A Quote by John Rzeznik
One of the things about live music that's so incredibly important and can't be replaced and automated is the common focus of a room full of people having that human contact and being immersed in the sensory overload of a rock concert.
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I want to prove that Holst's 'The Planets' can be as much of a sensory overload as a concert by the Grateful Dead, and just as exciting.
I'm a practical person. Most fashion people live in the clouds, and they're full of it. I live like a human being - or, I try to - and I have to be intelligent; I have to be practical. I'm a great believer in common sense, and the older I get, I see that common sense is not that common.
It was as if the sensory overload that is American life had somehow led to sensory deprivation, a gilded weariness, where everything is permitted and nothing appreciated.
Our world is so bursting-full of natural wonder that we are all experiencing a sensory overload. We are no longer perceiving all of Ú the details, just the ones that immediately interest us.
I try to describe how I feel about this, about being closer and closer to the top of WWE, things like Madison Square Garden and to share a beer with 'Stone Cold' Steve Austin and to get a win over AJ Styles it's almost like sensory overload, everything is happening so fast.
If people want to write long, rambling, pathetic articles about how sad they are about song titles, have a blast! I'll be out playing music to a room full of people, having a great time.
Overloading attention shrinks mental control. Life immersed in digital distractions creates a near constant cognitive overload. And that overload wears out self-control.
One of the most rewarding things is meeting someone after a concert who has never been to a concert before. It is incredibly rewarding when they say, 'This is my first classical concert.' It is really exciting for everyone.
People being incredibly rude and playing music incredibly badly and being incredibly obnoxious has always been a teenage sort of thing.
I think the best way to listen to my music is through recording. I would love to be one of those artists where you can go into a coffee shop and watch people pass by and then my music is in their ears. Not necessarily a sensory deprivation thing, but that's cool too. Unfortunately in order to focus on nobody else, you would probably have to go into a dark room and just sit there and listen to it.
Yeah, of course, there's always gonna be people with their own opinions about a female in rock music and men in rock music, but at the end of the day, it's just about being a good musician.
Music is very, very important in my movies. In some ways the most important stage, whether it ends up being in the movie or not, is just when I come up with the idea itself before I have actually sat down and started writing. I go into my record room... I have a big vinyl collection and I have a room kind of set up like a used record store and I just dive into my music, whether it be rock music, or lyric music, or my soundtrack collection. What I'm looking for is the spirit of the movie, the beat that the movie will play with.
In horror movies, you can write music that if it was performed on the concert stage would have the audience running out of the room with their fingers in their ears. But in a movie, all of a sudden it becomes incredibly accessible and appreciated.
I have the ordinary experience of having the blender bottom come off in my room upstairs. I have the ordinary experience of being anonymous when I'm in an airplane talking to air-traffic control, and they don't know who they're talking to. I have a lot of common experiences. What's important is to be able to see yourself, as having commonality with other people and not determine, because of your good luck, that everybody is less significant, less interesting, less important than you are.
When I'm representing my music live I think of it very much in a rock band sense. When I first started doing festivals in the 90s there really weren't other DJs playing the stages I was playing. So I felt I was being afforded an opportunity to kind of make a statement about what DJ music can be live. In the 90s, if you were a DJ you were in the dance tent, and you were playing house music and techno music. There was no such thing as a DJ - a solo DJ - on a stage, after a rock band and before another rock band: that just didn't happen.
I'm a fan of 20th century orchestral music, the experimental avant-garde composers of the '50s, '60s, and '70s. In horror movies you can write music that if it was performed on the concert stage would have the audience running out of the room with their fingers in their ears. But in a movie all of a sudden it becomes incredibly accessible and appreciated.
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