A Quote by Michael Hersch
I do believe young people should be obligated to try different types of music - that is what education is. But once you're in a situation as an adult, it doesn't benefit anybody - at least in my experience - to force music on people that they don't like or do not have an interest in - whether it's three-hundred years old or newly written.
Related Quotes
Music is neither old nor modern: it is either good or bad music, and the date at which it was written has no significance whatever. Dates and periods are of interest only to the student of musical history. . . . All old music was modern once, and much more of the music of yesterday already sounds more old-fashioned than works which were written three centuries ago. All good music, whatever its date, is ageless - as alive and significant today as it was when it was written
When I look at music, everything is blurred, and I like it that way. I grew up like that, hanging out with different types of people who listened to so many different types of music. I never wanted to be part of any one clique. I loved it all.
I liked experimenting with a lot of different styles. So, it always saddens me when I see young people, or even older people for that matter, who are limited to one specific type of music. They don't really allow themselves to experience so many types of music out there that are so wonderful to listen to. And there's good parts and bad parts, I guess, to all of them.
All old music was modern once, and much more of the music of yesterday already sounds more old-fashioned than works which were written three centuries ago.
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 some people have a different idea of what the band Young the Giant is. We're normal guys. We're down to earth. We like doing other things besides music although for the past three years music has been our life. We're not trying to be too pretentious. Some people take that as a red flag. They say, 'these guys are boring' or 'they don't have anything flamboyant or left field-ish to say,' but if they don't like that then they don't like that. That's who we are. Just even tempered people. We're not too crazy.
Folk music - and what people are now perceiving as being folk music - is music that's quite close to the ground. The songs sound quite old, even if they're new. They sound like they've been sung by different people for years.
I think so much of young adult literature sort of gets ghettoized - the title 'young adult' makes people immediately discount it. And just like with books that get written for adults, there is plenty of young adult literature that is bad. But there is also plenty of young adult literature that is brilliant.
I always want to be doing both to travel as a teacher and lecturer, and to be a musician. I think in this generation institutionalizing the art form and spreading it to the younger generation through education is really important for all artists to have some hand in. Right now in popular culture and the mainstream, it's not a big part at all. I think education by young artists talking to young people, not just older people talking to young people, it gives an experience never felt before. I think over the years it will do a lot for the music.
Three 6 Mafia have been around for a long time; we've made a lot of music. Anybody's music can influence anybody. I've heard people say that our music has influenced such and such, and it could be true, and it could not.
You know, where I come from, an antique, to be called an antique, it has to be at least a hundred years old. That's a law: before you can call something an antique, it has to be a hundred years old. In L.A., something that's been around for a couple of weeks is an antique. It's true! People are like, Look at this old-fashioned iPod. Look at this! It's the size of a man's hand! Ha ha ha ha. Back then-back then, people thought Mel Gibson was just acting crazy. It was a very different time.
I don't know that it makes any difference whether it's at this time or a hundred years before or a hundred years later. I think always it's a matter of simply listen[ing] to what is going on around you and in your own experience. Try to understand what's happening, or if not to understand it, at least to appreciate the reality of it.
It's funny, if you go back and look at all those old movies a lot of times they didn't have the budget for music. Each scene here was written to a different time, whether that be 'Breakfast in America' or just different soundtracks that we had for different parts of the movie. I'm interested to see how it all plays once it's all put together.
Except in a few cases like Music for Airports, which was a very clear case of noticing a niche [and] saying, "Okay, there's this situation in which people always play music, and nobody has written music for that situation so I'm going to." So, that was a very clear example of spotting a niche and working for it. I have done that occasionally.
....the popular music of Jamaica, the music of the people, is an essentially experiential music, not merely in the sense that the people experience the music, but also in the sense that the music is true to the historical experience, that the music reflects the historical experience. It is the spiritual expression of the historical experience of the Afro-Jamaican.
I always tell people that my music should speak to them... and that they shouldn't feel obligated to say why or how. All reactions are valid; the important thing is to have the experience.
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