Because somebody plays guitar, why does it mean they need a singer? Because people already have this image of things? No, I'll put my music together, then think about whether I need to embellish it with a singer.
It's hard to find an emblem of cultural, national pride that burns as bright as Israel's success in classical music.
'Mi Gente' is a song that embodies a special moment in music - a new sound of a Latino culture on the rise and being embraced globally.
I think that Michael Jackson, just as an entertainer, as a figure who embodies the contradictions of black identity and the possibilities of R&B music in the '70s and '80s, will continue to be one of the most recognized and formidable human beings that we've ever produced in our tradition.
Music embodies feeling without forcing it to contend and combine with thought, as it is forced in most arts and especially in the art of words.
Hip-hop is a part of rock & roll because it comes from DJ culture. DJ culture is the embodiment of all genres and all recorded music, if you actually pay attention to it.
Music has its own emotional embodiment. It carries an emotion with it. When you associate a lyric with the music, it's much easier; but when you're standing there completely dry in front of the camera with no musical background, just a fine-tuned, get-this-emotional-story across, it's a very, very intense kind of focus.
I think all those artists are artists who are appreciated because you believe their words and you appreciate their honesty in their music. If you don't appreciate the honesty in the music, the beat can be fly as hell but you'll never give an emcee props.
The need to make music, and to listen to it, is universally expressed by human beings. I cannot imagine, even in our most primitive times, the emergence of talented painters to make cave paintings without there having been, near at hand, equally creative people making song. It is, like speech, a dominant aspect of human biology.
My favorite bands were Emerson, Lake & Palmer, Jethro Tull, Uriah Heep, Grand Funk Railroad. If you listen to some of my early music, you can hear it.
I am not facing the problem of emigration. I want my music to be acknowledged here first of all, in this country: after that, we shall see - perhaps the question will than become urgent.
Some readers may be disturbed that I wrote 'The Secret Life of Emily Dickinson' in Emily's own voice. I wasn't trying to steal her thunder or her music. I simply wanted to imagine my way into the head and heart of Emily Dickinson.
The race factor was just a minuscule part of what I was doing with Eminem. It was really about the music and how well we worked together.
Eminem has been someone that I've always considered the greatest ever, to ever do it. You know what I mean? In every aspect, the storytelling abilities, lyrical ability, honesty. You can hear it in my music that I'm heavily influenced by that.
I only read the very best music books. Donald Fagan's memoir 'Eminent Hipsters' is great. Bob Dylan's memoir 'Chronicles' and Patty Smith's 'Just Kids' are both incredible.
I was inspired by Solange's album, 'A Seat At The Table,' from the moment that I heard it. She has clearly taken the time to create a unique body of work and emote through her music from a true place.
I just want to make art that connects with people and moves them on an emotional level. Any time I can put out music and place a story behind it and have people watch it and go, 'Wow, I was affected by that,' to me, feels like I've done my job.
I've never been an artist that really got into fluff songs. I like songs that have substance to them. I think sometimes that may hurt me commercially a little bit. But I like to cut things that have the power to speak to people on an emotional level. That's the power of country music to me.
Music should resonate with people on an emotional level. That's one of the criterions I use for an idea. Does it speak simply and directly without obfuscation and without being unnecessarily complex or obscure?
Music is the emotional life of most people.