Musician Attitude Quotes

Life when one first arrives is a continual mortification as one's romantic illusions are successively shattered and the musical treasure-house of one's imagination crumbles before the hopelessness of the reality. Every day fresh experiences bring fresh disappointments.

Enlightenment is tuning our consciousness to music of the universe.

We are all beautiful instruments of God. He created many notes in music so that we would not be stuck playing the same song. Be music always. Keep changing the keys, tones, pitch, and volume of each of the songs you create along your journey and play on. Nobody will ever reach ultimate perfection in this lifetime, but trying to achieve it is a full-time job. Start now and don't stop. Make your book of life a musical. Never abandon obligations, but have fun leaving behind a colorful legacy. Never allow anybody to be the composer of your own destiny. Take control of your life, and never allow limitations implanted by society, tell you how your music is supposed to sound — or how your book is supposed to be written.

The sound of music, makes me dance.

I was a wise-a** college student of twenty at the time and a precocious musician, with somewhat of that screw-you-I'm-a-jazz-player attitude.

When all else fails, there is music. When that fails you, there is beer.

One of the other musicians said that the tambourine is a female due to the fact that it makes a pretty jingle and is designed to be spanked. That is the more recent, patriarchal attitude, I suppose.

WORSHIP IS …not just a song, it’s a way of life. It’s not just for musicians and good singers, it’s for everyone. It’s not just 20 minutes once a week. It’s an ongoing daily attitude that reminds us of His greatness and our dependency upon Him.

Most musicians want career-level results for hobbyist-level commitment.

You can reach maximum performance by engaging in physical activities.

Life is 99 percent attitude. Yet for the majority of people, it is the remaining one percent that dominates 99 percent of their life.

If you are a musician, sing to one as if you were singing to a million. If you are a dancer, dance to one as if you were dancing to a million. If you are a performer, perform to one as if you were performing to a million.

Andrea Meyer: What do you think your films offer to people today? Agnès Varda: I would say energy. I would say love for filming, intuition. I mean, a woman working with her intuition and trying to be intelligent. It's like a stream of feelings, intuition, and joy of discovering things. Finding beauty where it's maybe not. Seeing. And, on the other hand, trying to be structural, organized; trying to be clever. And doing what I believe is cinécriture, what I always call cine-writing. Which is not a screenplay. Which is not only the narration words. It's choosing the subject, choosing the place, the season, the crew, choosing the shots, the place, the lens, the light. Choosing your attitude towards people, towards actors. Then choosing the editing, the music. Choosing contemporary musicians. Choosing the tune of the mixing. Choosing the publicity material, the press book, the poster. You know, it's a handmade work of filmmaking - that I really believe. And I call that cine-writing.

The Work of Art. When I watch the audience at a concert or the crowd in the picture gallery I ask myself sometimes what exactly is their reaction towards the work of art. It is plain that often they feel deeply, but I do not see that their feeling has any effect, and if it has no effect its value is slender. Art to them is only a recreation or a refuge. It rests them from the work which they consider the justification of their existence or consoles them in their disappointment with reality. It is the glass of beer which the labourer drinks when he pauses in his toil or the peg of gin which the harlot takes to snatch a moment's oblivion from the pain of life. Art for art's sake means no more than gin for gin's sake. The dilettante who cherishes the sterile emotions which he receives from the contemplation of works of art has little reason to rate himself higher than the toper. His is the attitude of the pessimist. Life is a struggle or a weariness and in art he seeks repose or forgetfulness. The pessimist refuses reality, but the artist accepts it. The emotion caused by a work of art has value only if it has an effect on character and so results in action. Whoever is so affected is himself an artist. The artist's response to the work of art is direct and reasonable, for in him the emotion is translated into ideas which are pertinent to his own purposes, and to him ideas are but another form of action. But I do not mean that it is only painters, poets and musicians who can respond profitably to the work of art; the value of art would be much diminished; among artists I include the practitioners of the most subtle, the most neglected and the most significant of all the arts, the art of life.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

Your talent will attract lot of people to work with you. Your attitude and character will keep those people working with you or will chase them away from working with you.

There is need to focus on selling an emotional experience instead of a mere product or service - the impression you make on others must be lasting and permanent. These experiences have to be positive and worth remembering. This will increase the chances of repeat business and referrals, guaranteeing customer loyalty. And that is what sustains businesses, brands and careers for generations! The principle remains the same for comedians, actors, footballers, musicians, sales executives or any other area of specialty.

I've seen lot of people who gifted and talented ruined what they have and they end up becoming nothing and nobodies because of their attitude , character, emotions , greed and Influence from friends.

I was able to visit Prague ten months after the successful revolution and to speak to a number of people close to Havel who described their own experiences in carrying out his principles. They found that they could call upon aspects of their selves that they didn’t know existed: a ne’er-do-well part-time musician became a completely reliable organizer and distributor of an important underground newsletter. A writer denied publishing outlets by the regime came to work effectively with mental patients and then became an adviser to the president of the new democracy. What I called “Proteus in Prague” was the capacity of individual people for attitudes, actions, and skills they had not previously recognized in themselves.

So how can you say Jazz started in whorehouses when the musicianers didn't have no real need for them?

Read them through once a day, and keep an inner ear cocked for any shifts in attitudes or beliefs. BASIC PRINCIPLES Creativity is the natural order of life. Life is energy: pure creative energy. There is an underlying, in-dwelling creative force infusing all of life—including ourselves. When we open ourselves to our creativity, we open ourselves to the creator’s creativity within us and our lives. We are, ourselves, creations. And we, in turn, are meant to continue creativity by being creative ourselves. Creativity is God’s gift to us. Using our creativity is our gift back to God. The refusal to be creative is self-will and is counter to our true nature. When we open ourselves to exploring our creativity, we open ourselves to God: good orderly direction. As we open our creative channel to the creator, many gentle but powerful changes are to be expected. It is safe to open ourselves up to greater and greater creativity. Our creative dreams and yearnings come from a divine source. As we move toward our dreams, we move toward our divinity. Every blade of grass has its Angel that bends over it and whispers, “Grow, grow.” THE TALMUD Great improvisors are like priests. They are thinking only of their god. STÉPHANE GRAPPELLI MUSICIAN What we play is life. LOUIS ARMSTRONG Creativity is harnessing universality and making it flow through your eyes. PETER

But unceasing innovation is a vital part of jazz for several reasons, not all of them strictly musical. Since its inception, jazz has been a statement by its principally black players of their lives and social situation in this country. It is descended from the coded field songs of the slaves, which acted as catharsis for their pain and indignity. When Louis Armstrong became the first great jazz soloist, his music spoke for all those blacks who, like Louis, had moved north with fresh hopes as well as new disappointment. Ellington, Billie Holiday, and Lester Young announced a changing, more prideful attitude among blacks of the Thirties. Likewise, the music of the great jazz musicians of the bop revolution, Charlie Parker, Dizzy Gillespie, and Bud Powell, spoke for the new militance of those young blacks who had fought in World War II and expected America to be a new country after defeating the forces of bigotry and fascism.

As the great jazz musician Miles Davis put it, “Anybody can play. The note is only 20 percent. The attitude of the motherfucker who plays it is 80 percent.

It was still rare for musicians to be allowed anywhere near the mixing desk, and not unknown for session players to be brought in to save on studio time: the Beatles had begun changing this, as their success convinced record companies to interfere less and less. Virtually every subsequent band owes a huge debt of gratitude to the Beatles for creating an attitude where popular music was made by the artists, and not constructed for them.

I had seen many promising talents and skills absorbed by arrogance, attitude, and entitlement.