A Quote by Hunter Hayes

All the people I hung out with were musicians. — © Hunter Hayes
All the people I hung out with were musicians.
My father was a painter. There was a lot of singing. We hung around with a lot of folk musicians. My family knew a lot of great folk musicians of the time, like Woody Guthrie, Paul Robeson, Leadbelly. They were all people we knew.
People stopped hanging out with me at the point when I stopped doing drugs. All of a sudden they didn't wanna hang out with me anymore. And I would have hung out with them. I mean they were killing themselves, but I still would have hung out with them.
I hung out in Northeast Portland, I hung out in Beaverton. I knew a lot of people on every demographic. For me out there, I loved my time out there.
I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.
I was an athlete, so I hung out with the jocks. I was smart, so I hung out with the nerdy kids. I was also into theater, so I hung out with the misfits... So I was always in different groups, and those groups never quite overlapped. The racial part of it was just another one of those groups, in one sense.
I've hung out and performed with many Native American musicians, and my experience is that the first peoples of this land are incredibly open, warm and forgiving.
I hung at the studio. Myself and James Booker and several other musicians, as kids, we just literally hung at the studio, hoping somebody would get sick or get hurt and that we'd get to sub for them.
From the time I was a kid, I'd never joined groups. I hated high school groups. I hung out with hippies, musical people. I hung out with whomever I found compelling and interesting and smart. And I continued to do that throughout my life.
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
But I think Cybil was my biggest fan. She cut out my articles and hung them in her locker and we were always cracking up how if you wrote the simplest, most obvious thing in the world people thought you were a genius.
When we were kids, the type of friends we hung out with were more creative types.
Musicians know all about unemployment. You're unemployed a lot, and I think there's a great deal of empathy between musicians and people who are out of work.
I grew up with parents who were English professors at Wichita State University, and we were more liberal-minded as a family than most of the people I hung out with in Wichita. During summers, we went off to Telluride, Colorado, where I've returned every summer since I was born.
The lion's share of what I hear right now are people who, intentional or accidental, have avoided all jazz prior to 1960. And all the musicians who were successful in the '60s spent their entire lives, prior to 1960, listening to all the musicians these people avoid.
It's hard to top what you see in the film, they were just such a great group of people to work with and we all hung out in between scenes and I got to know everybody a little bit.
Luther Vandross and I met in Roberta Flack's band. He was singing background, I was playing bass, and Roberta was beautiful. She's like the mom to all these young musicians in New York. At that time that I met Luther, I was a musician snob. For me, the singers were just the people out in the front to keep the audience entertained. While the musicians did the real work.
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