A Quote by Luka Sulic
Of course we had the best possible classical education, which gave us a very strong foundation and tradition. But we also learned a lot by collaborating with different pop/rock artists and especially by recording and working in the studio.
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There's a bit of a new guard of contemporary classical musicians in New York, and we play a lot of different kinds of music together. We do pop studio sessions, and we'll also play John Cage and more avant-garde work. We're developing a language of music that comes with a lot of different styles, different kinds of work.
Every project is different. When I'm working on my albums, I've worked with different producers and they've all had different personalities. The recording studio sets the vibe, and that changes as well.
I had already been making music for my whole high school life, and '10 Day,' which took me a whole year to finish, was about working with a lot of different producers and learning all of the aspects about being a rapper, from shows to recording to studio etiquette to marketing.
There were a lot of negatives, of course, but there were positives to living a life unfettered by possessions. It gave us the chance to focus on education, which was very important in the Soviet Union.
The education that prepared me was my general education classes, which I tried to avoid when I was a stupid undergraduate, but which gave me the foundation of general knowledge that makes a career as a writer possible.
A lot of artists were members of the artistic union. It gave you the possibility to buy paints, canvases, brushes, even the possibility to get a studio if you had the money to build it. It also gave you the possibility to make your living by making official art and then you would get a lot of "official" commissions: portraits, paintings, murals, etc.
Someone who gave me a lot of confidence was my friend Martin Taylor, he's the most famous man in Bolton. He is a pianist and used to play in one of the local pubs. He would sing everything from classical to rock to pop. He was amazing.
There's a great energy and drive that takes precedence in a lot of rock and pop. It's about making a strong visceral connection. That's something that I think great classical music can have, too.
The foundation of a strong economy and job creation begins with providing every child in America with the best possible education, including students with disabilities.
I've worked with jazz artists, country artists, classical artists, pop artists. I never wanted there to be categories, because when I was a kid there weren't.
It used to take me a really long time, and I used to not be able to write in the studio because I felt there was a lot of pressure to be perfect. The more I'm collaborating with other artists, the more I realize being in the studio is about catching a vibe.
Knowing Latin and having two years of Attic Greek gave me the strong foundation upon which I've built a career. I think the classical training, more than anything, has provided me with longevity.
My Mom is a ballet director, so I had this idea in me that classical training is the best foundation for anything you do, so I wanted to get a classical background and voice.
You can see how different artists work, from writing to recording, just from being in the studio environment with them.
If you had a sign above every studio door saying ‘This Studio is a Musical Instrument’ it would make such a different approach to recording.
You're collaborating with people you don't even know, when you're making a film. You're collaborating with people you've never seen. So, the collaborative process is very, very different than when you're collaborating on a record with the musicians you've worked with all your life.
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