A Quote by Kenny G
I don't go to clubs. I don't know what club mixes are supposed to sound like.
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I think, when you're a young composer, you're told constantly that what you're supposed to do is figure out what your voice is. "What is your thing supposed to sound like?" You know: "What's the thing you do," that everyone can recognizably tell from a long distance is you and then you're supposed to be in search of that marker and you're supposed to find it and you're supposed to live there for the rest of your life. And it seemed to me, from a young age, that was what I was encouraged to do. You find a sound and that's your sound! That's what you do.
Now we know everything about golf equipment. A player doesn't have to know diddly about golf clubs, because we know what a golf club can do and how it can fit to you. I hate to harp on my era because people don't like that, but 30 years back was so different. I didn't have maxed-out clubs. The clubs now are amazing.
I like to go to the clubs. As long as the environment permits, and it's not too knuckleheadish, I'm there, I go to the club. Because that's where you get inspiration from.
And I used to go the punk clubs such as a gay club in Poland Street that everyone would go to because it was the only place you could go to looking like that without getting beaten senseless.
I think that the reason my records are able to live forever in the club is because I actually like to be in the club. I don't go to the club to do VIP or get bottles or nothin' - I go to the club, I enjoy the people, I see what the people are vibin' off, and I see what makes me go crazy in the club also, and that has a lot of influence on what I bring to the table when I'm thinking of making a big club record.
Clubs have sponsors. They are just there for commercial reasons but the club calls them partners. Then you have the fans. The fans are emotionally involved, they are loyal, and the clubs call them customers. I think fans owning a share of the club would mean the owners know what 'customers' really think and feel.
Any great club needs the mentality to go on and achieve things - it is what clubs like United have.
I like dancing but not in crowded clubs. I would rather dance alone than go to a club.
If a club like Barcelona can do it, then why can't other clubs? It's amazing that we can be here alongside the men and the way everyone is integrated in the club. People aren't just walking past you going, 'Who's that?'
It is very tough in England. Every away game is hard, of course. And normally, if you're a big club like Chelsea, you're supposed to win games at home against smaller clubs. But in England, that's not the case. We must play well every game.
I don't know rap. I can't tell you a Tupac song. But you put on some go-go, and I'll know it word-for-word. That's why I feel like I got my own sound - or a D.C. sound.
I was actually the head of the violin after-school club. And then I was also the head of the dance club, the popping club. So one day, just by coincidence, we had to hold the two clubs at the same time. I had to go back and forth. And that's when the idea came up for dancing and playing violin at the same time.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
I am not going to lie: I know that there are clubs that want to sign me and can match Real Madrid's demands. But that's up to my representatives and the club. I will stay if the club wants me to stay.
Now I know what a dulcimer is supposed to sound like.
I would have been happy to play in Holland for a big club, but I can see the point of selling me to an English club. It's very simple: Dutch clubs are not going to spend £16m on a player like me.
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