A Quote by Kelsey Grammer
All of the great music ever written is based upon the Mass. I mean, it's pretty extraordinary stuff, and I think it's done the world some good. And if you take a look at some of the mosques in the world, it calls you to worship the kind of beauty that's in there.
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I fell in love with books. Some people find beauty in music, some in painting, some in landscape, but I find it in words. By beauty, I mean the feeling you have suddenly glimpsed another world, or looked into a portal that reveals a kind of magic or romance out of which the world has been constructed, a feeling there is something more than the mundane, and a reason for our plodding.
Every time you think of doing some charity, you think there is some beggar to take your charity. If you say, "O Lord, let the world be full of charitable people!" - you mean, let the world be full of beggars also. Let the world be full of good works - let the world be full of misery. This is out-and-out slavishness!
I grew up listening to hits, and if I write something I feel, I think that's pretty mass appeal. I'm not very elitist with music. Love is universal; a great melody is universal; it goes around the world; it's not just American. A great song can touch the world.
I looked at the world of books and just went, Oh my gosh, if I'm writing novels, I'm on the same shelves as Jane Austen and Charles Dickens and Petronius - whereas with comics, they've only been doing them for a hundred years, and there's stuff that nobody's done before. I think I'll go off and do some of the stuff no one's ever done before.
The living can't quit living because the world has turned terrible and people they love and need are killed. They can't because they don't. The light that shines into darkness and never goes out calls them on into life. It calls them back again into the great room. It calls them into their bodies and into the world, into whatever the world will require. It calls them into work and pleasure, goodness and beauty, and the company of other loved ones.
I'll take anyone I can get that will pay money to see me. And if there's more of me in the world, people who think they're good people and comedians who have a good message or whatever, then that's great. If there's some kind of balance there that's good.
I'm not a great guitarist, but I do bits and bobs. I'm mainly a songwriter and a composer. I've done a lot of scoring and some stuff for British pop music that did pretty well, but I've mainly been working on my own stuff with Duncan Sheik.
Some men worship rank, some worship heroes, some worship power, some worship God, and over these ideals they dispute-but they all worship money.
Upon graduation, go out into the world and try to find yourself. What do I mean by that? Read Socrates, no. Get a job? Not yet. Go out and do some crazy stuff. Don't hurt anybody including yourself, but take some risks. Travel a little bit. Make big mistakes that you have to apologize for. Do stuff that will make you relatable to the world. And whatever jobs you settle into, you will be better at it, for it.
What one does in the studio is to pose a series of problems to oneself. I've got to look for some deeper meaning, for some reason for this thing to be in the world. There's enough stuff in the world.
I am trying to make some kind of connection to what is going on in the world, to make some sort of contact. And I use the instruments that our modern world offers, these extraordinary instruments of photography and film and computers.
I'm always doubting my work, even when people are kind enough to say good things. I still have a hard time believing I've written some books, let alone that they've actually done pretty well.
The New Kids took some hits for, you know, not writing their own music. But on a songwriting standpoint, I mean, I'd never written music before when I was in the group, ... Now the music is my music, so it's kind of like my baby, and that was a whole different experience.
I think pretty much all people who love each other had some kind of thing at first sight. I mean, there has to be some kind of moment where you, like, feel a different energy around someone.
'Greek Street' is a very strange beast. I think of it as 'The Long Good Friday' meets 'Agamemnon.' A way of using those fantastically rich stories from Greek tragedy to take a look at our world and to explore some of the things I think about this world.
I know that my music is heard a lot in commercial circles. In academia, I think my music is taken in differently but I'm not sure why that is. Some kind of sixth sense tells me that people in that world are thinking differently about it. I don't know if it has to do with the structure of my music, which is probably more apparent to those in the academic world than it is in the commercial world, where people tend not to think of that aspect of music so much. They just listen for pure enjoyment.
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