A Quote by Andy Summers

I'm just trying to avoid any sort of generic kind of music - I don't want to do generic jazz or fusion. — © Andy Summers
I'm just trying to avoid any sort of generic kind of music - I don't want to do generic jazz or fusion.
'Chels-emojis' are in the works. I use emojis heavily in life, and I think a lot of people do. There are a number that are frustratingly absent - you know how there's kind of a generic white man and a generic white woman? I just want to put a generic black man and a generic black woman.
I started out trying to play more straight-ahead jazz. I went to Berklee in the early '60s when it was a brand new school, and so there was no fusion music. There wasn't a lot of mixing together of different kinds of music at that time, so jazz was kind of pure jazz.
Everyone is talking about sustainability and resilience, yet all that knowledge is thrown in the bin. [Lagos is] a unique case, but also a test case. It's unbelievably unique, but also it's now considered with a number of really generic opinions, generic solution, generic expectations.
The Law of the Generic: One of the fastest routes to failure is giving a brand a generic name.
Comedy is a funny thing, and it's really not like any other art form in that it's very specialized and varied in it's content, but generic in it's title. You would never go to a club just to see "Live music," you would go to a jazz club to see jazz, a blues club to see blues, etc. But when you go to see "standup comedy," if you don't know the performers material, you really don't have any idea what you're gonna get.
To most people, jazz-fusion means this dreadful synthetic jazz-rock thing, this jazz-Muzak, which I detest. They also think of jazz as a specific form of music, while to me it's just the opposite.
I know I'm different and I don't fit in to any kind of generic mould.
The generic Canadian style of illustration is different from the generic American style.
In Montreal, there is a friend of mine at school who is a jazz pianist with an amazing voice, and we sort of have this fusion/soul/R&B/folk music kind of thing. We've been keeping it low-key and opening for some friends.
Trying to make your own sound is hard. When I was producing for other artists, I could just produce and write songs as a normal songwriter, and almost make them generic. The artists themselves, whoever is singing that song, can put their own twist on it. When it came to my own material, I had to really dig deep, because I was just writing generic stuff. It sounded like everybody else, like Justin Timberlake, like Usher. I never wanted to sound like someone, that's when you know it's not going to work.
The higher cost of getting a generic drug approved by regulators means that many old medicines don't face competitors. It's only after substantial price hikes that these drugs offer enough revenue to offset the rising generic entry costs, and start to entice competition.
What I don't like is constructing a book that fits in with any kind of generic template, whether it's fiction or nonfiction.
I'd like to work more, but I don't just want to do kind of generic characters. I want to do interesting characters, and I'd like to be cast against type.
I don't want other people to decide who I am. I want to decide that for myself. I want to avoid becoming too styled and too 'done' and too generic. You see people as they go through their career, and they just become more and more like everyone else.
I just want to creatively grow and be inspired. I don't want to do anything generic or dumb.
I want to avoid becoming too styled, too ‘done’ and too generic. You see people as they go through their career, and they just become more and more like everyone else. They start out with something individual about them, but it gets lost.
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