A Quote by Ryan Adams
Not to discount my music, but I'm always suspicious of the music that I make on some level, as to how valid it is. Or maybe not "valid," but how important.
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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.
But the proclamation, as law, either is valid, or is not valid. If it is not valid, it needs no retraction. If it is valid, it can not be retracted, any more than the dead can be brought to life.
There are musicians who want to make a living making music. There are listeners who want to listen to music. Complicating this relationship is a whole bunch of history: some of the music I want to listen to was made a while ago in a different economy. Some of the models of making a living making music are no longer valid but persist.
Perhaps this is the most important thing for me to take back from beach-living: simply the memory that each cycle of the tide is valid; each cycle of the wave is valid; each cycle of a relationship is valid.
Lots of people will give you advice... and depending upon how well they know you, the advice might be valid or not so valid.
Everyone has a unique perspective and that's valid. Everyone's perspective is valid. That doesn't mean that everyone has the same degree of skill level as an entertainer, but skill isn't the only important thing. It's also what kind of perspective and feelings you're bringing to it.
Maybe at some subconscious level, things are done to upset somebody - part of me continues to see no valid reason for many of the accepted rules of design.
But concepts around how a team functions, the importance of the relationship between football and the person, how you develop both, are always valid.
Music being “good or bad” is a flawed idea. Artists make what they want to make and we either connect with it or we don't. Just because we relate to some songs more than others doesn't make the others less valid, we just don't understand them. In fact, we aren't meant to, and that's all right.
I saw lots of music devices. I loved playing with music devices. And like most of the world, I thought of a music device as a music device. Steve Jobs tends to look beyond that, and he doesn't see a music device as having any importance at all - how fast it is, how many songs it can hold, and all that - he sees music itself to a person as a being the important thing.
In music, what is very important is temporality of space and length, based on the breathing space the director gives the music within the film, by separating the music from various elements of reality, like noises, dialogues... That's how you treat music properly, but it doesn't always happen this way. Music is often blamed, but it's not its fault.
But that is a valid, continuing service that that music - which is, in some cases, 80 or 90 years old - is rendering. And proving its own timelessness.
Some people who make music are instantly very savvy about how they can get their music to communicate in a larger way. For me, the music was always first, and I put a lot of time and effort and thought into making the recordings. But everything else around it, all the things that were necessary to have a career in pop music, I was completely ill equipped to handle.
I think every classically trained film composer feels to some extent, maybe on some level, that they took the low road, that they could have maybe pursued a career in the concert music world, and perhaps been involved in a higher quality of music.
I view myself as a musician and I focus on music - other people may try to focus on the music, but the emphasis is heavily on visuals and performance. They're both equally valid, but different.
If you think you aren't valid for whatever reason, let my existence and the way the world embraces my existence tell you that you are valid. You deserve to look, live, and walk through the world however you see fit. That's why I find it extremely important to be so out, so black, and so myself.
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