I've had offers to sign a record deal, but the people I've talked to have wanted to package me and have me meet with songwriters who've written stuff for Whitney Houston, that sort of thing. That's not at all my style.
My identity has everything to do with me and my instrument. It doesn't have to do with what production style I use, or how many people played on it, whether it's sparse or grandiose or whatever. And I'm social, frankly.
Like, I kind of developed my musical style in a vacuum. Even though I listen to a lot of stuff, the way I wrote was in my bedroom, really privately. It's still the way I write, actually.
Washington is a place where people have always been suspect of style and overt sexuality. Too much preening signals that you're not up late studying cap-and-trade agreements.
Balance, the stroke of the wise, the style of the sharp. The way, the groove. Bal-ance: the sole of the feet, the soul of the Universe, takes step after step down the beat to time: da DUM, da DUM. Bal. Ance.
Postmodernism came nowhere close in quality to Modernism at its apogee, not least because that later style wholly lacked the social impetus that animated the designs most emblematic of the Modern Movement.
Young writers often mistakenly choose a certain vein or style based on who they want to be, unconsciously trying to blot out who they actually are. You want to escape yourself.
Every minute of every hour of every day you are making the world, just as you are making yourself, and you might as well do it with generosity and kindness and style.
If you want to be a writer, don't worry so much about writing. Read as much as you can. Read as many different writers as you can. Soak up the styles.
I would say that I definitely play a different role with my style; I like to mix it up a bit according to wherever I am. I dress differently in New York, L.A., Paris and London.
My personal style has developed from growing up in Oklahoma, middle America, where I was wearing jeans and cowboy boots and where people were not running around in miniskirts.
I never thought that I would be creating my own 'cross-over' genre. What I did was very real and organic. I have worked in so many different styles so it all just came together.
As the director of an opera, it is my responsibility to unify the style of the particular performance, but one can certainly approach the piece from different points of view. That's what makes it interesting and keeps it alive.
There's a particular style that is very Peru that you don't see anywhere else; it's got so many different imprints. When you mix Incan minimalism with the heavy, ornate Spanish Baroque, it is very interesting.
I'm about as monolingual as you come, but nevertheless, I have a variety of different languages at my command, different styles, different ways of talking, which do involve different parameter settings.
My style is about making things last forever. When you're on a budget, it can be daunting to spend $300 on a pair of boots or a coat. But such basics are the building blocks from which your look is crafted.
It's a new era in fashion - there are no rules. It's all about the individual and personal style, wearing high-end, low-end, classic labels, and up-and-coming designers all together.
Youth culture now really looks back and embraces the past, but keeps it contemporary but not sticking to one particular style.
The fact that I made a special movie with an old-fashioned style - even if it's a mix between with modern and old-fashioned things - must mean I feel both ways about change. In a way I'm resisting, but in a way adapting myself to the times.
I thought to be feminine was to give in to straight culture, or the beauty standard, but in my heart I had a flair for fashion and style. They were passions I kept secret because I didn't understand I could love clothes and hair and makeup and still ...
I used to watch my grandmother make fancy, Julia Child-style beef bourguignon. And growing up in New York City, I was exposed to many cultures. I experimented with Puerto Rican and Jamaican food.
