A Quote by Lizz Wright
The church is an institution of music and of production and performance, and it has to do with taking people to places inside of themselves and giving them an opportunity to sit deep in their own feelings, and to be together and deeply alone at the same time, and to process things.
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World music is about taking things from different places and bringing them together - which is great.
I grew up the son of a Seventh Day Adventist minister, so I was really close to the church and sang church music between sips at my bottle, you know? I sat on the piano bench next to my mother. She was the church organist, so that music is deeply inside of me.
But the idea of taking things and mixing them together is what I do in my music. I take hip-hop, R&B, pop, dance, funk and soul and mix it all together to get my own sound.
The whole musical institution of the church involves a lot of different styles of communication at the same time. Things like call and response. Sometimes they use the music to pray and work things out. And there's so much repetition in gospel, it's like churning butter.
There's no way anyone's going to understand my own personal experiences, where the songs came from, because they're mine. But I was very conscious of leaving loads of space in the songs so that people could interpret them with their own memories, feelings, and emotions. I love the process of taking stuff away so that people could finish the songs themselves. I was hoping it'd end up being as universal as possible, even though it comes from the most personal place.
In my opinion, everybody has the same soul from God and we are united by that. Outside, our bodies are different, our faces are different, but inside we are all the same, we share the same feelings of sadness, love, pain My music comes out of these feelings. Whether it is Japanese music, African, Qawalli, or any other form of music, if it touches your heart it becomes important for me.
Taking employment out of the country - now that's taking away jobs. These shows employ a lot of people: production, post-production, music supervisors, camera people. A hundred people or more.
How strange it is. We have these deep terrible lingering fears about ourselves and the people we love. Yet we walk around, talk to people, eat and drink. We manage to function. The feelings are deep and real. Shouldn't they paralyze us? How is it we can survive them, at least for a little while? We drive a car, we teach a class. How is it no one sees how deeply afraid we were, last night, this morning? Is it something we all hide from each other, by mutual consent? Or do we share the same secret without knowing it? Wear the same disguise?
The funny thing is that I feel close to all my characters. Deep, deep inside them all. I can't describe how deeply I love them all.
Now, in Texas, we believe in the rugged individual. Texas may be the one place where people actually still have bootstraps, and we expect folks to pull themselves up by them. But we also recognize there are some things we can't do alone. We have to come together and invest in opportunity today for prosperity tomorrow.
The delicate balance of mentoring someone is not creating them in your own image, but giving them the opportunity to create themselves.
Giving people the opportunity to sit in a dark theater together and have emotions in public, whether they're laughing or crying - that's what makes me happy.
Each actor, every single time you work with an actor, you have to come up with the language that's going to serve them. And that's what allows them to give the performance that you want to nurture inside of them and what you think they're capable of giving.
I fell in love with the process of taking pictures, with wandering around finding things. To me it feels like a kind of performance. The picture is a document of that performance.
It's the way I make music, I will take two ideas and smash them together and if they sit well together for me then that's fine, and it's the same with the lyrics - if I see a couple of lines and I like the way they look on the page then I'll use them. I find they take on a meaning of their own, it's very difficult to explain how I actually go about all that.
In the end, our way of writing music is a long process of experimentation. We enjoy the luxury of taking this very seriously and giving it the time that it needs.
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