written on the whole thing.
I care about being able to play. If you're playing with integrity in the music, then that's what matters. But it wasn't that great for me because it was kinda like going back into the old times without the guy.
Finding great songs is the hard part of my gig - it's not as hard as songwriting, that's much more daunting - but I love playing other people's music.
A lot of political music to me can be rather pedantic and corny, and when it's done right - like Bruce Springsteen or Jackson Browne or great satire from Randy Newman, there's nothing better.
There were so many great music and political scenes going on in the late '60s in Cambridge. The ratio of guys to girls at Harvard was four to one, so all of those things were playing in my mind.
I had all the normal interests - I played basketball and I headed the school paper. But I also developed very early a great love for music and literature and the theater.
That's why Tennessee Williams was a great writer. Poetically, dramatically, it was fantastic stuff. And with the landscape, the losers in life populating it. His short stories have got rhythm, something musical about them.
Darling, when you're as old as I am, you cherish the very few musicals that have come your way that you know are great classics. You become their guardian.
Ry Cooder for me is a master, a great master that has a wonderful feel for Cuban music. He's also paid tribute my talent a bit, even though I don't know half of what he knows.
