Quotes About Artistry

I get to do all the styles of music that I love. There's no boundaries; there's nobody holding on to me saying I can't do that.

I've worked with Childish Gambino for so long, so I've learned that from those producing skills - how to really produce music - where, of course, it's about writing, but it's also about combining sounds and styles and genres.

We don't really think about it in a formulaic way, we just use the different styles as and when it feels right.

We have said on many occasions that we have countless styles and genres of music to show our fans.

Apart from being a trained dancer, I love exploring new styles of dancing.

I take in a lot of different styles when I listen to music, but when I'm actually writing a song it comes from a very stripped back place that focuses on melody and soaring choruses that lift-off.

Originally a stylist took terrible dresses and did everything she could to make them wonderful. Now, you create an image. It's much more specialized.

'Band on the Run' is a carefully composed, intricately designed personal statement that will make it impossible for anyone to classify Paul McCartney as a mere stylist again.

I don't really think of myself so much as a writer as a stylist, someone who came into writing from the back door and has found it through a certain very specific and personal means.

If I could be a stylist, I would style somebody.

What I wear onstage is so stylized and bold.

If you pretend to be somebody that you're not when you write songs - and I did that on some of the early Styx albums - nobody cares about what you have to say.

When it came time to do 'One Hundred Years' I had been encouraged to really make a Styx album without the guys. I gave myself permission to do that. I set out to get people who sang with me who could make those harmonies.

I've always been able to just concoct a melody quite easily - it's just kind of instinct, really. You've got to channel your subconscious.

When I sit down to make music, I try to enter a flow; I always open a blank session and just make something that I feel like making. Only after a piece of music is done does my frontal cortex allow me to organize what might be trying to come out of my subconscious.

When you go out onto the stage, all the preparation has to be forced into your subconscious. For the moment of the performance, we all have to return to a new level of unconsciousness. All the reflection and all the doubts have to be laid aside before you start.

I followed my gut and my subconscious told me the kind of music I wanted to create. But it wasn't easy.

Artists are creating their own genre sound, and other artists are building upon that sound and already creating a huge subculture created around one particular sound created by one artist. So, with all that happening, the genres are going to break down, and there's going to be a multitude of sound coming out.

I was always a laid-back, subdued person, and I just try to let that speak through my music.

The best public poems aren't necessarily those that go at the subject like a bull at a gate.

Haute couture is a legitimate subject for Yves Saint Laurent and could resume one day.

I write songs about real things... The subject dictates the mood and it goes from there, really.

I've found that in now having experienced what it's like to make records and just through growing up in general that you should be expressive about what's affecting you instead of trying to sing about a subject just for the sake of other people getting something from it.

When you act, you've got to be like a poet or a musician. It's not about evidence before court. It's not a forensic subject. It's poetry; it's a completely different place.