Quotes About Fusion

Mexican Shuffle was a turning point of the Brass.

That has always been my initiative, to do my own thing and take things that don't really go together and put them together. Wear a tuxedo jacket with some track pants, whatever I feel like, whatever I think is dope.

Eventually I was saying to myself, maybe it would be better, instead of trying to become an American comedian in France, to mix those two styles and those two genres. Because of course it's good to be efficient and sharp, and to have a joke every twenty seconds, but it can be a little cold and dry.

Andy Clark refers to humans as 'natural-born cyborgs.' What he means is that we habitually extend and change our body-concept without even thinking twice about it.

I always wanted to create a project that would allow me to think about cross cultural relationships and hybridization but did not want to use my personal story or standard tropes of multiculturalism.

I love music, that it changes so much, but I also want to keep a bit of the country roots to make it country. I don't want to go too far away from it, or I would do pop music.

Co-mingling really disturbs a lot of the purists, who want to see the historical and cultural divides instead of the meshing.

I am an architect. I try to feel the transparency in contemporary buildings and I try to understand the transparency in Zen poetry. I just want to mix all those things.

I love jazz and pop rock and country. I grew up listening to Michael Jackson, Whitney Houston, Def Leppard, AC/DC, Anne Murray - if I hear something really great I want to be a part of it.

After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.

It's like that scene from The Player when they talk about merging Star Wars and Kramer vs. Kramer, or whatever. You could do that with music and it would just be awful.

Unhealthy families discourage individual expression. Everyone must conform to the thoughts and actions of the toxic parents. They promote fusion, a blurring of personal boundaries, a welding together of family members. On an unconscious level, it is hard for family members to know where one ends and another begins. In their efforts to be close, they often suffocate one another's individuality.

I write best when I sort of collide myself with another man. So I think, I hope, that a combination of me and Stieg Larsson will create something good.

To change your phrase somewhat, I know that I like an art where disparate elements form an entity.

'Maruvarthai' was an exciting song for me because it showcased my Carnatic roots.

A lot of songs I'm kind of singing and rapping.

I just take rock songs and mix it with hip-hop and a little bit of R&B.

I'd like to do a completely off-the-wall collaboration. I would like one of my songs to be the hook to a rap song. That would be so much fun!

It's been really cool to me to watch someone like Sam Hunt, whose lyrics and roots are in country but you can hear that he listens to Drake and Justin Timberlake - and that's OK. It allows songwriters to be more honest because it's like, 'This is who I'm listening to.'

Great songwriting will never die - it's in the DNA of music - but what's new and exciting is pairing that with new sounds that technology is enabling us to make.

With Sleater-Kinney, we did a lot of improvisation in our live shows, and even our process of songwriting involved bringing in disparate parts and putting them together to form something cohesive.

My idea is to take the improvisational excitement that takes place with Carnatic music and juxtapose that in different sonic contexts.

People already have bionic arms and legs that work by the power of thought. And we increasingly outsource mental and communicative activities to computers. We are merging with our smartphones. Very soon, they will just be part of the body.

'Sorry' just fit the bill for the crossover that both Lost Stories and I were attempting to do musically.