Quotes About Artistry

Every kid has a laptop; everyone can make music, so in order to stand out, I think it's important to find that sonic identity, I think my sonic identity - and mine is finding these weird sounds that may not necessarily sound that musical, and make them sound musical.

Yes, indeed, in fact I would tell you that we go out of our way to be true to the original feeling and sort of sonic and musical pallet that we painted with back then.

Sonic Youth was not a singer-songwriter band. It was an electric collective. And, whatever else people's perceptions of Sonic Youth were, it was always about putting together a time-based composition - and that is exactly what songwriting is, in its classic form.

Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.

'Gorgeous' was one of those records that, as soon as I heard the beat, I was like, 'Man, this is the one. This is that 'This Can't Be Life' Kanye beat.'

An artist's creative energy is ephemeral as a flower. It blooms and soon dies. No artist is great forever. Personally, I think I reached my peak in 2004 when I shot 'Samaria' and '3-Iron'.

I realized pretty soon that I have to do more than just play bass in the background way. So, I developed a kind of playing which only a handful of musicians accepted.

I'm continuing to produce and will start a new record soon, as well.

The sooner you start writing songs, the sooner you'll get better.

Music soothes you, especially when you write, sing or play an instrument. It really can be a cure for everything.

I listen to R&B when I ain't rapping. It's soothing, it relaxes my mind, it takes me to different places, and it just opens up my brain.

Frost is the most sophisticated of poets.

Basically, I have a gift as an actress, and I want to present the sophisticated side of me as an actress and a person.

For the first four or five years I was in Korea, I took a lot of direction from my management and label in terms of what people want. I found myself trying to fit into that thing I never felt comfortable with because the critique I got was that I was too American, and too sophisticated and polished in terms of my musicality and it won't sell.

I didn't want to be Nelsons's wife. I wanted to be soprano Kristine Opolais.

And then you have the classical ballerinas, they're like sopranos. Applied to the dance.

'Sorry' just fit the bill for the crossover that both Lost Stories and I were attempting to do musically.

I know people are going to be like, 'why do you have so many songs with the word 'you' in it? 'Idea Of You,' 'Into You,' 'Like You,' 'You-Who'... Well, sorry, but it just works out that way.

I really admire people that do more than one thing. That's sort of the goal, right - to be an artist that can work in any medium. That's what I hope for my career.

Each record is sort of like a brand new baby, where it's your favorite thing at that moment in time.

I grew up and I was weaned on the Marx Brothers. They were sort of my all-time favorite. My parents showed me their movies when I was very young. And as I got older, I became a Charlie Chaplin fan, and I love Buster Keaton.

My dad has been playing guitar basically all his life. He's sort of who got me into rock music.

I say I design music. I can imagine it and sort of picture it. I think about all of the things I do in the world and say that I'm designing it because it takes the same skill set.

I think that's one of the biggest problems in rock is people thinking too much, putting too much emphasis on getting things perfect or completely sorted out. Sometimes that sound of not having everything sorted out is kind of cool.