A Quote by Sean Mackin
Music education is very important. I think that for me growing up, I was disciplined very hard at home.
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My father was a very disciplined singer who worked hard at his craft, and I was around that growing up.
Growing up in Sweden, musical education is something really special. There are music schools everywhere, and the education is very advanced.
I'm very lucky to be at this level and it is very hard to catch up. It is all about holding on and it is very important to learn from the other drivers. I tend to put a lot of pressure on myself, wanting to be very good very quickly, which forces me to up my game.
I don't think poverty provides that much of an obstacle to education as one thinks. I think the bigger obstacle to education is the fact that it's a very hard thing to do for a first-generation schoolgoer. Because not to have parents at home who can help you, motivate you, is a problem even when the parents are in the abstract very keen on children being educated.
I think that growing up very poor in a very wealthy town gave me a sense of being an outsider, and I hated it when I was growing up.
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Education was the most important value in our home when I was growing up.
I grew up in a household that was a labor household. My dad was a Teamster and a milk truck driver. My mother was a secretary. Neither of them got through high school. But they worked hard and they gave me very, very important opportunities to go to school, get a good education.
It's an advantage to have two parents, but to have one parent to stay closely connected and at home during those early years of education can be very very important.
Music is what is going to save me," "On the bad days, when I have to look at the cold, hard facts of life, I see that this is not the music business I came up in and I have to be very, very objective and detached and say, 'what's good about it and what's bad about it?' Mostly, I'm finding it good that it's not the same old music business, because the music business I came up in really didn't advance anything I was doing, and I don't think it was particularly kind to a lot of artists.
I think I was just lucky to be brought up in a very musical family. My two older brothers were, and still are, very musical and very creative, and music was a big part of my life from a very young age, so it is quite natural for me to become involved in music in the way that I did.
I think I am very hands-on mother. I am very strict, and my daughter keeps telling me, 'You are too hard on me,' and I keep telling her, 'I have to be hard because if I am not hard, you will not learn the lessons that I want you to learn.' I think it is really important to be that way.
Growing up in Jamaica, the Pentecostal church wasn't that fiery thing you might think. It was very British, very proper. Hymns. No dancing. Very quiet. Very fundamental.
The rhythm of music is very, very important for people with Parkinson's. But it's also very important with other sorts of patients, such as patients with Tourette's syndrome. Music helps them bring their impulses and tics under control. There is even a whole percussion orchestra made up exclusively of Tourette's patients.
Australia is my birth home, so it will always be a home of some sort. But I'm very happy, very pleased to be representing Great Britain. That is my home, and that is where my heart is. That is where I grew up, essentially. So when people ask me where I'm from, where is home, that's where it is.
I have this very kind of like heterodox idea of what an education is, what underpins identity. I don't think I'm very easily pigeon holed in any of those boxes, so I confront this. I have a staff full of young people who came up in a very different tradition and who feel very fired up about the big identity battles. I listen and I try to navigate them, but I don't find them mapping onto my life in a personal way which is, which is hard.
