A Quote by Dimebag Darrell

Towards the end with Pantera - although I was never unhappy with the music we were making - it became one-dimensional, and we wanted to open things back up. — © Dimebag Darrell
Towards the end with Pantera - although I was never unhappy with the music we were making - it became one-dimensional, and we wanted to open things back up.
Looking back, I remember my family laughing a lot. We were never the kind of people that dwelled on hard times. My family laughs when things are tough. Growing up like that, I got used to making jokes about things that were difficult. So when I started doing stand-up, that's what I went towards.
Film is a two dimensional thing - it goes up and down and left to right but if you put that music into that two dimensional medium, it became like a third, fourth, and fifth dimension, I really believe in that.
When I was making the early stuff, I never expected it to be so big. I was in my own kind of bubble. I never wanted to tour; I just wanted to create music and make a diary I could put out into the world. And sometimes, I became the characters.
Towards the end of the seventies pop was gaining the momentum and respectability was very high with groups like Yes and Queen who were making "classical" rock records. They were also bringing in big bucks. So the eighties became the "bottom line" decade.
I was never a one-dimensional guy; I was always able to block shots, play defense, get rebounds, or drive, or pass. My father made me grow up that way. He taught me to work on different things in my game and wanted me to be more than a one-dimensional player.
With Damageplan, we had to endure the Pantera fans, because Pantera is what they really wanted. But with Hellyeah, at a show in Baltimore, the crowd knew all the words.
[ If I wasn't making music ] I'd probably end up going to school, I never went to school. Or just give up and get my plumber's ticket and move back to Edmonton and become an alcoholic.
I became alienated from this religious upbringing, and started making music. I wanted to be a big star. All those things I saw in the films and on the media took hold of me, and perhaps I thought this was my god: the goal of making money.
Looking back, I think we were very much a part of democratizing music, and we wanted to demystify the process of making music - to show it's a myth.
I feel like kids that grew up in New York City or in L.A. were exposed to all these subcultures and subgenres, whereas I was only exposed to the poppiest of pop music so I never had this negative connotation towards pop music. That's not South African music having an effect on me, but just how international music was filtered through South Africa affected me. It gave me a not-negative connotation towards pop music growing up.
One of the things I wanted to do in the Department for Education was open up the policy making process and run things like wikis in open formats in order to a: start off with better ideas and then b: adapt to errors much faster than is possible with normal Whitehall systems.
Pretty early on in making the first movie I realized that this is what I wanted to do. I felt like by that time I just found my niche, like this is what I was supposed to be doing. So I completely submerged myself into the world of watching movies, making my own movies, buying video cameras and lights. When I wasn't making a movie, I was making my own movies. When I wasn't making movies, I was watching movies. I was going back and studying film and looking back at guys that were perceived as great guys that I can identify with. It just became my life.
It's very interesting to read why Cornelius Cardew became disenchanted with academic avant-garde music. He wanted to reach as many people as possible and change their consciousness. He wanted to reach the "working classes" in England. The kind of music he was making was very much from the academy, even though it had a lot in common with things like free jazz and improvisation, and he felt that it was the music of the elite, and that he wasn't really speaking to the people.
I don't believe there are any more blockbusters films. Back in the day with music, people would wait up all night for the music store to open to get their favorite CD, and if it were sold out they would come back again.
What's wrong with hip-hop [is that] it became so one-dimensional; it became like a businessman thing. It's run out of creativity. It went so far off about making money that now everyone can do it.
In my mind, I was never going to have the things I wanted if I played music for a living, unless I became a rock star.
This site uses cookies to ensure you get the best experience. More info...
Got it!