Quotes of All Topics . Occasions . Authors
There's a roots nature to Appalachia - the origins of folk and bluegrass. I know guys there who are some of the best players I've ever heard but are playing on their porch tonight because they've never chased success. There's simplicity to how they live and what they care about.
As a white queer person of a certain degree of economic privilege, I think that my ability to pass as straight is a privilege that other folk I know don't have. It's important to keep in mind who really is in the most trouble and to direct our attention to assisting those people.
My father being in the movie business, I thought being an actor would be great. But when I started singing to people in coffeehouses, you know, singing folk music and then, later, singing songs that I started to write myself, I felt more than an affinity for it. I felt a calling.
In the commercial music world, the folk world, we sell records and concert tickets - this is the way I make a living. You go out, you make your art and hopefully people will put their money down for it. But it's getting hard. I have to be on the road so much to keep the lights on.
It's deep in the south of India and next to Goa, but thankfully the folk who like Goa haven't worked out that Kerala is a lot nicer and just next door. You do feel that you are discovering somewhere entirely new in Kerala. It makes you feel like you are on a totally different planet.
There was a time that I was only known for being a plagiarist. It used to hurt at times because there was so much effort I was putting into music. And instead of that, it was a couple tunes that I had reproduced from folk songs to remake as film songs, which were being written about.
I love the State Fair. It's an event that really brings the urban and the rural Minnesotans together. Rural people get a chance to mix with the urban folk and see what the cities have to offer, and urban people get to remember where their food comes from and who produces it for them.
Pop stardom is not very compelling. I'm much more interested in a relationship between performer and audience that is of equals. I came up through folk music, and there's no pomp and circumstance to the performance. There's no, like, 'I'll be the rock star, you be the adulating fan.'
I want to go to Denmark and Scandinavia. We've been inundated with their telly recently, and I've never been to any of those countries. I really want to get to know the people. I quite fancy living there for a bit if I could take a month off. They just seem like upfront, friendly folk.
As a teenager, my blackness was also questioned by some of the life choices I made that weren't considered to be 'black' choices. For example, joining the swim team when it is a known fact that 'black folk don't swim'; or choosing to become a vegetarian when blacks clearly love chicken.
I make up cassettes all the time - to take on the road with me - a song from this album, a song from that album. That's the way I listen to music; it's like one of those K Tel things: it's from all over. I listen to Fred Astaire, I listen to African folk music, I listen to Talking Heads.
If something can be proven to work, we should try it... Making sure that our young folk get the best education is the only thing that matters to me, and if something can be shown to work in doing that or if something's worth trying to do that, then I'll certainly be in the market for it.
The 'crownd' is still the unit, the favourite coin of the labourers, especially the elder folk. They use the word something in the same sense as the dollar, and look with regret upon the gradual disappearance of the broad silver disc with the figure of 'St. Gaarge' conquering the dragon.
The early influences, in many ways, were in Baltimore. I was passing open windows where there might be a radio playing something funky. In the summertime, sometimes there'd be a man sitting on a step, playing an acoustic guitar, playing some kind of folk blues. The seed had been planted.
My parents knew a wider range of people than most, and so we had actors, journalists, politicians, planters, sportsmen and women and business folk all coming in and out of the places we lived in. Although my parents were not wealthy, they lived a legendary and amazingly cosmopolitan life.
It's important to me to not stay too confined to any specific sonic space. There is something really magical about straight folk music - it's not that I don't like it, it's just that I like so much music, I hear so many different things, and I want to try more. I don't want to be confined.
A lot of what I listened to growing up was blues, but also folk and indie music. So there's this marriage of songs that structurally are quite bluesy. Sound-wise, there's a lot of indie as well. But you can't really say I'm pop-blues, because that's insulting to blues. It just can't exist.
A significant event for me was learning Hank Williams, reconnecting with his music's simplicity, which inspired me to inhabit the same territory. It's different, because I grew up on Led Zeppelin, The Stooges and punk, so in that sense I'm mutating country and folk more than a few degrees.
I've had tweets questioning whether I really did go to university because surely I would have lost my accent if I did; a letter suggesting, very politely, that I get correction therapy; and an email saying I should get back to my council estate and leave the serious work to the clever folk.
I picked up the guitar very late, in a very pagan way - I didn't know how to play, but I knew I had to. I drew and I had a diary, but it wasn't enough; I needed to express more. As soon as I learned two notes, I started to tell a story, which is why, I guess, my music resembles blues or folk.
Musicians are often asked to answer for an entire culture, or for an entire movement. It's a process of commodification. It becomes packaged and summarized in a word like 'emo' or 'grunge'... or 'folk music.' I think that's just language itself, trying to understand the mysteries of the world.
I meet people from really grand backgrounds who had horrible parents who took no interest in them, whereas I'm a working-class boy from Deptford who was worshipped by all my rellies. Everybody in my extended family helped to raise me, and I realise now how lucky I was to grow up among kind folk.
The music that I first fell in love with was American music, really. Nothing against British acts - I love them and will forever - but on the whole, it was the art of American storytelling in the kind of folk and blues lyrics that, if you scratch a little bit, there's a heartbreaking story there.
From folk to tribal to Cab Calloway, Cole Porter, Gershwin to the Rolling Stones, whose first record was all covers, to country-western, bebop, blues, and even the referencing in classic hip hop to cliched love ballads of the '80s or whatever - that is kinda gone, and that's just terrifying to me.
'Filk' is the folk music of the science fiction and fantasy community - you get parodies, you get traditional music that's had the words slightly modified, and you'll also get just original works that have been written about science fiction and fantasy works, or with science fiction and fantasy themes.
I think what makes the Byrds stand up all these years is the basis in folk music. Folk music, being a timeless art form, is the foundation of the Byrds. We were all from a folk background. We considered ourselves folk singers even when we strapped on electric instruments and dabbled in different things.
I was on the dole once. I loved it. It was only for a couple of years, when I was 20 or 21 and playing in a band. Back then, this was something young folk did - you got your rent paid, a little bit of money to live on, and you loafed around, wrote songs, rehearsed and dreamed of playing Wembley Stadium.
If your parents only listen to jazz or folk, you're like one of those trees you see in botanic gardens that have wire frames on them - you grow into that shape, you follow it or you have to break away from it. But I didn't have influences to embrace or kick against - I also had no idea what anything was.
When I met Bob Dylan, I was definitely impressed. This guy had come from the American folk world, but he was very schooled in poetry, too. He'd studied the Beat poets, of course. I grew up in the British bohemian scene. Dylan grew up in the American bohemian scene. So I was very pleased to meet such a guy.
All art is propaganda, and ever must be, despite the wailing of the purists. I stand in utter shamelessness and say that whatever art I have for writing has been used always for propaganda for gaining the right of black folk to love and enjoy. I do not care a damn for any art that is not used for propaganda.
I love singing opera, but the world surrounding it is not me. I want to be barefoot. I want to be in control of my own career. I want to put on a show. In the opera world, you wait for people to call you until you get to a certain level. In the folk world, it's a lot easier to have control from the beginning.
My favorite Bob Dylan record is the very first one where he sings one Bob Dylan song and the rest of them are his interpretations of the Dust Bowl-era folk songs, or even going back as far as the mass influx of people coming into the U.S. during the gold rush. His interpretations of those songs are incredible.
It's a funny thing that's happening online. The Middle Easterners want 'Aladdin' to be a Middle Eastern story, and the Indians want 'Aladdin' to be an Indian story. The truth is, it's really a folk tale from the 1800s, and Agrabah is a fictional place that's a culmination of India and Asia and the Middle East.
For me, let's keep jazz as folk music. Let's not make jazz classical music. Let's keep it as street music, as people's everyday-life music. Let's see jazz musicians continue to use the materials, the tools, the spirit of the actual time that they're living in, as what they build their lives as musicians around.
When you set out to carry on a tradition as deep rooted as folk music is, you've got to have your story together. You've got to study and have a foundation. Jeffrey Foucault has that foundation, and you can hear it in his voice, and feel it in his music. He's got an understanding that you don't hear that often.
The greenness of Ireland is a false greenness, after all. Not that it isn't green - the place can still make you have to pull off and swallow one of your heart pills. It's that the greenness doesn't mean what it seems. It doesn't encode a pastoral past, much less a timeless vale where wee folk trip the demesne.
Neofascism in the United States takes the form of big money, big banks, big corporations, tied to xenophobic scapegoating of the vulnerable, like Mexicans and Muslims and women and black folk, and militaristic policies abroad, with strongman, charismatic, autocratic personality, and that's what Donald Trump is.
Early American music and early folk music, before the record became popular and before there were pop stars and before there were venues made to present music where people bought tickets, people played music in the community, and it was much more part of a fabric of everyday life. I call that music 'root music.'
Listening to all these different musical genres from all over the world and listening to my father's record collection, the Irish folk influences from home. Of course they're all in there somewhere hiding within the lyrics and melodies. But rap music was the biggest influence on my way of writing and my performing.
When white supremacy becomes institutional, it begins to harm the very people who are not simply outside of it because of their race, it begins to harm the folk who look like the folk who want to be in charge. Martin Luther King, Jr., understood this, Malcolm X understood this, James Baldwin really understood this.
Music, that has mostly earned a 'film music' status in our country, leaves genres like jazz, folk and classical to the niche. But, something common ties all the genres of music, the skeleton of the sounds - the instruments. Instrumentalist in our country are not given their due, at least not as much as they deserve.
Folk music usually has an emphasis on the lyrics and melody. And those lyrics are usually relevant in some way. And it's populist in scope, which is also true of Bad Religion. So it's more meant to draw some parallels between the two. And I think even my voice and my delivery can be thought of as a little bit folky.
The first songs I learned were 'It Takes a Worried Man' and Woody Guthrie's 'Grand Coulee Dam,' 'Rock Island Line' - those kind of American folk songs that were probably on the edge of blues. After that was Eddie Cochran and Chuck Berry songs. And then I heard Muddy Waters, Jimmy Reed and Big Bill Broonzy on the radio.
I remember the first time I was booked into a jazz club. I was scared to death. I'm not a jazz artist. So I got to the club and spotted this big poster saying, 'Richie Havens, folk jazz artist.' Then I'd go to a rock club and I'm billed as a 'folk rock performer' and in the blues clubs I'd be a 'folk blues entertainer.'
As with many other folk beliefs, 'feng-shui' undoubtedly incorporates some scientifically correct observation or received wisdom based on direct experience of natural phenomena; but it needs to be dealt with skeptically as a credible system of thought. Some feng-shui prescriptions can certainly lead to desirable results.
A James Bond film can be artistically fulfilling. Absolutely it can. It can be complex, and it can be interesting. I consider Bond movies to be an extension of popular theatre, a kind of modern mythology. You see the same sort of action in 'Punch and Judy' or in the folk theatre of various cultures, like 'Grand Guignol.'
I grew up in a largely black community during the '70s and '80s that scoffed at 'white' music. That music - folk, rock, some disco - was considered soulless, aberrant, just one more example of the Caucasian's desire to scream and yell and demand whatever their privilege and perpetual adolescence dictated they should demand.
I've always loved the songs of the sea. I was first introduced to them back in 1957, at the Old Town School of Folk Music. I used to go to Pete Seeger concerts, and he would do songs like 'Ruben Ranzo' and talk about how the sailors sang songs to do their work - to raise the anchors, pull up the sails and that sort of thing.
Yorkshire folk are not fools: talk about devolving power to cities and regions, while simultaneously stripping them of the resources to deliver and subjecting northern councils such as Kirklees to the harshest of cuts, is not compatible with a worthy commitment to building a northern powerhouse to drive growth and prosperity.
I've always been scared of advertising folk. I've met them at parties and I've been to their offices and I've always found them intimidatingly cool. At one company I visited, they held their meetings in a caravan that had somehow been installed in the place, a rather more exotic place to gather than the typical BBC glass box.