I think a lot of actors, especially actors with a theater background, have a musical ear. A lot of actors just want to be musicians anyway, and a lot of musicians want to be actors.
Doin' music, musicians and artists, we have the advantage of doin' something that is our passion. At the same time it's fun, and it's like a dream to other people, and live off it, feed yourself off of it. 'Cause it's hard, you know what I"m sayin'? You really gotta grind and you really gotta love and enjoy what you do, if you're gonna make it. 'Cause if you don't believe in yourself, if you don't got people believin' in you, people aren't gonna buy it.
Many people, including myself, thought of Jobs as an inventor, an Edison-like figure, but he wasn't. I did a documentary on James Brown recently; and, oddly, I found a lot in common between Jobs and Brown. Jobs was also a fantastic performer, put on an extraordinary live show at his product launches, but he could also be ruthless, cruel and totally self-aggrandizing. And just as Brown surrounded himself with the very best musicians, Jobs understood the importance of hiring the absolutely most talented people and knew how crucial they were to the success of what he was trying to do.
Indeed we have souls. And if a person is religious, I think it's good, it helps you a bit. But if you're not, at least you can have the sense that there is a condition inside you which looks at the stars with amazement and awe. That listens to water with a river flowing, or water falling in rain and is lifted up by that and listens to a wonderful singer, wonderful musicians, listens to maybe Duke Ellington or Frank Sinatra or listens to Odetta and Mary J. Blige. Yes, and thinks whoo! And thinks, yes, hmm, all right now. My soul has been washed. I feel better, I feel stronger.
The good thing about playing with other musicians is that it's much easier to make the translation to playing live. It's much more difficult if you're trying to take something you've overdubbed alone on stage. But again, there are some benefits.
When you get in the middle of a career and you're successful, people come and offer you things. My biggest fear was that if you try to do something else and you're trying to build your music career, and then you say, "I'm going to go do a movie," and you're terrible, you can really hurt your music career because as a musician, the goal is to be cool. You're playing the guitar and you're in front of all these people and your vibe is to be as cool as you can possibly be.
As for uniqueness, this is virtually nonexistent! And it's a shame that people think they're unique because they have a face ring, retro clothing, colorful hair, drive a certain kind of automobile or listen to some obscure musician.
I've been a musician for 52 years professionally. I do it because, for me, I love it.
In order to function and pay our bills and our taxes and feed our families and stuff, musicians have to make a living. It's not about being a millionaire. It's about being able to survive. When there are people constantly stealing from you, it's quite frustrating. It's a matter of changing the public's option about doing it.
I think the idea now of being a performer in this era of social media saturation means that you have to be an actor, a musician, a stand-up comic, writer, or a director. Focusing in on one thing doesn't take up all of your time.
It's amazing to hear proficient musicians play your music. It's a once in a lifetime kind of experience.
As an artist, I never wanted to be fettered by gender nor recognized or defined as a female poet, musician or singer. They don't do that with men - nobody says Picasso, the male artist. Curators call me up and say, "We want your work to be in a show about women artists," and I'm like, why? For Christ's sake, do we have to attach a gender onto everything?
I'm a semi-failed writer, but I'm a capital-F Failed musician.
In America, the poor have been invisibilised, because obviously this model of success that has been held out to the world must not show the poor, it must not show the condition of black people. It can only the successful ones, basketball players, musicians, Condoleezza Rice, Colin Powell. But I think the time will come when the Occupy movement will have to somehow formulate something more than just anger.
My boyfriend's a musician, and I think when he's on stage is the only time he's not worrying. And so that's the reason he keeps doing it is because it gives him that sort of experience of weightlessness that I only get out of being sort of, deep into writing something or really lost in a moment on set, like it's available to me in these select moments through my work.
I don't wanna talk about Teo [Macero]. He's a helluva musician, a brilliant musician, but he's just not for me, that's all. I can elaborate on it, but I don't want to do that.
Jazz musicians are so comfortable. The reason they can't do what we do is because they're so comfortable doin' what they do.
[Jazz musicians] feel comfortable with their clichés, you know.
If you make a suggestion and [musicians] don't know what you mean, you have to be able to do it yourself. I often sit down on drums and show 'em just exactly what I want. And I do it and then say, "How do you do that?" It's because I know how it looks, I know what I want to hear, and I don't drop or rush any tempo. It ain't in my body, it ain't in my nephew's body.
There's something I have about being Canadian - there's a distance it gives you when you live in the States and operate in American culture. You approach familiar things a different way; you come at it from a different angle. It's a trait that runs through a lot Canadian artists' work and actors' work and musicians' - that kind of special remove.
I feel very strongly that if you got rid of all of the autistic genetics you're not going to have any scientists. There'd be no computer people. You'd lose a lot of artists and musicians. There'd be a horrible price to pay.
I would argue that among musicians who work in technology today, the level of technological sophistication probably exceeds that of military programs, to be blunt. They are just really smart people attracted to making strange new sounds.
I heard these stories [about musicians from my mother] and somehow music, it was my understanding what my father had done. I didn't know it was misinformation. It sort of inwardly in my psyche laid the template for music being affiliated with my father and my family.
A lot of musicians have said things to me like, "Music saved my life". And "I'm standing on the shoulders of dozens of people that you've never heard of that were like angels for me that came out of the woodwork." And that's really the case for me. I had so many people that did those kinds of things for me.
Sometimes I would go on Sundays and play with Doc Cheatham. I was also playing in a band of teenagers led by Don Sickler called Young Sounds, and The McDonald's Big Band led by Rich De Rosa and Justin Di Cioccio. All those guys were great educators and musicians and taught me a lot! Simultaneous to all this, another one of my musical fathers came into my life, Eddie Locke.
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