Moby Quotes

I really want to do a book on the history of the no-wave music scene in New York, how it extended out and formed lots of other things. It was such a great visual culture.

New York City has more rock history in its 305 square miles than most of America combined.

Music is part of history, and our history has lessons that cannot be separated from our greatest music.

When I was 16, I was in Boston and some friends said, 'You want to go to New York?,' I went with my roommate... These guys said, 'We're going to this club. Just don't go in the washroom.' It was CBGB. I had no idea what it was or the history of all the music. All I knew was this was my first 21-and-over club and I managed to get in!

Since the '80s, Harlem has the place to go. Before the '80s, just as far as hip-hop go, Harlem has always been a strong point, fashion-wise, music-wise, all of that.

It was a really interesting time in New York in the late 70s and early 80s, and the music scene was really, really interesting because you didn't have to be a virtuoso to make music, it was more about your desire to express things.

The New York that Frank Sinatra sang about, people will never know that place. The New Orleans that Louis Armstrong sang about is the New Orleans that's still there - it's preserved.

I want to make music that somehow connects to the things that I love in America music.

Harlem's Apollo is probably the most well-known music hall in the world.

I think America concedes that true American music has sprung from the Negro.

It is very disappointing to see the Punjabi music scene of today. The lyrical quality has deteriorated; it is only people like Sartaaj and Gurdas Maan Ji who are sticking to their roots.

I felt I had an opportunity to follow in the footsteps of great soul musicians of the past, who made a lot of social and political commentary through their music.

I grew up in Deptford in south London, and at that time I used to wear toppers, loon pants and tonic suits from shops like Take 6 and Topman. I was a bit of a soul boy, but I had a very eclectic taste in music - I was into James Brown and Bowie; and I was the only kid in the neighbourhood who would also be listening to Chopin.

I want to remind people that black music is amazing. And there are all forms of it that we've forgotten, you know? Rock music is black music! Don't forget that's what it is.

I just saw a recent television program about art, and it was saying how from the end of the Second World War, so much of what our culture is comes from not just the United States in general, but New York in particular. In my case, I can't imagine my life without the extraordinary bebop jazz revolution in New York in late '40s and '50s.

We want to show how hip-hop, which kind of fuels today's basketball stars, is directly related to jazz.

CBGB represents a lot to New York City and to underground rock and to new wave and post-punk and whatever. But, you know, it's like tearing down the Jefferson Memorial or something.

I love hip hop. It's such an appendage for me. It's something that's always shaped my experience out in the world.

First time we played in New York was in 2013. It was all very eye-opening. A very bright lights, big-city sort of vibe, and we played the Mercury Lounge.

A lot of people don't give Virginia credit. Pharrell, Missy Elliott - a lot of people come from here.

I'm an early 1990's baby, so I had the pleasure of going through a lot of eras in music.

I'm from Harlem.

No one ever really talks about the punk-rock involvement in hip-hop, which influenced Afrika Bambaata.

I'm trying to make music that I like, and I love hip-hop. At the same time, I love guitar. I love rock and everything.

Being a New Yorker, I used to dance to Latin music. There was a place called the Palladium on Broadway. And Tito Puente and Tito Rodriguez used to play. So I still have that in my blood.