Soon as I could play one guitar chord and laid my ear upon that wood, I was gone. My soul was sold. Music was everything from then on.
You just pick up a chord, go twang, and you're got music.
If I pick up a guitar, I don't practise scales. I never have. I come up with something I haven't done before, new approaches to chord sequences, riffs, rhythms, so it becomes composition. It's not like the music I'm doing is just a single thread.
A lot of country music is sad. I think most art comes out of poverty and hard times. It applies to music. Three chords and the truth - that's what a country song is. There is a lot of heartache in the world.
I came into music because I thought the presentation of poetry wasn't vibrant enough. So I merged improvised poetry with basic rock chords. That was my original mission.
I remember talking about a Mozart song during a music class at school, and I said, 'I wouldn't have done it like that.' I didn't like the way the chords moved. And my teacher told me to get out.
I love R&B and hard-hitting, slappy, intense music with deep chords and moody chords. But I also have a thing for bubbly lullaby music. Kind of like ice-cream truck rap.
Music shouldn't be a chore or feel like any kind of burden.
For me, living and making music, they're one thing. It's not like a job that I go to a studio to do, or a chore that I have to get myself in the mood to do, or something. It's the thing that I need to do every day.
It's such a cliche thing to say. I want to choreograph, I want to direct, I want to act, I want to write music, I want to play music, I want to sing. For me, it's never-ending. I want to do it all, really.
I want to choreograph, I want to direct, I want to act, I want to write music, I want to play music, I want to sing. For me, it's never-ending. I want to do it all, really.
There's an innate feeling when I choreograph in juxtaposition to how I feel as a dancer. When I choreograph, I never really look into the mirror. But as dancers, we always check ourselves in the mirror. I do feel that when I choreograph, I am making a dance on my own body. Much of it is my own response to the music.
I design all of my costumes. I like to go out there and feel like I have contributed to every part of what I do. I choose the music, the choreographer, I've obviously chosen my coach, my costumes - all if that falls under my realm of power, my realm of influence.
Working on a play is a vibrant and collaborative business. Everyone from the choreographer to the music director to the director to the writers work together toward the same goal, and everyone chimes in on everything.
I consider myself kind of a reporter - one who uses words that are more like music and that have a choreography. I never think of myself as a poet; I just get up and write.
Choreography is mentally draining, but there's a pleasure in getting into the studio with the dancers and the music.
I always thought martial arts was the most modern choreography we could have right now, and I always wanted to put it to music.
I've been designing since I was 8. I started sketching dresses I could wear when skating. I was always involved in all aspects of skating, not just the technique, the choreography, the music, but the visual aspects, too - what I should wear.
For many people, music is here to let them forget the daily chores of life.
I just start playing music and eventually I sing something, a line of a verse or a B section or a line of a chorus, and the line that I end up singing is related to the music I'm playing, if that makes any sense. And I go from there.
