If you're writing a piece for the Boston Pops, the balance is towards one end. If you're writing a piece for a chamber music society, then it's towards another point. I won't make a final answer on that. I think it changes with every piece.
I use the NordicTrack every other day for 20 minutes. I don't listen to music or watch TV while I do it. I count to myself. I count to 25; I count to 25 backwards, that sort of thing.
The '60s weren't my cup of tea. I never bought that philosophy that, you know, we're all brothers and that'll solve everything. And I never believed that music dictated the times. I always thought it reflected them.
I'm not a pop act, churning stuff out really quickly. I find the music that arises from that style of working is distracted, not particularly profound.
I mean, my music career and my acting career - if I want to do them to the extent that I eventually do want to get to, it's going to be a bit of a balancing act. But I'm hoping they'll just go hand in hand.
If you think you're going to work with Cameron Crowe and not get into his music, you're crazy. But he doesn't force it on you. He doesn't force anything on you, which really makes things easier.
I don't like to listen to music while I'm working.
Steampunk, the repurposing of Victorian culture and technology for contemporary fun and profit, is so ubiquitous - in media, books, fashion, music, cosplay, and maker culture - that we tend to imagine its superficial aspects are all that define it.
Then came the choreography... the impact of music and choreography tends to really emphasize an overall feeling of what you really want out of the program.
I write contemporary rock with Jane's. And I also write house music with people like Kascade.
Jimi Hendrix's music was escapism.
If I had grown up in any place but New Orleans, I don't think my career would have taken off. I wouldn't have heard the music that was around this town. There was so much going on when I was a kid.
I was improvising before I was reading music. I was just trying to play things on the clarinet by ear. I think my ear is one of my greatest assets.
I truly miss the genius of the music of John Lennon, as I'm sure everybody does.
Together with a culture of work, there must be a culture of leisure as gratification. To put it another way: people who work must take the time to relax, to be with their families, to enjoy themselves, read, listen to music, play a sport.
I was asked to sing with Mavis Staples on a gospel compilation called 'Oh Happy Day.' And, you know, other than being totally intimidated at the prospect of singing with Mavis, I was honored. I don't really have much of a background in gospel music.
Along the way, I've had different advice from different music producers. I've been told to tone it down, that the quiet parts of my voice are appealing and there's harshness to the loud part of my voice.
When I started performing, I played acoustic music, partly because that way you don't have to worry about interacting too much with other people creatively. Asserting myself in that way was not really a strong point for me.
One thing that really appeals to me is this idea of music being a living thing that has an evolution that, in a way, enables the artist to sell a process rather than a piece of product.
I think another thing is that we don't really want exclusivity. We accept that it is in the artist's interest to be on sale in every place where they sell music.
I think it is the weak and the young and the minorities that you need to look after to get a healthy creative environment - to get a lot of choices, a lot of different styles of music, a lot experimental stuff that everyone else feeds off.
