House Music isn't black or white. It just is. It feels good & it feels right.
House music is about love, and lots of hip hop is about hate and intolerance, so in that respect, it's not good at all.
House music has always been about peace, love and unity - and I'm bringing the 2012 version of it.
In all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience.
Bright light put me in a trance, but it ain't house music makes me wanna dance.
The idea of dancing to bad house music is something I could never get behind.
I love house music. I love all music.
I actually only started listening to house music around the time I started making it. I got hooked both to making music and to house music.
I wanted to capture the excitement of house music, almost like a four-four beat, and the best way to do that was to use a language that was rhythmic and performative.
My policy has always been to play new music. New beat, industrial, techno, disco, funk, rare groove and house music.
I'm straight, but I love going to house music clubs and flirting with women and gay men.
I'm passionately involved in life: I love its change, its color, its movement. To be alive, to be able to see, to walk, to have houses, music, paintings - it's all a miracle.
In some ways it's hard to see electronic music as a genre because the word "electronic" just refers to how it's made. Hip-hop is electronic music. Most reggae is electronic. Pop is electronic. House music, techno, all these sorts of ostensibly disparate genres are sort of being created with the same equipment.
The lack of quality dance music and the fact that here in the United States, house music is not seen as anything viable by the music industry. I figured that this might be another shot at the industry looking at the possibilities of house music and giving it a little bit more legitimacy than what they give it. It's a host of different things, but it's something that I needed to say musically.
The way that house music has become so white and so sanitized over the decades and the fact it's still going on, well I think it's sad really, but at the time I really loved it. I loved all the black house music that was coming out of Chicago and New Jersey, which I just thought was really soulful.
America wasn't interested in the roots of house music because it was too black, it was too gay, it was all these things, and today it's made very sanitized and white.
I'm influenced by the music of the '60s. It's a mishmash of everything. To me, psychedelic can be all the way to a DJ. House music can be very psychedelic. 'Flying Lotus' is very psychedelic. Even though it's urban and technological, it's also mind-expanding, anything-can-go mishmash.
The most significant New York club for me was Paradise Garage, where they played house music. This was around '84 or '85.
I grew up in St. Louis in a tiny house full of large music - Mahalia Jackson and Marian Anderson singing majestically on the stereo, my German-American mother fingering 'The Lost Chord' on the piano as golden light sank through trees, my Palestinian father trilling in Arabic in the shower each dawn.
I dabbled in things like Howlin' Wolf, Cream and Led Zeppelin, but when I heard Son House and Robert Johnson, it blew my mind. It was something I'd been missing my whole life. That music made me discard everything else and just get down to the soul and honesty of the blues.
In our house we repeated the pattern of thousands of other homes. There were a few books and a lot of music. Our food and our furniture were no different from our neighbors'.
I am taking my production style more into the world of dub. I mean true dub production techniques but in house music.
Well, my sister played trumpet. Can you imagine having a sister blowing the trumpet around the house, Fred? And my brother, he played piano. Everybody was playing some kind of music, so it was natural for me to get into it.
Quite a few musicians came to our house. And my ma took me to hear many more, hoping to encourage in me a love of music. But she wouldnt consent to my having music lessons, for she feared I might end up as she had done - unable to play except from paper.
I used to be with a publishing house called Roosevelt Music. A gentleman there told me he had seen Peggy Lee perform Fever in Las Vegas and I found out later she wanted to record it.
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