A Quote by Moby

The aggressive, energised, political, or even politicised, culturally aware music hasn't really existed [recently]. — © Moby
The aggressive, energised, political, or even politicised, culturally aware music hasn't really existed [recently].
South Africa is highly politicised; even small issues become politicised, and it becomes quite bitter.
Posttraumatic stress is something that's always existed. I think that the earliest recording was during the Trojan War, but it's only recently that we're beginning to be aware of it.
When I first started, I wasn't really aware of anything in the industry or aware of who I really was. I just put my music out there and tried to get as many people to hear it as possible. I hadn't really thought about the kind of music I wanted to make.
It has always seemed slightly uncomfortable, the idea of politicised musicians. Very few of them are clever enough to do it; if they're good at the political side, the music side suffers, and vice versa.
The question about the Salafi is an important question as I say in Arab Awakening, and have often repeated since. I am really underlining the importance of this, because we really don't have very good memories. Remember - the Taliban in Afghanistan were not at all politicised in the beginning. They were just on about education. And then they were pushed by the Saudi and the Americans to be against the Russian colonisation, and as a result they came to be politicised.
I do have a big problem with the idea of music as a form of communication unless it's political - and that's where it's tricky because a lot of music is political, even if it's not overtly so. But my music isn't that; it's about a feeling.
I love the music of Lauryn Hill and Erykah Badu and more recently the music of Laura Marling. All these women share a strength and a wisdom in their voices and music that really makes me want to make music and sing.
When I first started, I wasn't really aware of anything in the industry or aware of who I really was. I just put my music out there and tried to get as many people to hear it as possible.
I listen to a lot of religion-based music, culturally rich music. Ethnic and world music. Music from Latin America has been influencing me in particular.
I recently realized that I'm gender-fluid - I didn't even know that was a term until recently - but I have a strong effeminate side and identify with women in that way. Because women would make jokes and they were all really funny, but the straight male comics always said "faggot," or they had some really awful gay joke. And so it's like, I'm just going to watch the ladies because they don't - I'm sure there are, but I couldn't even tell you one woman comic that I've ever heard say the word "faggot."
Some movies work really well with music from Bach or Mahler that existed long before the film, so music has its own autonomy.
Music has brought me some of the highest moments of my life. I don't even hear the music. I don't even hear the notes. I'm not aware that someone has turned on a tape machine - I'm in another world.
Around 2008 was a really special time culturally. There were a lot of cool things going on in music, in fashion, politically. It was a really hopeful time and a really creative time.
I never knew how passive-aggressive people could be until I became a parent. Or even aggressive-aggressive. It actually began before I had a child. A relative asked me out to lunch and told me I was too old for motherhood.
Violence existed before our music was even suggested.
Political realism is aware of the moral significance of political action. It is also aware of the ineluctable tension between the moral command and the requirements of successful political action. And it is unwilling to gloss over and obliterate that tension and thus to obfuscate both the moral and the political issue by making it appear as though the stark facts of politics were morally more satisfying than they actually are, and the moral law less exacting than it actually is.
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