I'm not sure it's a better music world of appreciation and performance. I think the listener is a different guy, and listening is something he does in passing, with other stuff going on. There's less care and understanding of the relationship between the song and the listener.
Things can be really empty in this world, and I don't just mean the music world. It can become a very meaningless place if you don't really understand: 'who am I? Why am I here? What am I doing?' To feel fulfilment and have a deeper level of understanding, personally, that is the most important thing.
The classical music world is so snobbish.
I love many kinds of music: world music, jazz, classical, pop.
I work in the music world in a kind of very multi-faceted way. I work around the world, in different genres.
I had seen some films made about the underground music world in Tehran, and most of them were short documentaries about 30 or 40 minutes long. And I always wondered why they weren't publicized more. Really, their only flaw was they were short documentaries.
The great moments of rock 'n' roll were never off in some corner of the music world, in a self-constructed ghetto.
Backstreet has been around a long time. Normally, groups like us have a shelf life of two to four years. We always wanted to have a long stay in the music world.
There is much more immediate access to creative music through online communities and blogs which have touched all corners of the music world including contemporary classical.
In terms of exploring an identity in the country music world, what I realized very quickly was that there are people who have been performing country music since they were kids. It's very much a part of who they are; very much that jazz and blues are a part of who I am, because I grew up listening to and playing that kind of music.
