Tom Green Quotes

Mos Def is a name that I built and cultivated over the years it's a name that the streets taught me a figure of speech that was given to me by the culture and by my environment and I feel I've done quite a bit with that name and it's time to expand and move on.

The first album was a very successful record. It made me very visible and it's an immediate association, but I don't do that anymore. Now I'm true to myself as an artist again. I'm more vocally oriented.

I was king of the mountain for a long time, well, I don't want that no more. I like to perform every once in a while for people who want to see me, and cut albums of music that is what I'm really about.

You have to be clear what your message is and what you're doing. I mean, Miley Cyrus is an amazing talent, and sometimes you kind of just want to say, 'We know you're not Hannah Montana anymore. We know that, my dear. My darling. Now, go be great.'

I'm still finding myself as an artist. I'm still experimenting a little bit.

People who want to remember me as Cat Stevens - welcome. Those who want me as Yusuf, you're here.

I think that when you're making your way up in the music industry, you have all these heroes and the reasons why they are your heroes. As soon as you get into the industry, your guidelines change a little bit. For me, my heroes now are great people first and great artists second.

I believe later in life I'm gonna change my name when I start making the right music.

I fight for whatever I believe in! I've learned to trust myself. I went from a being a rapper to an artist.

I acted before I sang. And I did The Cosby Show, and things like that. But the music kind of came first. And it was a part of my essence. So I knew that I would evolve into this world.

I'm basically in every band I ever was in, and the songs, I still mean them all. I don't take anything back, so I do look after them to some degree. But my main focus is on what I'm doing now.

I am an oldies act - yes, I am - there's that part of me, but I am so much more than that.

Me being in Houston, I wanted to leave there because it was only known for one thing. That's why I hit N.Y.; that's why I hit L.A. That's why I hit Paris, London. I just picked up basically everything, but I morphed it into what Travi$ Scott is and into what I know is fresh.

I had really bad grades in high school and didn't want to go to college, and my dad said, 'Why don't you move to L.A. or New York and pursue music? You've always been good at it.' It was the first thing that made sense to me and... It was the right move.

When you're young, and you're doing stuff, you're making music, directing, making art, it's all future directed. You want to change stuff onward. And when you get older - this applies to me - you think about the things you want to do and how it will be perceived by your children one day.

I want to be a great person, not just a great artist.

Your experience of life is to a large part distilled into your performing. As you grow older, you concentrate on aspects of music that you perhaps only touched on earlier.

I love it when people refer to me as a singer-songwriter. I get flutters in my stomach because they say, 'This is Grace VanderWaal, singer-songwriter,' not, 'This is Grace VanderWaal, winner of 'America's Got Talent.'' I'm so proud of that; it's such a big chapter of my life. But it's nice to kind of not be known as just that.

There was always a conscious effort on my part to do different cinema. It's taken time for the directors to accept me.

I don't need anyone to write me a show in my style, I would like to do a show in a style that wasn't my style, because that's the only way I can grow up and grow out.

Leonard [Nimoy] was such a teacher for me. He was one of the most fully realized human beings I have ever known on every level - in his personal life with his personal relationships and his love for his wife and his evolution with his family. Then as an artist, as an actor, as a writer, as a poet, and as a photographer. He never stopped.

I had a visit from an artist friend who basically said, "Your paintings are wonderful. Now stop." It did resonate with me. It hit on the percolating need for change that was already there. I got a little push. I did a group of the paintings early on that were among the best. It was sort of beginner's luck with these.

I think I've been a bit misunderstood; the first record was more timid than I wanted it to be. I don't like getting pinned down by sex or how I sound like because it's not who I am or what I want to be.

I wouldn't have known when I was a teenager that when I was coming up to being a sixty-year-old woman that I'd be making music, I'd be recording music, talking about music, and incorporating my views on the world into the music-making. So it's a very rarefied place to be, and I'm very grateful for that.

No one who looks at my paintings can see whether a painting is upside down or not anymore. I've made or developed so many image models that some people have given up trying to keep track of me. But others have only one or two ways of doing things and are successful with that.