A Quote by Sophie Ellis-Bextor

That's part of the reason I called the album 'Shoot From The Hip.' I did feel it was time to open up more. — © Sophie Ellis-Bextor
That's part of the reason I called the album 'Shoot From The Hip.' I did feel it was time to open up more.
My teammates tell me to shoot the ball when I'm open. I feel like I'm open most of the time, so I shoot it.
The first album I started out, I just did everything completely alone. I think it has to do with confidence. The more confidence you develop in your own sound, the more you can open up and alchemize that with other people, just set it free, and not feel challenged by that.
I love the way I make hip-hop and I refuse to make pop-rap. I don't refuse to make mainstream music, which is why I did a soul record. There was no reason why soul music couldn't get played on the radio and I still wanted to have a relationship with my record label. So, I really enjoyed doing the Strickland Banks album. But there's no point in my trying to release underground hip-hop music on a major label. That part of my talent, or part of my art, had to live somewhere else and feature film was the perfect vehicle for it.
The key moments in your life are when you realize how exciting music can be, like when you hear Nevermind for the first time. I grew up in the '70s and '80s. I was introduced to hip-hop when it first came out. Hip-hop music will always be my first love. That's why I love playing the drums. Any day of the week, I would rather listen to a hip-hop album than a rock album.
My first album, 'Get Lifted,' was a hip-hop soul album that had some of its roots in the church, as far as the sonic choices, in the way that I sing and write songs. I have always had that as part of my background and part of my influence when I am making music.
I don't know if I was as ambitious as to change the world, but I do feel like - the reason why I called the album "Our Version of Events" was that I feel a lot of people are not represented in pop music and popular culture.
We did an album one time called White Mansions, about the civil war, but it was written by a guy from England. His looking at it from over there and it not being a part of his history made it so he could be objective.
My first album was hip-hop influenced, and my second was more of a singer-songwriter album.
When you make an album, you have to decide how much you want to give away; you have to decide how much you want to open up. Because the more you open up the more rewarding it can be but the more dangerous it can be. If you really open up and it gets panned it's really painful.
I try not to tell students where to shoot, when to shoot, or what to shoot. I feel finding the picture is the most important part of being a photographer. The actual shooting is of lesser importance.
All I can do is do my part and keep trying to open up eyes with what I did on the football field, what I did in my career. Just go out there and try to compete and shock a couple more people.
I grew up on rap and hip-hop and fell into dance music. Hip-hop died down, and I moved more into dance music, disco and house. It feels very natural. My rhythm growing up on hip-hop and R&B was cool, fresh, and I feel comfortable with it.
When I made Illmatic, I was trying to make the perfect album. It comes from the days of Wild Style. I was trying to make you experience my life. I wanted you to look at hip-hop differently. I wanted you to feel that hip-hop was changing and becoming something more real.
I did an English album called 'Ice' earlier but it was too ahead of its time.
My door was open part of the time, and part of the time I tried to get a nap and their voices annoyed me, and I closed it. I kept it open in summer more or less, and closed in winter.
If I'm contested, I'm not going to shoot the pull-up 3. But if I'm wide open and someone backs up off me, I'm gonna shoot it.
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