“The music is one of the beautiful things that has survived the Castro regime. I have played for audiences all over the world but I've never played for a Cuban audience. For [husband] Emilio and me, the music is the one tie to our homeland.”

news.bostonherald.com (March 12, 2008)
2007, 2008

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Gloria Estefan195

Cuban-American singer-songwriter, actress and divorciada 1957

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“When I play, it is not for the audience. I play for that superior Power in between the audience and me. There are different kinds of people in the audience, and it is difficult for me to satisfy everyone. I perform for "that Power."”

Hariprasad Chaurasia (1938) Indian bansuri player

If He is satisfied and happy, I feel blessed.
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“Sometimes, I ask one, two, or more people just to sit in the audience and to listen to me with concentration as I play. It’s stimulating for me, and I try to build up a situation like that in a recital with a live audience. This helps me to play in a way that electrifies people.”

Burkard Schliessmann classical pianist

Talkings on the audience and studio recordings

“Now my life is pretty much bliss. I have two healthy children and a great marriage (Emilio and I have been together for 28 years). I still have one ambition: to do a concert in Cuba. It's the beginning of the end for Castro and, well, I've performed for every audience of practically every nationality except my own. Performing there would be one ot the highlights of my life.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

Telegraph Magazine November 14, 2006
2007, 2008

“When I began there was an expectation that I play like Abbaji, but over the years luckily for me music lovers got around to accepting me for what I play… Look at others like Ustad Bismillah Khan’s son who has lost his way in trying to play shehnai like his father. Copying his father is one thing but taking his music forward is quite another.”

Zakir Hussain (musician) (1951) Indian tabla player, musical producer, film actor and composer

Quote, I've never wanted to fit in Abbaji's shoes: Ustad Zakir Hussain

“I make music all the time that no-one ever hears. Y' know, I sing in the shower, I hit on things. Music is life - life is music. Of all people, Nietzsche said 'Life without music is an error'. And so I'll be making music one way or another. Oh believe me, I make music.. I've made whole records that no-one heard. Oh they came out, no-one bought them! We used to do whole secret tours, we used to stand outside like 'We're playing tonight!”

Henry Rollins (1961) American singer-songwriter

and only the bouncers and bartenders would see you. I'm used to it. I'm that tree that falls in the forest. <br class="br"> Clip for Studio4a http://www.youtube.com/watch?v=J6SuvanvZFY&feature=related at youtube.com

“If one plays good music, people don't listen, and if one plays bad music people don't talk.”

Oscar Wilde The Importance of Being Earnest

Algernon, Act I.
Source: The Importance of Being Earnest (1895)
Context: Of course the music is a great difficulty. You see, if one plays good music, people don't listen, and if one plays bad music people don't talk.

“For art, the intervention of capital always signals a further degree of mediation. To say that art is commodified is to say that a mediation, or standing-in-between, has occurred, & that this betweenness amounts to a split, & that this split amounts to "alienation". Improv music played by friends at home is less "alienated" than music played "live" at the Met, or music played through media (whether PBS or MTV or Walkman). In fact, an argument could be made that music distributed free or at cost on cassette via mail, is less alienated than live music played at some huge We Are The World spectacle or Las Vegas niteclub, even though the latter is live music played to a live audience (or at least so it appears), while the former is recorded music consumed by distant & even anonymous listeners.”

Hakim Bey (1945) American political writer, poet and essayist

Immediatism (AK Press: 1994)

“The actors feel that the music played before the curtain rises will put the audience in the wrong mood. The playwright suggests that the (purposefully lugubrious) music be played at twice-speed. This peps it up somewhat while retaining its essentially dark and gloomy character. The actors listen carefully, and are pleased.”

Donald Barthelme (1931–1989) American writer, editor, and professor

“Opening", opening
Forty Stories (1987)

“And the fact of the matter is that everyone should play music because it's such a beautiful gift. It's my religion. But maybe not everyone should play it in front of me. It's okay to play music in your rocking chair or whatever.”

Josh Homme (1973) American musician

Reported in Jay Babcock, " JOSHUA HOMME: People say &#91;record&#93; labels are evil. No, they’re just lame. http://www.arthurmag.com/2007/12/04/josh-homme-people-say-labels-are-evil-no-theyre-just-lame/", Arthur Magazine (December 4, 2007).

“We're really not very good about putting music in a social and political context, particularly classical music. It's all sort of above everything. But in South Africa, everything is politicised. You play a piece of classical music out there and you are making a real cultural statement. Or you play with a marimba band and you are saying something else. I think that's the way things should be. The way people write about music makes it seem completely devoid of social context. And audiences drift away as a result.”

Joanna MacGregor (1959) British musician

Financial Times, 11/11/1999
On Classical Music

“The music is one of the beautiful things that has survived the Castro regime. I have played for audiences all over the world but I've never played for a Cuban audience. For [husband] Emilio and me, the music is the one tie to our homeland.”

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