A Quote by Aubrie Sellers
To be honest, when you grow up in the music business, people heard me sing from a young age, and you get offered development deals and things like that.
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I was exposed to Grace Jones and highlife music at a young age. I would sing along and as I grew up, music was the only thing that felt like a safe haven for me.
The advantage of age is that you swap youth for wisdom. You're so full of insecurities when you're young. 'Who am I? What do I have to do for people to like me?' You get caught up in things. You get very emotional about things.
If I grew up with a lot of money, where everything was just handed to me, I feel like those are the people that, a lot of time, grow up to do worse things. Or they'll start in a business really young, like eight or something, through all their schooling.
The music business for me was never about buses and billboards you know, that was never the reason I got into the music business. The reason I wanted to get into the music business was because I genuinely, wholeheartedly love to sing. I love singing songs and telling stories and playing music, so that's why I got into the music business.
I'm one of those people that is up for most things. When I was offered to sing at the Oscars I was like, 'Yeah, I want to know what that's like!' I'm always curious to know what things are like - as long as you're not compromising who you are.
Some people come up to me in public and they're like, 'Oh my God, are you Noah from TikTok?' It's so weird to get recognized for that. I think it's the really young fans who have never even heard of 'Stranger Things.'
Then you have people coming up like Malcolm Bradbury, a relatively young writer who deals with the academic scene and deals with it, I think, brilliantly.
When a young person is not eating three meals a day but still getting perfect grades at school, or when a young person deals with trauma at a young age yet still makes it to college, these are the things that inspire me.
I feel like... I don't have a wife, I don't have a kids, but... I see rappers and I'm like, I know that's fake. I know how much you make, this is all bullshit. But people are buying into it, and you shouldn't have that power. I'm legit trying to make honest moves so that all of us can grow. I want to make a show where my sister can work on and become a producer because she can't get in, no one's leting her. I want to make things where people can actually grow. A place where people can actually be honest.
When my people are dying, that's when you gonna catch me protesting. I'm not gonna protest because somebody got offered not the amount of money they wanted to get offered. If you don't like what they're offering you, just no longer do business with them.
My favorite thing about coaching? Teaching. Being around young people, just watching a player grow and develop. You know, a young man comes in with dreams and goals and ambitions and just helping him reach (them). It's like your dad watching you grow up and like me watching my boys grow.
Only a handful of people are honest when they sing. A lot of people sing about very vague things, or they'll sing about someone breaking up with them, but a lot of people don't go too deep into their past and stuff, because they don't want it to be let out. I just do it anyway.
I feel like Nashville has watched me grow up in front of them, which is cool, but it kind of sucks at the same time because you get pigeonholed, like, 'Oh, she's the girl with the long hair that wears fairy dresses.' That was me at one point because I was new and I was young. But we all grow up.
People like me get to grow up and fail and learn. People who grow up like Meek should get that opportunity, too.
The average age of the Jazz audience is increasing rapidly. Rapidly enough to suggest that there is no replacement among young people. Young people aren't starting to listen to Jazz and carrying it along in their lives with them. Jazz is becoming more like Classical music in terms of its relationship to the audience. And just a Classical music is grappling with the problem of audience development, so is Jazz grappling with this problem. I believe, deeply that Jazz is still a very vital music that has much to say to ordinary people. But it has to be systematic about getting out the message.
I'm always thrilled when I get feedback from young people, particularly from 'The New Normal,' young gay people - when they say they want that when they grow up, that means a lot to me.
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