They [the teachers at European conservatories] taught us because they wanted to pass the knowledge on and educate young musicians. It was not because they had to teach because they failed as musicians. There is a huge difference in the reasons why someone is teaching and what they can offer and what they cannot offer.
They taught us because they wanted to pass the knowledge on and educate young musicians. It was not because they had to teach because they failed as musicians. There is a huge difference in the reasons why someone is teaching and what they can offer and what they cannot offer.
I've always had money because of my early success with Cream, so I tell young musicians to aim to write their own material, because owning the composition rights makes a very big difference.
I suppose musicians have the kind of arrogant attitude that they can actually offer the world something, because through their passive power, they're able to be the strongest arms that they can be, incredibly strong. That's what keeps us going.
Don't teach necessarily what others teachers are teaching. Find what it is that you have to offer and teach that.
Sometimes people offer you plays, they offer you parts, but they only offer it because I'm famous.
I suppose I was lucky enough to be educated at a time when teachers still thought children could handle knowledge. They trusted us. Then there came a time when they decided that because not every kid in the class could understand or remember those things they wouldn't teach them anymore because it wasn't fair on the less good ones. So they withheld knowledge. Then I suppose the next lot of teachers didn't have the knowledge to withhold.
I can't do too much musical movement with a lot of MC's, because they don't know how to follow me. But with Souls of Mischief, I could go anywhere because they are musicians - they rap as musicians, and they play instruments and produce, so they get that.
There is an apprenticeship system in jazz. You teach the young ones. So even if the musicians weren't personally that likable, they felt an obligation to help the younger musicians.
Classical musicians go to the conservatories, rock´n roll musicians go to the garages.
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
I arrived back in Argentina and a week after I had the offer from Arsenal. They called my agent and my family and I thought it was all about signing a new contract for my club in Argentina because they wanted to offer me one at the time, but it was actually to sign for Arsenal.
You probably became a musicians because you're into it so stay that way. Don't believe that someone else has the golden ticket for you because they don't.
We didn't educate women, because the leaders then didn't think they were educable. That changed when a shortage of teachers developed, because men didn't get paid enough to teach school. Then men, who held the positions of power, sent women to teachers' colleges.
To you, W. B. Yeats, good praiser, wholesome dispraiser, heavy-handed judge, open-handed helper of us all, I offer a play of my plays for every night of the week, because you like them, and because you have taught me my trade.
My voice doesn't sound like anyone else's. I wanted to sound like my favorite singers when I was young because when you're young you don't put much value on uniqueness. But later I realized I had something special to offer.
All of them had so much to offer us as far as, you know, knowledge in the music industry, and especially Randy and Paula because, you know, they've been artists.