I promised to finish school, so I'll figure it out I guess. Besides, I'm on a special school for musicians and artists, so I'm not the only one with this life style.
Initially, when I was first starting as a musician, I was a very nationalistic figure and I used to believe in doing a lot of national songs. I would always have a national song in the albums I did.
I recognize that as a musician there is a certain chauvinism attached to it, which is the thing of, "I spent my time learning how to play. You didn't spend time learning how to play, therefore, you are not a musician."
In reality everybody has got musical thoughts. If you are able to overcome the part of it which is muscle training, which is what most musical playing actually is, performance actually is, is muscle training, and you are able to convert your ideas directly into music, you're a musician, too.
If you can create a reality that is entirely fictitious, it doesn't owe anything to this stuff out here, but you interact with it on your own terms. I mean, if you took it to the point where finally you get, say, tactile feedback, so you were wired in in terms of the whole nervous system. The sensorium. You would have the ultimate art form. I mean, any painter would want it, any filmmaker would want access to it you know, any musician would want access to it. It would eliminate the need for the divisions between what we describe as the arts, converting the whole thing to experience.
Most musicians, regardless of what culture they come from, can get together and agree on some stuff about music. As there is going to be a common ground.
Music is a universal language insofar as you don't need to know anything else about a musician that you are playing with other than that they can play music. It doesn't matter what their music is, you can find something that you can play together, with what their culture is. The dialect part of it comes into play, but nothing like the differentiation that language sets up, for example.
You have to be ready, and also you have to discard notions that are fondly held by a lot of musicians, about sequences and notes and about scales and musical systems as a whole. If you think of music as a language, the space part is where you throw out all the syntax.
You might have asked [about skill] of an artist or a musician or whatever... but with me it just happens.
My start came with experimental musicians and live bands. I never played with DJ's because it wasn't really the correct fit. It fit in more with someone using a laptop to create their own electronic music. When you're doing music like that, it's hard to get more than 20 people to come to your show.
I grew up in a classical music household. My dad is a phenomenal musician who can play any and all instruments, can sight read, can play by ear.
Obviously, [Wham!] made me a lot more comfortable as a musician. I was very confident that I would become a successful musician, but I had no idea I would be a celebrity.
At a certain age I just stopped arguing. I realized that there was no way [my father] could see, because for him to approve of what I was doing, he would have to have some belief in me as a musician.
I just hope that I'll stay around musically for as long as I can. I love to think that I will still be satisfying myself and other people as a musician until the day I die.
I got really excited about it. But then we went into the studio and tried to record some with different musicians, and it didn't sound good. It didn't work. So we put together the album [Unchained] with just a guitar and myself.
I don't know anyone on my mom's or dad's side that was a musician.
Do not categorize about music. You take each musician at the time and open yourself to that musician.
I was co-editor of the magazine called The Jazz Review, which was a pioneering magazine because it was the only magazine, then or now, in which all the articles were written by musicians, by jazz men. They had been laboring for years under the stereotype that they weren't very articulate except when they picked up their horn.
Miranda [Hentoff] is a complete musician. She's a composer, a singer. She writes scripts along - with her projects. And she's a superb teacher. Her teaching pupils have ranged from Itzhak Perlman to Sting.
[Miranda Hentoff] was teaching once at Lincoln Center, and the hall was full of other professionals - musicians, professors, teachers. And she was explaining how [Béla] Bartok composed his second piano concerto. And she explained how the music was interwoven with the rhythms and what he had in his mind. And I was just stunned. This is a kid who used to work - on a piano with a cracked keyboard.
Up-and-coming musicians can easily reach out and find a loving teacher, and that's definitely what happened to me.
There's nothing I like more than a writer who can sing, or a musician who has a book out.
Since I started as a comic person then became a musician to me it was interesting because I have this really great, interesting fanbase that's really smart and energetic and uh how could I steer them towards a medium that shaped who I was? You know, steer them toward comics. That was really the goal, to bring a lot of readers cuz they were reading a lot of comics but most of them hadn't been reading American comics, they'd be reading manga sitting on the floor of a Barnes and Noble.
To be up on stage and interacting with musicians, that was a huge epiphany for me.
That's the government. Having been a politician and a musician, I can tell you which one is a higher calling. If musicians ran the country, it would be a much different place. We wouldn't get a lot done in the mornings, but we'd work late.
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