It's great when you play to an audience that knows the words to all your songs, and sings them back to you.
Chris CornellRead
I felt very proud to be part of a music scene that was changing the face of commercial music and rock music internationally, but I also felt like it was necessary for Soundgarden - as it was for all of these Seattle bands - to prove that we deserve to be on an international stage, and we weren't just part of a fad that was based on geography.
Interpretation
Chris Cornell expresses pride in being part of a transformative music scene while emphasizing the need for recognition and legitimacy.
In this quote, Chris Cornell reflects on his pride in being part of the Seattle music scene, which significantly influenced commercial and rock music globally during the early 1990s. He conveys a sense of duty for Soundgarden and other Seattle bands to demonstrate their artistic value and ensure they are seen as legitimate contributors to music rather than merely a trend driven by their geographical origin.
In practice
During a speech at a music awards ceremony.
It's great when you play to an audience that knows the words to all your songs, and sings them back to you.
To me, music shouldn't be ego-driven. When you go out on stage and play songs, it is. But when you're sitting in a room, writing songs, it's a completely different process. It's a completely different place. It's a creative place, a musical place. It has nothing to do with who likes what.
When you become a parent, you leave a lot of things behind and refocus, maybe on how simple life really is and what few things there really are to worry about. And everything else can go by the wayside.
Being solo really lends itself to different interpretations - and everything is in the moment and on a whim. I never realised how far out you can go when you are by yourself.
A true musician, like Johnny Cash, should be able to walk into a room with nothing but an instrument and capture people's attention for two hours.
There's something about losing friends, particularly young people, where it's not something that you get over. I don't believe there's a healing process.
Anybody with money can put on a KISS show, but they can't be KISS.
I was never too keen on the British music press. They've called us a supermarket hype, and they used to suggest that we didn't write our own songs.
I've been getting interested in reimagining folk songs and writing songs that should have existed but didn't, particularly around the Civil War when black voices were muted and only allowed particular channels.
Nobody taught me to play bottleneck. I just saw it and taught myself. I got an old bottle and steamed the label off, put it on the wrong finger, I basically did everything wrong until I met some of the Blues legends early in my career who taught me another way. I didn't have anyone to tell me women didn't play bottleneck.
I learned that if you bring black people together, you bring them together with a song. To this day, I don't understand how people think they can bring anybody together without a song.
Orchestras are like people. They're the sonic embodiment of their community.
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