A Quote by Renee Fleming
I've spent hours and hours doing research into Appalachian folk music. My grandfather was a fiddler. There is something very immediate, very simple and emotional, about that music.
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My music doesn't really sound like punk music, it's acoustic. And it doesn't really sound like folk music 'cause I'm thrashing too hard and emoting a little too much for the sort of introspective, respectful, sort-of folk genre thing. I'm really into punk and folk as music that comes out of communities and is very genuine and very immediate and not commercial.
There are those who advocate, and those who do. I'm not trying to slight my peers, but there is a difference between using a soapbox and actually getting your hands dirty. I've spent not only years and millions of dollars but hours and hours and hours of my time doing what I do, and that's very different from what anyone else is doing.
I think there's a difference between the type of folk music that people put into the box of "folk music" and then there's the kind of folk music that I aspire to and am in awe of, and that is the kind of folk music where it's very limited tools - in most cases a guitar, in a self-taught style that is idiosyncratic and particular to that musician.
Northeastern folk music influenced me from a very young age. Sachin Dev Burman is one of the inspirational musicians in Indian film music. The way he fused folk music with his signature style is amazing. So, I am aware of the beauty of northeast folk music.
I'm actually doing what I like doing, which is mixing opera music and classical music with soul and folk. And I was writing and talking about what I've actually experienced, and I don't think that's very common.
When I was 15, 16, 17 years old, I spent five hours a day juggling, and I probably spent six hours a day seriously listening to music. And if I were 16 now, I would put that time into playing video games.
It's a very simple process. He [Danny Boyl] comes in the tube (subway) and then he sits with me for 3 hours every evening and then I work on something. Then later, if he likes something, I put it even more perfectly. I tweak stuff. So this happened for 3 or 4 weeks and the music was done.
My music is very emotional. The reason why I want to play music is very emotional. I want to call out my emotions and package them into music.
Wagner always opens you a second breath, and then you go on, and you are absolutely into his musical world, and you can't stop, and you can listen for four hours, five hours, six hours, and then you are like in his mystical hands of his music. He's such a great poet of music.
I do a lot of research for my books. I can't possibly know all the things I write about and I love learning new things. I spend hours and hours doing research in books, libraries and online. [Once] I traveled to the reservation to get the settings and the flavor of the place down right.
I love commercial music! I can dissect it and criticize it with any critic in the business. But without any thought, I just enjoy it. It's folk music. That's what I'm doing, folk music. I'm not intellectualizing it . . . and making it into a phoney art form. I'm just doing the music I enjoy.
When I listen to music today, it is about 99 percent classical. I rarely even listen to folk music, the music of my own specialty, because folk music is to me more limited than classical music.
If someone asked what kind of music I play, I wouldn't say I'm a folk singer; however, if folk music means music for the people, and playing music to entertain them and share different messages, then sure, I'd like to think that I'm part folk singer.
Jazz I regard as an American folk music; not the only one, but a very powerful one which is probably in the blood and feeling of the American people more than any other style of folk music.
Music has its own emotional embodiment. It carries an emotion with it. When you associate a lyric with the music, it's much easier; but when you're standing there completely dry in front of the camera with no musical background, just a fine-tuned, get-this-emotional-story across, it's a very, very intense kind of focus.
My dad was very influential with the music he exposed me to. He was really into blues and folk, so he'd play me guys like Muddy Waters and T-Bone Walker and Richie Havens - a lot of very emotional players.
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