Top 1200 Background Music Quotes & Sayings - Page 17

However, I have a lot of greed. The types of music I want to show are on this side and on that side. Conclusively, if I'm able to make good music and people continue to look for my music, won't this kind of controversy get better... is my thought.

Background singers who are any good have to be great imitators.

You can't be from Montgomery, Alabama, and not have a background in the church. It's at the core of who we are as a people.

We [with Cisco Adler] came back to the concept that our music, our lifestyle, and what we stood for was dope. So whoever the show brought to the music, they would stick. It was a way to bring people to the music, and I'm still doing that.

Growing up in a Mennonite background, there's not much media.

I always wanted to use my newspaper background in a novel.

If we taught music the way we try to teach engineering, in an unbroken four year course, we could end up with all theory and no music. When we study music, we start to practice from the beginning, and we practice for the entire time.

I always put people with my kind of background first.

... the hardest studio music to play is Tom & Jerry - cartoons. The music makes absolutely no sense, as music. You can't get into hearing it. There's nothing to hear-'bleep!, blop! scratch!' and it comes fast; everything's first take. That'll change the way you look at life.

As far as using electronics in my music, I have to do that as honestly as possible. Also, I have a broad range of listeners from a classical music base, as well as people, like me, who listen to a lot of different music. So I'm mindful of letting my sitar playing remain at the center of what I do.

Music is generally important to blind people, and most of the blind people that I have come into contact, through my parents, music is very special to them. Obviously, because it is more salient, you know? We might like going to the movies, and of course we like music too, but when the eyes don't work then the ears pick up slack. Music is all the sweeter at that point.

I came from the most orthodox background you could ask for.

I don't believe in an annual dose of film music for the sake of it being film music. If we program film music, it will be because there is a real artistic reason for doing so.

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.

I was kind of, I would say, even obsessed with music. I wanted to start learning piano when I was six years old, and after that, my parents were very supportive and they took me to several kinds of music lessons. So music filled all my childhood.

Anybody with my background in the airline business who is not deaf is a fraud.

I kind of always wanted my own music to just sound like, like me, I suppose, like if I was music it would be the music I make, I think.

I didn't like any British music before The Beatles. For me, it was all about black American music. But then I became a successful pop singer, even though the kind of music I liked was more elitist, which is what I'm trying to get back to.

Basically my influences have been American influences. It's been blues, gospel, swing era music, bebop music, Broadway show music, classical music. It's like making a stew. You put all these various ingredients in it. You season it with this. You put that in it. You put the other in it. You mix it all up and it comes out something neat, something that you created.

We come from a live background of sketch improv and standup.

I want to travel around the country and make my living playing music. I also try to behave in a way that I would appreciate as a music fan. That's how we conduct ourselves, be it in writing music or playing it live.

The work of Liszt I most admire is the music he wrote toward the end of his life. This is often music of tremendous inventiveness. The music seems to be seeking something. It tends to be restless, unpredictable, often very sad.

I'd come from a background in New York of picketing and protesting.

It matters a great deal that I come from a Jewish background.

I read a lot of biographies and books with an African background.

If you're from a poor background, you have to work even harder. But that's what makes you who you are.

Congolese rumba was so huge in Africa that everybody was inspired by it. But my African roots brought me this music. In every African family, parties in Brussels, we used to listen to this kind of music. And salsa music as well.

I am aiming my books at anybody with no economics background.

But, yea, I grew up in a strong Baptist background.

It's easy to get next to music theory, especially between your peers and music classes and so forth. You just pay attention. I had a good ear, so I realized that printed music was just about reminding you what to play.

What you don't get in the mainstream media is so much of the background material.

My family never had a business background. We are artistes.

What's wrong with the 'Laffy Taffys' and the Soulja Boys? We need fun records. We gotta have dance music. We gotta have club music. We gotta have kids' music.

I come from an academic background. I wasn't raised to be into promoting myself.

The background looks like a lot of red cards.

I was in punk rock bands, heavy metal bands, world music bands, jazz groups, any type of music that would take me. I just love music.

I like to listen to Congolese music because when I was a kid with my father, he took me to play some tournaments in the car and always put on this music. I always fell asleep with this music so it's good things that I remember.

In the 1960s, people like Bob Dylan, his music and words were a threat to the society and mainstream of the time. It shook people alive, and directly and indirectly things changed. But, as I see it, the change is never through the music alone. It's also the circumstances around the music that will cause/create the effect. And sometimes it's just strictly accidental that a piece of music becomes a form of protest.

We are Korean, so obviously they call our music K-pop. But we never thought of our music as K-pop. Our music is just our music.

Some people draw a line between music videos and short films, looking down on music videos as a format, but there's so much potential in music videos.

I don't have any sympathy for the subject matter, [but] I have great respect for rap artists. In fact, not for the rap artists, but the people who make the music over which they rap. Rap music - the music itself is incredible - but [the people that make the music] are hardly ever credited.

I was always into the music. Music, in general, saved my life. But the fame part... I would look up, see what was going on around me, the reporters and photographers and all, and then I would just go back to making my music.

I mean, I do consider that my music is pop because Ive been influenced by pop music my whole life; I grew up in the States and 80s pop music was my biggest influence.

When I entered Harvard, my background was mostly combinatorics and algebra.

I came from a theater background and always wanted to act.

I was not put here to be a background character in someone else's movie!

Music, for me, is the most sacred of the arts. I say that because music communicates in a way that no other art form can. All great art has a spirit that we recognize and appreciate, but music goes directly to your heart.

But back then the thing that saved me was the music, and it's certainly the music that saves me now. The music, my family and my friends and everybody around me.

I always think about fashion when it comes to making music and music videos... what the colours will look like, what the material will be, how will it work with the sound of the music.

There is no foreground or background, only a continuity of interlacing relationships

Nothing is more futile than theorizing about music. No doubt there are laws, mathematically strict laws, but these laws are not music; they are only its conditions? The essence of music is revelation.

I love old-time music, I love country music and I love the American music that we have to offer the world. And any part of that is fine with me, as long as it's pure.

It's funny, the power of music. I was watching 'Dracula,' the 1931 version with Bela Lugosi, and the only music you hear is at the very beginning of the credits. There's not one other piece of music; it's all silent. It's unbelievable, and it's very effective, too.

It probably helps that my background is in the sciences and I can speak the scientists' language.

I always felt that the music sells by itself. The music has always been the successful aspect on my career, and that means that, to me, I can always still stay very focused on music.

Your background and environment is with you for life. No question about that.

I come from a background where money has never been an issue.

What is very interesting when talking about electronic music is that - I would say that rock and roll is called the ethnic music born in America that invaded the world. Electronic music is certainly kind of ethnic music born in countries like Germany and France that has invaded the world.

I feel like a damehood doesn't happen to people from my background.

Companies that pretend to care about music and really care about other things - whether it be hardware, whether it be advertising - and now they look at music as a loss leader. And we know music isn't a loss leader; music is an important part of our lives.