I'm the one that's got to die when it's time for me to die, so let me live my life the way I want to.
Jimi HendrixRead
... with Voodoo Child somebody was filming when we started doing that. We did that about three times because they wanted to film us in the studio, to make us (imitates a pompous voice) 'make it look like you're recording boys' - one of them scenes, you know, so okey, let's play this and then we went into Voodoo Child
Interpretation
This quote reflects the authenticity and spontaneity of the creative process in music.
The quote captures a moment during a recording session for the song 'Voodoo Child' by Jimi Hendrix, highlighting the interplay between the desire for authenticity and the pressures of the recording industry. By mentioning that they were filmed as they played, it evokes the idea that true artistry often occurs in raw, unscripted moments, contrasting with the manufactured nature that the industry sometimes demands.
In practice
While giving a speech about the artistic process, one could use this quote to emphasize spontaneity in creative expressions.
I'm the one that's got to die when it's time for me to die, so let me live my life the way I want to.
Technically, I'm not a guitar player, all I play is truth and emotion.
I try all night to play a pretty note.
The story of life is quicker then the blink of an eye, the story of love is hello, goodbye.
It's time for a new National Anthem. America is divided into two definite divisions. The easy thing to cop out with is sayin' black and white. You can see a black person. But now to get down to the nitty-gritty, it's getting' to be old and young - not the age, but the way of thinking. Old and new, actually... because there's so many even older people that took half their lives to reach a certain point that little kids understand now.
Music makes me high on stage, and that's the truth. It's like being almost addicted to music.
I had a vague idea of the song's impact in the '60s, but that was tempered by the hate mail and threats I was receiving. It was only about ten years ago, when I finally put it back in my show because so many people were asking for it, that I understood 'Society's Child' real impact.
I see N.Y. hip-hop like I see N.Y. streets. N.Y. streets are grimy; it's a grind. N.Y. rappers are hustlers - whatever sound is in, we can adapt to that; there's nothing wrong with that.
People all over the world have problems. And as long as people have problems, the blues can never die.
Sonnymoon and Quadrants are a couple of bands that really inspire me in terms of the melodics of things and certain tones and just what feels good. It takes me back to the type of music that I grew up on in my household. We played a lot of gangsta rap, but we also played a lot of oldies, and I think that mix is part of what inspires my sound.
I didn't want to play it boring and safe. I also didn't want to innovate too much. Second albums, man, they're even scarier than first ones.
The majority of juice-heads and winos and junkies arent musicians.
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