Obviously, it's had a huge effect on repetitive music or dance music or house music. Ambient in the last ten years has infiltrated into all those repetitive musics. I don't know what part it plays in pop necessarily but I'm sure there's some connection. But in all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience. I think it's infiltrated that pretty heavily.
I grew up singing Mexican music, and that's based on indigenous Mexican rhythms. Mexican music also has an overlay of West African music, based on huapango drums, and it's kind of like a 6/8 time signature, but it really is a very syncopated 6/8. And that's how I attack vocals.
Growing up, my grandmother did not want worldly music in the house. Then when I went out to California, I started listening to Spanish music, mostly Mexican music. But were I in Egypt, I would listen to the music of the people, or if I was in Italy, I'd listen to Italian music.
I did not like that name "world music" in the beginning. I think that African music must get more respect than to be put in a ghetto like that. We have something to give to others. When you look to how African music is built, when you understand this kind of music, you can understand that a lot of all this modern music that you are hearing in the world has similarities to African music. It's like the origin of a lot of kinds of music.
I love all types of music - jazz, great pop music, world music and folk music - but the music I listen to most is piano music from the 18th, 19th and 20th century. Russian music in particular.
My family is still in Los Angeles. We listened to all sorts of music: Mexican music, oldies, soul, disco and rock & roll. I was surrounded by music.
My entire life has really revolved around music that was written about the time that I was born, 1908, to just before the First World War and shortly after it. This music I've always known, and it is that music that's most important to me.
I have never denied my background or my culture. I have taught my child to embrace her Mexican heritage, to love my first language, Spanish, to learn about Mexican history, music, folk art, food, and even the Mexican candy I grew up with.
Dick Clark's 'American Bandstand' spread the gospel of American pop music and teenage style that transcended the regional boundaries of our country and united a youth culture that eventually spread its message throughout the entire world.
My dad had these great Benny Goodman albums that I was obsessed with, and Louis Prima's another guy I loved, and Peter Niro the jazz pianist. I loved international music: Irish music, Mexican music. I love the different colours that they all have.
Irving Berlin has no place in American music. He is American music. Emotionally, he honestly absorbs the vibrations emanating from the people, manners and life of his time and, in turn, gives these impressions back to the world -- simplified, clarified and glorified.
I love old-time music, I love country music and I love the American music that we have to offer the world. And any part of that is fine with me, as long as it's pure.
California is full of Mexican culture and Mexican music.
I'm Mexican-American, but for a long time I was pushed out of any references to Mexican-American writers. It was easier to come out as a gay man than it was to come out as a Mexican-American.
You know, jazz is the mother of all American music. R&B and pop and rap and everything are the branches on the main tree of the life of music, American music, which is jazz.
There was always a lot of American music in England until, obviously when the Beatles came around, then there was a shift towards English music, but before then American music was the main thing.