I like to think that my works flow like music. That may be one reason I work in large groups versus one picture of one thing; it's the flow of the whole series that counts.
My music was my life, and it played a large part in my inability to sustain relationships.
About 50 percent of the songs on the radio are like, 'Live like tomorrow doesn't exist. Like it's my birthday. Like it's the last day of my life'... Such a large percentage of pop music is really about party time.
I think that the best part of music is when it comes from a real place and has an ability to kind of connect on a much larger scale. It no longer is a personal thing, it becomes everyone else's thing as well.
I think right now, you've seen these artists pop up over the last decade who've flirted with branching together a lot of different kinds of music. Some of them have been huge, and sold millions of records. And I think over time it's become a little bit of what the industry can be.
In the last few years I've been listening to jazz more than anything else. I listen to a lot of world music and experimental here and there.
I used to work at this store called Music Plus in San Clemente, California, when I was growing up, and then they became Blockbuster Music, and, like, you had to get a haircut to work there, and at the time I had some pretty long hair. So after that policy was imposed, I knew that was going to be my last summer working there.
You are the music while the music lasts.
This music is forever for me. It's the stage thing, that rush moment that you live for. It never lasts, but that's what you live for.
Lately I've been believing that music predates speech.
I don't want to make music only for Latinos. The idea is always to make a global sound.
Apple has given me a platform to spread music. They're giving us Latinos a chance to shine.
All movies, when they're about the music business, tend to have a bit of a wide latitude in terms of how things really were.
Might I be ridiculous? Might my career in music be laughable? Yeah, that's possible, but that's certainly not my intention.
Obviously 'Stranger Things' has given me the launching pad to have creative license for whatever I want, and I love doing the show, but when it comes to music, I want to distance myself as much as possible.
The Smiths was an incredibly personal thing to me. It was like launching your own diary to music.
Growing up, I listened to a lot of everything - I fell in love with music, when I discovered people like Lauryn Hill and Tracy Chapman, people whose voices I could really feel, people with a lot of soul. That's what I'm drawn to as a musician: Anybody that has their own voice and their own point of view.
Being a professional musician doesn't mean you spend 12 hours a day playing music. It means you spend up to 12 hours a day taking care of business, dealing with litigation, with the various characters who've stolen your interests, or fending off hostile lawsuits from former members of the band.
Imagine if every airport would blast Brian Eno. I bet going through security wouldn't be as difficult. I can't imagine someone being aggressive with me with Brian Eno music pumping through the terminals at LAX.
I have always been far more interested in sound than technique, and how sounds work together, how they can be layered. I think electronic music, in its infancy anyway, allowed us to create music in a way that hadn't really been possible before. It created a new kind of musician.
