A Quote by Aaron Bruno

My point is I'm kind of an outlier. For whatever reason, the success still blows my mind - that I'm able to talk to people about the music I've written. — © Aaron Bruno
My point is I'm kind of an outlier. For whatever reason, the success still blows my mind - that I'm able to talk to people about the music I've written.
For whatever reason, the success still blows my mind - that I'm able to talk to people about the music I've written. I always felt like there was something there because you don't put out music unless you have a sense that people will maybe like what you're doing or you're standing for something artistically. I don't mess with that. It's more about just music and trying to keep the integrity, I guess.
In a way, to have whatever people talk about as "crossover success," I think it means you start making bad music. I mean, when I'm flipping through the channels and see the VMAs or something, I don't really see any music there.
People get to a certain age and success that they stop being curious. I'm still curious because I haven't really had that success. I've never done a record to catch whatever the latest sound is. It's my love of music, eclectic-ness, and the music that I heard my entire life that seeps in. That's what you're hearing.
There are certain scripts that are just written in a way where, for whatever reason, I read it, and instantly that inspiration hit me and it was just kind of electric, and I didn't have to think about it. It just kind of went from there.
The thing that I would say you get the most hate about on social media, in my experience, is if you tweet anything about women's rights or feminism. It blows my mind. But it's the thought of not being a feminist that actually blows my mind.
Well the first record is something that you just put so much into. And the second record, people always talk about the sophomore jinx and everything, but I was still able to get through it and still focus on what I needed to do and make timeless music.
I think one reason my books have found mainstream success is that they're written from a skeptical point of view.
When I see my old mates they will say, 'You're doing well, good on you!' It kind of blows their minds - it blows my mind too!
I want to be able to speak freely about what I believe. There's a lot of people who would actually like to be able to do that but, for whatever reason, they can't.
After the success of 'Rumours,' we were in this zone with this certain scale of success. By that point, the success detaches from the music, and the success becomes about the success. The phenomenon becomes about the phenomenon.
I sort of attract people who are interested in my comedy for being able to talk about whatever I want to talk about and not being ashamed of who I am and not hiding it.
When people say, 'Stay in your lane; you're a musician, so you should only talk about music,' what do you think songs are written about? I connect with music because what somebody has said has resonated with me in one way or another.
It blows my mind when I actually consider that men are as human as I am. How can you possibly be as human and have all of the thoughts and feelings that I have and never be able to talk about it, ever? Guys are in desperate need of truth telling. They are in desperate need of a revolution.
When there is talk about the best point guards, sometimes they dont talk about me. But that is not my main motivation. They can talk about Jason Kidd, Steve Nash, Deron Williams, and Chris Paul. I still have the most rings.
Music is neither old nor modern: it is either good or bad music, and the date at which it was written has no significance whatever. Dates and periods are of interest only to the student of musical history. . . . All old music was modern once, and much more of the music of yesterday already sounds more old-fashioned than works which were written three centuries ago. All good music, whatever its date, is ageless - as alive and significant today as it was when it was written
So it's not really whether you talk about politics, but how well were you able to do it. Peter Gabriel and Sting get away with it...U2...the examples are there, of people being able to carry these subjects in the music, and the audience is absolutely able to embrace subjects that aren't just the stuff they already know about. And they're actually able to learn stuff.
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