I never had the influence of any other singer in my music, so I sounded like myself all the time.
I always had a standard of, back when I was doing the country music I always told people I would never record a song that I wouldn't sit down and sing in front of my mom and dad.
People don't listen to terrestrial radio. They don't find their music that way. They don't get their news that way. They go to blogs. They go through Sirius/XM. They go through all these different places.
My mother always took my brothers and me to music lessons. There were six children. Our parents attended our concerts and encouraged us to study and enjoy many different types of music.
There is rap music in all my films. In 'La Vie des Morts,' there is rap music too. It's because I'm French, and when it appeared in 1978, it was so new, it set off my musical imagination.
Hebrew is my first language, so it's really the most personal and the most simple. When I write in Hebrew, I don't look for sophistication in music; it's just pure emotion that comes out.
I love the '70s. I think the '70s had the best music and the best movies.
Because I was a dancer when I was a kid, I have so much empathy for these young girls who are so drawn to something lovely in music and in movement, and yet they encounter a world full of judgment and criticism of 11-year-old artists and bodies.
Punk was originally about creating new, important, energetic music that would hopefully threaten the status quo and the stupidity of the 1970s.
This is just the way it goes: there's always a cycle with music - it goes up and it goes down, it goes risque and it goes back, it goes loud then it goes soft, then it goes rock and it goes pop.
I could read music before I could read.
Very old music is, like, 11th century in my mind. That's very old.
I want to write music that will outlive me.
I started studying music at the age of five and a half. My older sister was taking piano lessons. When her teacher left our apartment, I would get up on the piano bench and start picking out the notes that were part of my sister's lessons.
Music, first of all, is completely about abstraction, which is exactly what architecture is not. In a way, it has been incredibly constructive to know what true abstraction is. So you don't fall into the trap of thinking that what you do is abstract.
I knew I wanted to pursue a career in the theater the minute I graduated from college having not pursued it! So I went back to school and got a degree in music and began working in musical theater.
I started out in this business in rock and roll bands and stumbled into drag. Drag just happened to be my vehicle for my creativity. So, you know, it's afforded me the opportunity to create new shows, to make music.
I think I'll always live in Fort Worth. It's great that I can now go anywhere I want to play music, but I love coming back here. I can roll down the streets and just reminisce.
I love all the arts - so museums, theatre, music, walks near trees or by the ocean, time with people, psychological readings.
With so many ways to communicate at our disposal, we must not forget the transformative power of a live music experience and genuine human exchange.
As a parent with young children, I would always find little things that bothered me when I was reading bedtime stories or watching shows or listening to children's music. I couldn't find any stories, games or television shows that were fun and exciting while also being morally instructive and patriotic.
You know, I don't think my music is important, I don't think it's changing the world, I don't think it's art. I just think it's music. It is what it is.
In business, you can have one massive success that earns $50 million overnight, and that's it. You're successful. End of story. But in the music business, you have to keep on doing it.
When you look at that period when Warhol and the Velvets and the Stones were doing things, it was this intersection of art and music. And then it went away.
When I was thinking of video ideas for this song, I wanted it to reflect the energy of the music and express the big eye roll that 'Sit Here and Cry' is. I had a very specific visual vision for it, and when I saw Sam Siske's reel, I knew he was going to get it.
When I was 15, I did not know nothing about what concerned the world of music.
The music business is rougher than the movie business. In film you get noticed in a small role, even in a movie that bombs. But in records you better have that hit or else it's 'See you later.'
I've noticed that a lot of people in film always seem interested in music videos, like it's some, like, really exciting thing they've always wanted to do or something.
Was music my talent really? No, I don't think I was particularly talented.
What's missing from pop music is danger.
I don't play music very well, so I've always surrounded myself with people who played a lot better than I did. I'm a loyal person, and I just tend to leave it to the experts.
If you look at an old piece of sheet music, there's all kinds of text on it, there are ads, there are proclamations of the greatest songs' success, there's artwork. So there is a tactile, physical experience of learning the song and the way it's notated.
I listen mostly to classical music.
If parents could just get their children moving around in the most simple and fun ways - jumping in leaves, dancing to pop music, throwing socks in a laundry basket - they could be sowing the seeds of great habits that could last a lifetime. It is all about turning it into a game.
For trance music to be good, it has to sneak up on you.
There's a great club in London called The Secret Sundays, and it's on a Sunday afternoon and it's outdoors, and it's mainly Italians that go, and they all look great, and they're dancing on the tables, and life's a party, and they're totally into the music, going mental, and that's when dance music is really fantastic, I think.
