Quotes About Artistry

When I was younger, I was fascinated by David Bowie, for example. he had created an entire myth around himself. It was as important as his music.

I have two brothers that are musicians. My older brother, Yuval, is a saxophone player. My younger brother, Avishai, is a trumpet player.

I was heavily influenced by big voices when I was younger. People like Whitney Houston, Aretha Franklin, and Patti Labelle really spoke to me. When I got older, I was into Erykah Badu, Jill Scott, and Lauryn Hill, but it wasn't until I started working with a voice coach that I really dove into jazz music.

If we just stick to one kind of music, our creativity is limited. We wanted to extend the audience for the cello, especially the younger people, and to show them how cool and how powerful and how diverse the cello can be.

My father was an actor. Both of my older brothers are actors. My younger sister is an actress. For me, that's my job; that's my craft. But then all through school and through drama school, I was gigging and running nights and playing in bands, and I just didn't want to let that go.

There was definitely a point in my thirties when I thought, 'Oh, wow, I'm not the youngest person on the set anymore.' But I like it. Working with younger artists is totally exciting.

It doesn't bother me that people compare me as a little sister or youngest daughter of my dad, but when my album does come out, I want to be thought of as Noah Cyrus.

Shyam Benegal has found a lovely voice in this film. We've all seen the kind of cinema he's come up with over the years. His films like 'Mandi,' 'Manthan,' 'Sooraj Ka Saatvan Ghoda' all have revolutionised the face of Indian cinema. And in 'Well Done Abba,' he has once again found a relevant subject, which even youngsters can relate with.

Life is a painting, and you are the artist. You have on your palette all the colors in the spectrum - the same ones available to Michaelangelo and DaVinci.

The saxophone is an imperfect instrument, especially the tenor and soprano, as far as intonation goes. The challenge is to sing on an imperfect instrument that is outside of your body.

In the dance world, it has to be in your genetic make-up - your body has to suit the training.

Face dance means you don't know what the hell the rest of your body was doing but your face is fierce. That's face dancing.

For me, the most enjoyable type of singing is opera. It allows you to move, to wear a costume... to do something with your body. When singing in concert, you have to stand up in front of the audience, next to the conductor, which is less natural.

You have to contort your body in a certain way to hit a low note. When you're on film, you can't. So you do, in a sense, get to hide behind your voice, which is nice.

Know that there is so much more to you than your body. It's not just about perfecting the steps; you must trust your instincts to tell deep, emotional stories through the steps that you are performing.

You want to throw yourself in as many uncomfortable places as possible, if you want to build muscles in uncomfortable parts of your body and grow as an artist.

If you already have a piece of music ingrained in your body, why would you not play it?

If you have to tell a story without speaking, it's sort of like - I come from a dance background, so it's like a ballet where you have to tell a story with just your body. I think that's really interesting to have to tell a story with just your face and your mannerisms, and I'd like to tap into that world.

It's wonderful to be able to have such wildly different projects in your body of work. They don't feel different to me as I'm working on them. It feels like they all share this element of subversiveness and finding the joy in subversiveness.

Arthur Russell is very important to me on many levels, and when I read Tim Lawrence's biography on him, 'Hold on to Your Dreams,' one of the things I took away was: first thought, best thought. I live by that when I make my own music.

Furnishing a home is no different than going into the studio and making music. You want to make sure you've pared down all the extra details so that in the end, every stitch has a context uniquely yours.

If you're trying to please everyone, then you're not going to make anything that is honestly yours, I don't think, in the long run.

When you catch other people with a sound like yours, that's when you know you did something.

It's funny because as a rapper, there is - and this is something that Clipping challenges all the time - there is this idea about authenticity as a rapper, in the fact that you rap things that are yours. That's not what doing a play is. You're interpreting somebody else's words.