I'm not a deaf musician. I'm a musician who happens to be deaf.
Holidays are about experiences and people, and tuning into what you feel like doing at that moment. Enjoy not having to look at a watch.
Music is about communication... it isn't just something that maybe physically sounds good or orally sounds interesting; it's something far, far deeper than that.
Hearing is a form of touch. I could hear less through the ears but more through the body.
Music really is our daily medicine.
The human body and mind are tremendous forces that are continually amazing scientists and society. Therefore, we have no choice but to keep an open mind as to what the human being can achieve.
Society cannot continue to disable themselves through their need to categorize people or make assumptions as to another individual's abilities.
Percussion is the most adaptable family of instruments. The biggest challenge is to project percussion in a lyrical way.
There are many collaborations I'd like to explore. One is to co-write a rap concerto with Eminem.
I suppose I don't hear things, but I listen, if you know what I mean. And there is a big difference between hearing and listening. So it's like a conversation, you know. When you speak to someone, it's one on one, and that's exactly how I play.
I didn't decide to become a musician until the age of 15, which is quite late.
I try to plant myself where I am and embrace what is there in front of me.
Before my teen years, I was losing my hearing pretty quickly, and I was getting very, very angry. I was beginning to become an angry person because of that.
Hearing is a form of touch. You feel it through your body, and sometimes it almost hits your face.
A lot of things which come with a high profile will always be criticised one way or another.
I just assumed the world was full of solo percussionists. I couldn't find sticks or music or anything where I was, but that was expected because there was nothing there anyway. And I think that was possibly the greatest asset for me, just not knowing.
Apart from Scottish traditional music, I wasn't really influenced by any kind of music. I just basically followed my own instincts.
I associate going to an airport with work because I travel so much with my job. So when I have a few days free from work, I tend to stay at home.
If we see someone in a wheelchair, we assume they cannot walk. It may be that they can walk three, four, five steps. That, to them, means they can walk.
A large part of my work has been collaborating with composers; I think we've commissioned about 140 pieces now, a lot of them percussion concertos.
I walk into a kids' store, and it's amazing, the types of instruments - little squeaky things, rattling things, spinning tops.
I like the sparkle of the vibraphone.
I am really quite fascinated by echo-locating bats and dolphins and have always wondered how sound affects the unconscious brain.
My favorite instrument is the snare drum. In Scotland, the snare drum is very prominent in Highland bands. The Scottish style of playing is in my blood. It's a very powerful instrument, but it can also be soothing, like velvet. It's a real challenge for composers.
When I was 12, I happened to see a schoolmate playing percussion, and it looked interesting. I asked for lessons, and it felt right.
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