I started out really making music in my dorm room, and it wasn't really producing or anything like that; it was you making something.
Sometimes I use my jokes as building blocks for larger bits. I like to draw and play music, so sometimes I do those things along with the jokes.
And I've also come to the conclusion that, as far as guitar solos and things like that are concerned, it's more important to complement the music rather than take away from it.
I'm an entertainer. I get up on stage and I try to make people enjoy my music, and that political arena - I'm going to stay out of it, right out.
Music is not a contest, it's not a competition, so giving out trophies seems a little bit like the sporting world I left behind when I was a kid.
It doesn't matter the kind of music, it doesn't matter whether it's a cowboy hat or a yarmulke. I don't care if it's outer space or pop, the spirit is the same.
When I think of myself, I think of Toronto. My music would never sound the way it does if it weren't for Toronto.
It's entertaining to watch somebody break my music down or explain what he thinks I was thinking during the process of making these records. Because... he has no idea.
All the music that I've made in the past I've believed in. I think some of it has been more commercially successful than others, but it wasn't premeditated.
I try to do things that keep me interested. And play music that moves me. I like to move around and play in a lot of different ways.
My music is very personal. I've created it in solitude. I face a white wall and beller. I like that sound - the expression of loneliness. That's what it's all about.
There are so many things that are misunderstood or not recognized about my father's music because they've been filtered by people who work for magazines like Rolling Stone.
Cage's Music of Changes was a further indication that the arts in general were beginning to consciously deal with the 'given' material and, to varying degrees, liberating them from the inherited, functional concepts of control.
If you look at the market cap increase in Apple since it created the iPod versus what's happened to the music industry, you have to say Apple got the better part of that deal.
I would do the occasional score. I thought it was the most thrilling thing. It was instant. You made the music and they played it right away to millions of people. I found it thrilling.
Then, when the Depression came, all of this changed completely. Since that time, the entire public is of a very different sort and there was not so much support for contemporary music in a direct way.
Since I'm allergic to various things, the army wouldn't accept me during the war, and I got into the Office of War Information, which sent music to Europe.
It was stumbling on to really the bible of the blues, you know, and a very powerful drug to be introduced to us and I absorbed it totally, and it changed my complete outlook on music.
There aren't reasons why you like this song or this piece of music, or don't like it. It's just, it's either right or wrong, you know?
Sometimes you have trouble because someone 'likes' your music so much. They follow you around for hours singing little bits of the songs, or just freaking out.
I've always said that Adele has turned so many people on to British singers - whether female singers or just like music from this country in general.
