Quotes About Creativity

Luckily, my creative juices are pretty much on tap. If I'm compelled to do something, I can go for it and get it done.

I taught and studied dance in college, and for over a decade, I thought that would be my career: tap dancer, ballet dancer, modern dancer. I still find myself doing some tumbling or interpretive dancing in the grocery store every now and then.

I wanted to be a tap dancer when I was very young.

Each song has its own way that it likes to be done, but it can be more than one way. If you tap into it, you can feel it.

No matter which way you do it you need to make something happen and get a song that makes you feel a certain way, whether that's making you tap your foot or beat someone up or whatever you're doing, you just need some passion about it.

I just wanted to do something positive. I feel like music was the talent that I had, I just had to tap into it.

There are bands that make parodies of being in a band, like Spinal Tap. That's a big influence. They're making fun of a rock band, but they write lyrics that are better than real rock bands.

Everybody deserves to showcase their different talents and there's always somebody new you can tap into.

All of my children's books are attempts to tap into what I believe to be children's, and to some extent human beings', fantasies.

My dance shoes - ballroom shoes, tap shoes, ballerinas - are my life.

Too often, researchers on the cusp of a new discovery are held back by needless red tape and paperwork, meaning their innovative work cannot be capitalised on.

A strong concept is the most important thing in creating a record. When you can listen to it and see a whole movie in your head, that's what separates an instrumental album from a beat tape.

I was born in the overdub years. I wish there wasn't such a thing as a multitrack tape player, because what you heard would be the record.

It's like that Simpsons joke - they're filming a cow in a movie and they go, 'OK, we'll tape a bunch of cats together to make a cow', and it's like, 'Why don't you just use a cow?'. For some reason that is novel - like, 'Oh, my guitar sounds like a piano and now if I can just get my piano to sound like my guitar'.

Jaden Smith is a good friend of mine. We've got that song that just dropped on the 'Rich Forever II' tape, and we got a couple other songs that we have in the cut.

I made my first mix tape when I was 14.

I thought it was magic to be able to catch something identically on tape and then be able to play around with it, run it backwards; I thought that was great for years.

I don't take any shorts. I don't say, 'Okay, it's good enough.' I try to get exactly what I'm hearing in my head to the tape, and I won't let it move until then.

I would imagine that most of my writing is done spontaneously. I had no intention of writing, and then I'll just walk through the house, and I'll hear this melody, and I'll turn on the tape players and go back to it later on. Some days I'll get 3-5 songs a day.

To me, recording with live instruments and tape takes things back to an older sound that I like but that's still fresh.

I'd always envisioned 'The Big Beat' leading off 'The Tale of the Tape' with the biggest drumbeat the rock world had ever heard. I knew I had something good... but I had no idea just how good.

If at noon you sit down and there's just silence or blank tape, in an hour if you have a song, that didn't exist an hour ago. Now it exists and it might exist for a long time. There's something empowering about that.

In the past 3-4 years I've developed a habit of keeping numerous small cassette recorders in my house and in a bag with me so that I'm able to commit to tape memory song ideas on a constant basis.

Some shows, like PPG, tape in a group session, which is always more fun because you can play off each other.