I didn't know if I had the music for it or if I could pull off the larger concert experience. Then I realized if I can just continue to be myself, I'll be all right.
In the United States, we spend millions of dollars on sports because it promotes teamwork, discipline, and the experience of learning to make great progress in small increments. Learning to play music does all this and more.
The desire to share is not a vague, windy sentiment, not when you see the massive rise in live concerts in response to the phenomenon of downloading music... People want to get rid of the headphones and be part of a shared experience.
By the time I got to building synthesizers, I had perhaps 20 years' experience building electronic musical instruments.
Making an album should be an honest experience. It shouldn't be about trying to gauge where popular music is today; it should be about artistic expression and putting down what you want to put down.
Trying to get my music performed live by bar bands was a self defeating experience. It really just distracted me from what I should've been doing all along, writing and recording.
I graduated from UC San Diego, wanted to work in film to get my hands-on real experience, did music videos, TV, feature films, all kinds of stuff.
Actually, I have another record I made with them in 1976, but I've had such a bad experience with record companies, because I keep my head so much in music and not in business.
Before I wasn't sure what I wanted to say, but now, I have had so many different experiences that they have given me what I want to get across in my music.
I was interested in music and making movies about musicians, but my own experiences, and doing what it felt like for me to be a drummer? Nah, I wasn't interested in that.
Crack had a social logic to it, a specific kind of reasoning that drew from a vast well of common experience for its symbolic resonance. Crack stood for pain and power, chaos and order, the truth behind the lie. Crack was a sociolegal logic grounded ...
The Ultimate Rule ought to be: 'If it sounds GOOD to you, it's bitchin'; if it sounds BAD to YOU, it's shitty. The more your musical experience, the easier it is to define for yourself what you like and what you don't like. American radio listeners, ...
Modern man is full of platitudes about living life to its fullest, with catchy keychain phrases and little plaques for kitchen walls. But if you've never retreated to the solitude of a dark room and listened to Beethoven's Ninth from start to finish,...
It is always as it was between Achilles and Homer: one person has the experience, the sensation, the other it. A real writer only gives words to the affects and experiences of others; he is an artist in divining a great deal from the little that he h...
I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.
Music is an expression of individuality; it's how you see the world. All art is, for that matter. You take how you experience the world, interpret it, and send it out there - express it - whether it's sculpture, dance or singing.
And when they encounter works of art which show that using new media can lead to new experiences and to new consciousness, and expand our senses, our perception, our intelligence, our sensibility, then they will become interested in this music.
I didn't have a regular school experience and wanted a more abstract way of learning. I started exploring in lots of different creative ways. It gave me the opportunity to travel and play music, so it was good for me.
What does New York sound like? For me, the Charlie Parker at the Royal Roost recordings on the Savoy label are the total embodiment of the New York music experience.
Sometimes when you meet a musician you are a fan of, and he or she isn't the friendliest person, you walk away from the experience wondering if you will ever be able to listen to their music again.
I do notice that I spend a lot of all my time steeped in different forms of myth, such as English folk music, for example, not really studying it necessarily, but just trying to experience it so I can recall it later.
