A Quote by Bruno Mars
A lot of people are really quick to say, "That song sounds like this." Or you - "He's tryin' to sound like this." And I'm always like, "You're damn right I am. That's how - that's why we're all here." You know, we all grew up idolizing another musician. That's how this works. That's how music is created.
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We all grew up idolizing another musician. That's how this works. That's how music is created.
Guys like Future and me, we help create and shape the sound of music - not just Atlanta music, but music all over. If you really pay attention to the music being made, a lot of that is very heavily influenced by the stuff that we created. I listen to so many songs that's like, 'Damn, this sounds like my music!'
A lot of people are like, "How are you going to re-do it?" I'm not worried about what people are going to say because you know people are gonna be like, "It doesn't sound like this... It sounds like this." I'm just going to make music that I know I'm supposed to make.
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.
We were thinking about how other people deal with this career on every song. We got to meet people like Thom Yorke and hear him say how it's never normal when fans just come up to you. It's always a strange job. We don't want to come off like we're pitying ourselves for having this job because it's really amazing in a lot of ways. But there's a lot of stuff that comes with it that we're not really comfortable with.
I like when I tweet about Tony Hawk. A lot of times, people think it's true; like, I've tweeted about having lunch with him a lot, and people are like, 'Oh, how was he?' or, like, 'Do you have a pic?' I don't know how to explain it. He's right at the level where people could almost believe it, but it's also a really weird pairing.
I am not an evangelist. I am not a preacher. I am a musician. That is what I know how to do. I know how to write songs. I know how to write things that relate to my heart. I feel that I talk about God in every song, in everything I do - all of it! I really do not know how to respond. I do not relate to that.
The weirdest thing I've been fascinated with nowadays is the new contemporary country music, which to me sounds like very strange '70s pop, and sometimes like rock music. But some of the themes in there - maybe it's because I know how the songs were written, but it really does sound like it was written by two or three people, with the idea to appeal to the most general audience.
You know, I really feel a responsibility to the music, and I teach workshops in music sometimes. And folks do come to me and they go, 'How do I make this blues song my own? How do I feel like I'm not an impostor doing this?' And I'm like, 'That's an excellent question.' That's where you should start, where you go, 'How does this speak to me?'
For a lot of people, 'Dungeons & Dragons' has been a hard thing to describe. I can't tell you how many social environments I've been in where I say, 'I play 'D&D,'' and a bunch of normies will be like, 'How does the game even work? What's that like?' I didn't have anything to really describe it that didn't make me sound like a crazy person.
Growing up as a classical musician, you're taught a lot about outreach and about how people aren't being taught music in school. But you don't have to study music to like it. And a lot of the music that people like - be it jazz or rock or opera - is stuff they haven't studied.
I grew up kind of poor, so like, I know it sounds pretentious, but I don't really know how to spend money.
The script is like music to me. I approach it like it's a musical piece and I hear how it's supposed to sound when people say the words. There's rhythms and there's intonations and things, and so, when somebody comes in and hits the notes that I hear, I go okay. Or, they come close enough, and then I'll say "Well how about you try it like this?" and if they have a good ear and they can pick it up, then I think okay, they've got it.
The whole life of a song doesn't end with the way that it sounds on the record. How does this song grow? What works live? What do people like to sing along to?
I really want to be known for my work. That sounds like such a... cliche, and I've thought about how else I can say it to make it sound less hackneyed. But that's what it comes down to... I know people are interested in these things.
There are lots of cases where we know more about how the world works than we do about how we know how it works. That's no paradox. Understanding the structure of galaxies is one thing, understanding how we understand the structure of galaxies is quite another. There isn't the slightest reason why the first should wait on the second and, in point of historical fact, it didn't. This bears a lot of emphasis; it turns up in philosophy practically everywhere you look.
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