People call me a bedroom electronic musician, which I suppose I am. But I hate most electronic music; I find it really boring.
I'm more encouraged by the saplings: new music groups, tiny new venues, entrepreneurial musician-composers who aren't waiting to be discovered but are instead building their own Establishment.
We're genuinely happy if some musicians of this younger generation are influenced by our music, as we were ourselves influenced 10 years ago by older musicians.
You can't be both a painter and a musician and master anything. You can't. And live a life.
More people than ever are spending money to support more artists and musicians and give them more leisure time to build cereal balls...and the art world is eating those balls up!
I am a musician before a writer, and a drawer before a writer. When I lose sight of that, which I do, my work tends to suffer.
I like to read. I've become obsessed with fiction. And it's too bad: I'm a musician many people love and I myself am not part of the music scene.
Occasionally I hear a band that blows me away. For instance, there's a musician in Oakland named Weasel Walter who has a band called the Flying Luttenbachers. Go see the Flying Luttenbachers when they're in your town. He's one of the greatest rock composers who ever lived, and he's struggling and living like a poverty-stricken hermit.
I worry about that terribly because the public eye can bring all sorts of unwanted intrusions and problems. But he's treading his own path. I think the modeling is something that Rafferty Law sees as a pastime and something to maybe give him a bit of pocket money. He's a musician mostly. He's in college studying music, which he takes very seriously and I think that is something that he will concentrate on in the future.
I just like dealing with scientists for awhile and then going over and dealing with musicians for awhile. They both have qualities that kind of counterbalance each other.
That's for non-musicians to say: "I only listen to this or that type of music." I think musicians love all music, or at least that's my case.
Most musicians don't write about being a musician cause most musicians aren't writers.
Really good musicians don't think of "self-reflection."
The more I abandon ideas of myself as a musician, the better a singer I become.
I think that there's a lot of good will that exists between musicians and the people that support them and listen to them.
It's this funny thing now: You sign up to be a musician because you want to write music, but you don't spend your time writing music. Instead, you go around the world selling the music you've already made.
I think people want to put you in a box and close it away so that it makes them feel better. A lot of musicians get that.
I started thinking, my gosh, all this sophisticated software for measuring how Yo-Yo plays, and how he moves and this technique of the bow, I should be able to use similar techniques for measuring the way anybody moves, and so somebody who is not a professional or a trained musician, I should be able to make a musical environment for them.
A lot of young artists and musicians that we work with, you think they're gonna want to come in and buy the rock star-looking leather jacket - whatever it is that you think they're gonna want. They all want a suit. They want a tuxedo jacket, they want a suit. They don't want to look like their dad in it, but they want a suit.
I think a lot of actors, comedians, musicians, artists are drawn to this world, because you're allowed to excavate whatever it is that you're struggling with, and hopefully turn it into art.
Chris Martin is more of a musician and hasn't really put himself out there as a television host or anything like that.
I was deeply influenced by the sartorial practices of both preachers and jazz musicians and actually Masha in Act One of Anton Chekhov, my favorite writer's master piece,Three Sisters,when she arrives reflecting on whether they're ever going to get to Moscow, memories of the death of their father, and she's in black, and she says I'm in mourning for the world, saying in part that I have a sad soul and a cheerful disposition.
It's funny, there aren't too many musicians that also moonlight as studio engineers. There's a few - the really brilliant ones.
I think musicians like me are drawn to those older desks, not just because they're legend and lore but also because they do something really specific that is hard to emulate or re-create digitally.
When I worked with General Electric, again this was soon after the Second World War, you know, I was keeping up with new developments and they showed me a milling machine and this thing worked by punch cards - that's where computers were at that time, and everybody was sort of sheepish about how well this thing worked because in those days machinists were treated as though they were great musicians because they were virtuosos on these machines.
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