Michael Azerrad Quotes

There are some people, by the way, that associate a certain amount of visualization with the performance of music. Those are people that really are not centrally concerned only with music, the traditional things.

For the most part, boys are very physical. It's not enough for them to be told they have what it takes and they have greatness. They have to discover for themselves. We learn by doing. The doing has to be somewhat physical.

A kid who moves is a kid who learns.

I don't work out a lead section and practice it for a day and then lay it down. I don't do that. The first time I do something I think is expressive or really cool, that's what's actually on the recording.

Music is a very physical experience, and I need to understand things physically to be able to create the narrative for them.

the brain works better if the hand works too.

The development of the mind comes through movement

Since it is through movement that the will realises itself, we should assist a child in his attempts to put his will into act.

My left hand is my thinking hand. The right is only a motor hand. This holds the hammer. The left hand, the thinking hand, must be relaxed, sensitive. The rhythms of thought pass through the fingers and grip of this hand into the stone.

Mental development must be connected with movement and be dependent on it. It is vital that educational theory and practice should be informed by that idea.

In the first year of a child's life we teach them to walk and talk. And then for the rest of their lives we want them to sit down and be quiet.

I couldn't do "What's Love Got To Do With It", Tina Turner because it wasn't the right tempo; so I scratched it from the record. I wanted to do it about a year ago, but something happened.

The drumming helps a lot when I'm producing songs or writing songs. My knowledge of drums helps more in that aspect, (although) I don't know, man; I'm not great at any of them.

Painters should shut up and paint and when we stop painting we should dance or have sex or get a massage or take a shower and we shouldn't be talking about painting.

Why is it that we understand playing the cello will require work, but we attribute writing to the magic of inspiration?

What happens in the studio is technically the same thing that happens on the stage. In the past I had to make quite brutal adaptations of the material to make it work on stage. I don't always like doing that because sometimes you're shaving away the things that you actually quite like about them, the spontaneity of it.

I'd like to study the drawings of kids. That's where the truth is, without a doubt.

I started connecting things to my body during my childhood. I approached the computer as a mediating element, as a form of visual art.

I realize that once I stopped fighting the technical process of how to move my body, I made it choreography.

I'm just the instrument for the song to do whatever it's supposed to do-heal, inspire or encourage. It's not all about me, it's about the song. I'm just the lucky girl who gets to sing these songs.

Some people create with words or with music or with a brush and paints. I like to make something beautiful when I run

They gave 12 monkeys a typewriter for a week, and after a week, they only used it as a bathroom.

Any true musician, true artist, knows that when they're in that point of total artistic creation, whether on stage or in the studio or writing or whatever, that's the closest moment [to creation]. And that's what keeps all these people addicted to getting back to that moment again.

I never sing a song more than twice because my fear of waning excitement for a piece is part of my troubles. I so rely on vibe, energy and emotions that the technical part occurs to me last.

I don't type [when I write] because . . . I often have the feeling that everything flows directly from my right hand.