Itay Talgam Quotes
A whole generation of veteran composers has never taken a stand or provided an example and has produced in the music academies generations of docile workers for the music industry. What can you expect from downtrodden workers who see music as a type of profession, like stenography, and not an act of creation that by its nature is subversive?
Quotes to Explore
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I've always written songs that were confessional, acoustic, wordy - my writing style matches my personality. The music always has to match the mouth it comes out of.
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I really believed that my songs were good enough for the whole world to listen to. I had fans from America or the U.K. who would be like, 'Oh my God, I love your music'.
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Young kids should be doing music that has shock value. They'll grow out of it.
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When I think about atheist friends, including my father, they seem to me like people who have no ear for music, or who have never been in love.
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Acting isn't a singular profession, it is a collaborate profession.
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There's never any pressure on the music having to be something.
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I've always considered music stores to be the graveyards of musicians.
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I'm a pretty easygoing person, and it bleeds into the music. Even if I'm writing the most personal song, it's not going to come out totally serious; there's always a little tongue in the cheek.
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I've had so many hot, cheesy, corny loves of music in my life. I had a very intense Billy Joel period. So once you've really Joeled it up - there's some good periods of Joel; it's not all hot cheese. But I can't judge anyone else for their cheese. I've deep-sea dived in the Gouda.
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I joined the Madras Christian College but dropped out after three months. Telugu music director Ramesh Naidu asked me to assist him, and I did so for over a year. I did think of rejoining college, but by then, I was discovering the musician in me. I worked with Illaya Raja and Raj Koti and soon shifted to commercials. This led to movie offers.
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There's not a day goes by that I don't appreciate the freedom that I have to make music and tour and spend time with my family.
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We feel more and more intensely about the music we make. It's unexpected, and not always what you would think of in Beach House. It's all art in the end. We aren't making records because we have to; it's because it's what we want to express.
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We're real people and we're a band that's been playing on the scene for a long time. We've made a lot of friends, and one enemy we've always had was the NME. They've always basically slated us and they've basically never ever written about the music.
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When I started making music, I was so heavy into the hyphy movement. That's something you only know so much about if you were right there living in it, submerged in the culture.
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I thinks it really interesting how they throw the world music samples in there. I often wonder what it would be like to do something like that, but use my lyrics and my kind of style.
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Everyone assumes it is just 'Wendy who works at Tesco' who goes to audition for 'X Factor,' and then their lives are changed, wham, like that. Me, I am someone who has tried for years in the music industry.
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The main reason people want to pay for Spotify is really portability. People are saying, 'I want to have my music with me.'
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When I started music, I think it was responsible for keeping me sane, because training as a dancer really kept me in good spirits amid all the crazy stuff that happened when I first became popular.
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In my old age, my mind gets more open, and I listen to so many different types of music and I guess that all reflects in my work.
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The effectiveness of work increases according to geometric progression if there are no interruptions.
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What I learned being a young child was respect for food. Don't throw anything away.
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I'm not trying to win an award for being the best vegetarian, just want to be healthy. Take a salt bath. Do things that my parents were never able to do. I'm blessed to do anything I want so I decide to take the best care of my body and my family in the same way. Holistically. Vitally.
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I went through the process of auditioning like every other struggling actress in this town.
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A whole generation of veteran composers has never taken a stand or provided an example and has produced in the music academies generations of docile workers for the music industry. What can you expect from downtrodden workers who see music as a type of profession, like stenography, and not an act of creation that by its nature is subversive?
