Napster's only alleged liability is for contributory or vicarious infringement. So when Napster's users engage in noncommercial sharing of music, is that activity copyright infringement? No.
I had to resign myself, many years ago, that I'm not too articulate when it comes to explaining how I feel about things. But my music does it for me, it really does.
I can take any series of numbers and turn it into music, from Bach to bebop, Herbie Hancock to hip-hop.
My relationship with Music Row has always been, from my end, optimistic and hopeful that there is more than one way to approach the writing, recording, and marketing of an album.
One motivation for the 'Soul Train' awards was the grumbling that all of us in the industry have heard about the way black music tends to be viewed as a secondary phenomenon by the other awards shows.
By the end of high school, I had this fork-in-the-road moment where part of me considered going to vocational music school to really pursue it.
This is a way for artists to communicate directly to their fans. If you think of an artist like Bruno Mars, he's using Spotify, creating playlists and listening to music through it.
Within each individual young person you meet, you have the same fields to plow. The trick is just to wake thmem up, to sharpen their ears for what's already there in the music.
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.
Those who have virtue always in their mouths, and neglect it in practice, are like a harp, which emits a sound pleasing to others, while itself is insensible of the music.
Everybody who I ever cared about has told me that they like my music: Bob Dylan, Paul McCartney, Al Green, The Spinners, Smokey Robinson. Everybody that matters.
I like to be one of those drummers who actually add to the music, not one of those guys who sit in a room 24/7 trying to outwit or outplay another drummer.
I listen to music, I read scripts, and I know pretty intuitively if I can unlock it in a way. It's actually very liberating when you understand that not everything is for you.
When I do listen to music, I'm more prone to listen to the people I've always listened to: George Jones, Otis Redding, Alison Krauss and Emmylou Harris.
I feel that when you care about your music, taking risks is something you should do to keep things exciting.
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.
There's a sort of magic and music to comedy. Some words, some numbers even, are funnier than others. A Caramac bar, for instance, is funnier than a Milky Way.
I think actors are at the mercy of the opportunities presented to them. So you kind of have to wait for them to choose you. My music is insular - I can choose that.
Somewhere along the line the rhythms and tonalities of music elided in my brain with the sounds that words make and the rhythm that sentences have.
I'd like a male to listen to my music and find it kind of fascinating, what a girl goes through when they get heartbroken or get sad or get hurt by something.
