A Quote by Neil Peart
All this machinery making modern music can still be open-hearted. Not so boldly charted, it's really just a question of your honesty.
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You're not just making music for your personal use no more, just making music for your homies around you; you're making music for people around the world. Kids in Alaska - like, you're making music for everybody. When I make music, I just think on a larger scale.
Think boldly. Don't be afraid of making mistakes. Don't miss small details, keep your eyes open and be modest in everything except your aims.
It's more difficult to write a song about having your heart ripped out of your chest while you're in love. Because it lacks honesty. And the honesty comes through in the music, it really does.
When it comes to the music making, that's when we completely are open and just let anything go down in the studio. It's nice to go with whatever's happening. It's really important to just let the music come out of you.
It was a natural thing for me to go become a musician, and then to start writing music. I don't even really remember making a decision to go into music, it was just there for me, always. If I weren't making a living at it, I'd still be writing music.
I've always been really opinionated, and mixed with being really open hearted, open to people shifting what I think all the time, but I like to speak with conviction.
Many native cultures believe that the heart is the bridge between Father Sky and Mother Earth. For these traditions, the 'four-chambered heart,' the source for sustaining emotional and spiritual health, is described as being full, open, clear, and strong. These traditions feel that it is important to check the condition of the four-chambered heart daily, asking: 'Am I full-hearted, open-hearted, clear-hearted, and strong-hearted?'
Music is so clearly a commodity now. At one point, maybe 20 years ago, there were still some rumblings about keeping the really sacred American popular music out of the hands of corporate advertisers. And those walls have come down, but now I think the logical reaction to that is that you just start making your own music.
There's all of the DVD extra material and all these other pieces of information that don't fit into a 90-minute experience, but it's still content and people still want to see it. It's being open to [the fact that] the business is changing and being open to how you can make money to afford you to stay in business to keep making new things. I think you just have to have an open mind and be really smart about stuff and not be so locked into the conventional way of how the process used to go.
In general, the musicians we met that made the most sense just said to do what feels right and try not worry about what other people think. I know that sounds stupid and simple. I feel like Neil Young has done that and he's still making albums. He's one of the people I really look up to as someone who has kind of stuck to their guns their whole career. Just making music for music.
I think country music is about honesty. Any art has to have honesty to start with, as the core of it. I mean, they're just going to manipulate you in one way or the other, but there has to honesty at the core of it.
It's the honesty you apply to your playing that makes music enjoyable. The style of the music has little to do with it. It's only honesty makes it beautiful.
Global warming is real. It is happening today. It is being charted by our satellites. It is being charted by our scientists. It is being charted by those of us in this body, and I think the real key is if we are ready to admit that fact and take the action to make the necessary conversion.
It is still an open question, however, as to what extent exposure really injures a performer.
I'm making music for people to have fun and party to. I'm also making real music as well. I'm making a lot of pop stuff. I'm definitely just making music for the consumer and the listeners. So shout out to all my fans.
Basically, you're still sitting there using just the muscles of your hand, really. Of one hand, actually. It's another example of the transfer of literacy to making music because the assumption is that everything important is happening in your head; the muscles are there simply to serve the head. But that isn't how traditional players work at all; musicians know that their muscles have a lot of stuff going on as well. They're using their whole body to make music, in fact.
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