A Quote by Warren Cuccurullo

Making music is fantastic. — © Warren Cuccurullo
Making music is fantastic.
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.
Sonic Youth was a collective. There's something fantastic about the idea of making music is a social activity.
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.
I'm from Louisiana, and that's where I got my start, in Cajun music. There's a huge music scene down there centered around our culture. Those are people that are not making music for a living. They are making music for the fun of it. And I think that's the best way I could have been introduced to music.
I wasn't making music for the sake of music but rather making music in the context of other music. At the same time, it doesn't mean I'm not going to try and do that some day.
I think everybody don't know what color I am. It's like, "He's not black enough. He's not white enough. He's got a Latin last name but he doesn't have - he doesn't speak Spanish. Who are we selling this to? Are you making urban music? Are you making pop music? What kind of music are you making?"
What I can say is I think [Miley Cyrus] a fantastic artist. She's got a fantastic voice. I made a comment in the past that I really regret making because I never like being mean.
I wouldn't have known when I was a teenager that when I was coming up to being a sixty-year-old woman that I'd be making music, I'd be recording music, talking about music, and incorporating my views on the world into the music-making. So it's a very rarefied place to be, and I'm very grateful for that.
Some of the music I made for 'Fantastic Damage' I thought I was making for the Company Flow album, but the majority of it was post-Company Flow.
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 Some of the models of making a living making music are no longer valid but persist.
I think it's important to remember that music supervision is not just about a fantastic record collection or knowledge of music, although that certainly helps for aspiring music supervisors.
My advice to young people wanting to make music and to be in this industry is to really spend your time making music. Make so much music you have no friends. Make music. Figure out what it is you love, and... because if you're making cool art, then everything else will fall into line.
When you come home and dad's making music, sister's making music and my mum is also very musical - you can't escape it.
Making music can get so emotional that, if you don't set limits for yourself, it can push you or the person that you're making music with to a breaking point.
I've been making music since I was damn near born. For me to be a producer and be on my sixteenth year making music is a blessing.
I wouldn't say making psychedelic music is my focus. That's not the modus operandi for Tame Impala. It's about making music that moves people.
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