I run with music all the time. I cannot run without my iPod. I have everything. Teddy Pendergrass. Luther Van Dross. Michael Jackson. Outkast. If an Usher song comes on and it's fast, I go fast.
I refuse to step inside the ring and fight like a gladiator against my own. I'm not playing that game. Any woman who has survived a year or more of making music has my undying respect.
After 'Return Of The Bumpasaurus' in '96, I just got away from music for, like, a year. Literally, I think I produced two songs in a year. I was totally kicking it, running around.
Anytime you look at anything that's considered artistic, there's a commercial world around it: the ballet, opera, any kind of music. It can't exist without it.
I think the pop chart today is entirely market-driven. And it has nothing to do with public taste. And it has nothing to do with moving music forward. It's simply a market chart.
This is just the way it goes: there's always a cycle with music - it goes up and it goes down, it goes risque and it goes back, it goes loud then it goes soft, then it goes rock and it goes pop.
But recently I began to feel that maybe I wouldn't be able to do what I want to do and need to do with American musicians, who are imprisoned behind these bars; music's got these bars and measures you know.
When you write a play, you work out like a musician on a piece of music. You find all the rhythms and the melody and the harmonies and take them as they come.
Jewish comedy doesn't come out of nothing. Jewish music doesn't come out of nothing... I don't want to be part of a story where Jews are just victims or bullies - and I'm not saying that's what the Israelis are.
If your child marches to a different beat, a different drummer, you might just have to go along with that music. Help them achieve what's important to them.
I have declared that I will work free of cost with those composers who are passionate about their work. Sohail Sen is one such lad, whose music in Banjaara has been liked a lot.
People think our music's very aggressive or angry or whatever, and it's just the opposite, really... I like laughing. And I like being really calm before a show, and smiley.
I think it's a mistake where rap music is these days. It doesn't seem to be able to look out of the ghetto and that's ultimately unfortunate, because it defines our limitations.
One of my problems is I'm not really sure if I slot into rock or not. I've always tried to combine world music, folk, jazz, blues and rock, and have done since Traffic.
I wanted my new release 'Get Back Up' to benefit Haiti in their tragedy and I am blessed to use my music to help as your purchase becomes our gift.
Writing has laws of perspective, of light and shade just as painting does, or music. If you are born knowing them, fine. If not, learn them. Then rearrange the rules to suit yourself.
If you want music that speaks to you, that LISTENS to you, you have to go out of your way, which I enjoy actually. I'm constantly on a private-eye kick to find the totally obscure.
The joy of songwriting only gets messed up if you are trying to follow up a big success, or you are trying to create a hit single, or if you have conscious thoughts of a particular outcome for the music.
I think that most people who write about music just want to fill some paper. They're not really interested in getting to the heart of something. Otherwise, they wouldn't write what they write.
To me, a big crossover was what happened to me years ago, like bringing my music in Spanish to Europe, or Asia. To me, that's a crossover because Spanish is not a language that everybody talks.
Just the type of music that was around at the same time as I was writing. Some of it was wicked, definitely. But there was just one direction which I thought could be pushed that no one was pushing.
