Top 650 Vibe Quotes & Sayings - Page 11

One way to think about what psychedelics are is as catalysts for language development. They literally force the evolution of language. You cannot evolve faster than your language because the language defines the culture of meaning. So if there's a way to accelerate the evolution of language then this is real consciousness expansion and it's a permanent thing. The great legacies of the 60's are in attitudes and language. It boils down to doing your own thing, feeling the vibe, ego-trip, blowing your mind.

When you get in the middle of a career and you're successful, people come and offer you things. My biggest fear was that if you try to do something else and you're trying to build your music career, and then you say, "I'm going to go do a movie," and you're terrible, you can really hurt your music career because as a musician, the goal is to be cool. You're playing the guitar and you're in front of all these people and your vibe is to be as cool as you can possibly be.

I guess I just use the word vibe in pretty much everyday context and every sentence I possibly can. Some people find it hilarious, some people find it cool, some people find it infuriating, but ultimately it's coming out of my mouth so as long as i I like the sound of it who cares too much what anyone else thinks?

The political vibe of late-'40s Hollywood through the mid-'50s is something we're seeing a lot of echoes of right now, and in a scary way, where I'm wishing for an Edward R. Murrow to stand up and start somehow calling people on stuff. But as far as the way the industry works, I feel like we're in a place where you see companies slowly moving back to only doing their own stuff.

I talk very slow. I move very slow. I definitely have that Southern drawl and although I never necessarily participated in the activities that go along with screw. I definitely was a huge fan of screw. Because melodically, I don't ever really sing very staccato or very fast. It's really about a groove; it's really about a vibe.

We just met for the first time and David Byrne was like, "Hey, you want to sing on this song?" and I was like, "Yes, I do want to sing on that song." He's the most legendary dude but I wasn't thinking about how he was a legend when rehearsing. I was just thinking, "Wow, this guy really knows what he wants in his music." And that ended up being the vibe, like "Oh, you wanna try that?" "Yeah, that sounds great!"

I went to college in Amherst and lived in Northampton for many years and we had our quaint little feminist sex toy shop that somehow made it in town and wasn't scandalous. But you still got the vibe once in awhile that this didn't used to be okay. That twenty years ago women would have come in saying, "You can't sell realistic-looking sex toys. You have to only sell things that look like dolphins or something."

Try vegetarianism and you will be surprised: meditation becomes far easier. Love becomes more subtle, loses its grossness — becomes more sensitive but less sensuous, becomes more prayerful and less sexual. And your body also starts taking on a different vibe. You become more graceful, softer, more feminine, less aggressive, more receptive.

If my songs are being listened to between any other songs, that is awesome, and I'm glad people are getting something out of them. We go to countries like Germany, where I can't imagine that all of my fans are engaging with the lyrics first and foremost. I think they're catching a vibe, a feeling. I consider myself a lyricist first and foremost, but if you get something else out of what I do, that's fine too. I'm not sitting back and telling people how they have to take my stuff. We just want to play music, and hope that people like it.

For me, it’s like playing the same instrument but in a different context. TV work – it’s really about getting it just right. You have a chance to try again if it’s not. Theatre is like playing a rock show. It doesn’t really matter if you make a tiny mistake. It’s the whole vibe and getting people to feel you. It’s about carrying the moment through all the way with you in an hour and 20 minutes of the narrative.

I think that watching artists, soulful artists, they get into it. It's always the way I perform, so when I'm on stage I just try to get into it - I'm in my own world. That's the whole thing about the stage, it's like a sacred place. They're [the audience] watching into the different world, right, so it's like you see performers and they're in the same room, so it's a different vibe. Sometimes it's great, but I try to separate it, you know, I wanna separate it 'cos otherwise I feel naked. It just feels natural.

There is such a cool vibe in Nashville. It is has the excitement of a big city, but also has this amazing small town feel. I have definitely come to call it my home, and have my favorite go-to spots. But most of all it's the people. The southern charm, and hospitality. And some great shopping never hurts. As fun as Music City is during the day, the real magic happens at night ... The lights, the energy, the music, how could you not love this town?

The live audience, just getting an instant reaction off of an audience is the best part[of the show]. Being in the studio and working on your songs and listening to them back and doing all that - it's a lot of fun, but having that instant reaction and being able to work and vibe with an audience is the best part.

In Brazil, even inside the same city, people from different parts dress differently. Sao Paulo, for example, is more connected to global trends and urban movements. Rio de Janeiro is more influenced by the beach, and has a sort of Cali vibe with the way people dress. Porto Alegre down in the south has a hard winter, so people have to dress to face the cold days.

[Robert] Aikman would write horror stories that weren't gore, they weren't slashers, and they weren't monster stories either. He called them ghost stories. The main thing about them was the vibe. It was really disquieting. He wanted to sketch the scene so that you could see it and know the characters and get a feel for the motion - and then ask yourself why and not get a final answer. Leave something that itches. I loved that!

I feel like there's not as many bands anymore. It's more like there's a front-person and a band supporting them, solo-type spirits that have a look, a vibe, a message, a voice and a style. I was talking about it with a journalist in Europe; he was like, "You're a democracy; everyone in the band does stuff." There's not a lot of bands I can think of that still have it so every member of the band has an equal say. I was like, dude, you're right. I can't really think of any right now. There might be one or two leaders in them, but there are not a lot of bands like that anymore.

I definitely want to put out and album, kind of like a Kelly Clarkson vibe: a soulful voice with a pop rock background. I think it's something that I've always loved and always loved to perform. So that's the kind of album that I'd like to put out.

I really like Billie Eilish's music. It's really different. My music ain't like hers but I like her music, her vibe.

The thing about being at home versus being out in the world working is, it's a whole different vibe. When I'm home with my kids and partner, I will cook - even though she's a very good cook. She's learned over the years. We started with basics, you know, how to saute onions, how to saute mushrooms.

I bring up 'The Heist,' and you can almost cut that record down the middle between songs where the beat came first and the words came second, and songs where the words came first and the beat came second. It can start with a vibe, a beat that drives a story, or it can start with a story and then trying to identify the tone to tell that story right.

When I am performing live, I walk into a room, and I just try to get a feel for the vibe, and I am coming from different angles musically. I might come with a new song, I might come with some hip-hop, with some R&B. Once I find my way, then I am hitting you, and hitting you all night.

I think 'Girlfriend' in particular is definitely one of the songs that is angled towards early 2000s, late '90s, R&B pop and those kinds of songs that were prevalent in that time. I don't think I was conscious of those songs in particular, but I'd say I definitely wanted a song that had that kind of vibe era wise in tone and all the writing.

The elements of a good story are most definitely details, little bitty details. That does it, especially when you're describing, when you're setting the scene and everything. It's like you're painting a picture, so details are very important. Also, the music gotta be right. The music can really set the tone for the story and let you know what the story is gonna be about, but definitely, it's the vibe in the place where you at and the detail.

Not to say that the process assumes anything of "greater" or "lesser" importance, though: it's just more graphic information. Take the surrealists, for example, or a work by Cage. For me, there's a great value in doing this with literature. There's a certain form of dependence; process and product inform each other, depend on each other. I consider myself a writer who doesn't write with a style, almost. I begin with tension, with a vibe, a character.

I noticed with older songs that I perform that I'm coming from a different place with them now...it mutates the vibe and even the meaning of the same words when you have a different spirit, if the person singing is different. I like that, to be able to sing an emotionally wrought song from a more centered place, or to sing an eager, youthful song from a more experienced place. It kind of colors the songs differently, and it keeps them fresh.

I like to compare the attitude and energy of an emerging start-up to that of the early hip-hop era. From working at labels like Bad Boy and Ruff Ryders, walking into the Def Jam offices, A Touch of Jazz and things like that, the vibe is that off making something out of nothing and making things work, and that's what I love about start-ups.

The difference when I'm writing a story versus writing a joke is that writing a joke is so much more about the structure and it's less about the conversation. To me, the thing that I love about stand-up is the intimacy between performer and audience.To get it even more conversational was something that really appealed to me and that I really enjoyed doing. My early experiments with it, with just telling a story from my life on stage, it was so satisfying to do. And seemingly for the audience as well. It's a different thing, and it's a different feeling and a different vibe.

Some people focus more on sonics. Some people focus more on story. I focus on both sonics and story, but music sometimes, just music itself, can turn into more of a maths problem. I guess everything in life is a math problem, but it can be more about an empirical route to getting the symmetry that you want, and this vibe, sonically.

What makes 'Maybach Music V' so special was, of course, I put the album out celebrating my daughter's birthday as well, and DeJ Loaf is her favorite artist. So 'Maybach Music V,' I wanted a real airy type of feel. Just a real slow vibe to it that's also going to surprise my daughter. So that's real special.

That song [You Got To Make It Through The World] came from a vibe I picked up from an old blues singer named Bo Carter. My lady was making a film as a thesis for U.C.L.A. and she wanted me to write a song to depict this character. The movie had something to do with bootlegging and stuff like that. I found this Bo Carter record and he was just saying something about making it to the woods or something like that.

I tried to stay away from the Euro beats, and not go totally pop. Instead, I wanted to take the Quincy Jones approach. The record pays homage to the Stevie Wonders, the Michael Jacksons, the Sam Cookes. I wanted to put that classic essence of R&B and soul with the new age of music now. There’s a lot of live instruments, and a lot less Auto-Tune. I really wanted to demonstrate my vocal ability, creating the vibe of me singing along with a band.

Celia [Brady] is a young woman who, you know, she's still got that fresh young vibe about her but at the same time she's quite wise beyond her years and very mature and she has that womanly, sexy quality, but at the same time she's very youthful in her clothes. She has that interesting mix between the two. I really love that balance about fashion.

If I'm not making plays, I can't get the crowd going. When I'm making plays, that's where I can feel a vibe and can get into it with the crowd.

It really depends on the director. I think quite often, it's not what you expect. The most serious film can be the most fun. The one that's supposed to be fun can be the most serious. I don't think there are any hard-and-fast rules. I just think it really depends on your director and what the general vibe is.

I think all of us would agree that a lot of Christian radio sounds the same. A lot of music that comes out of Nashville kind of has a little bit of the same vibe. Because I don't live in Nashville, I surround myself with a culture and an influence that's outside that bubble. So when the church hears it, it's refreshing, and when the world hears it, it sounds like something they want to listen to.

People have these perceptions; maybe they've been here for a day, or have only heard about it. It was like when I first came to work here. You want to see the clean city that is always talked about, how nice the people are, the restaurants, the vibe, how diverse the city is. That's what we want to show: what an enjoyable city it is, what a great city it is. Forget about basketball.

Sometimes you're with a producer who just makes beats and you can kinda do your thing to whatever beats they come up with. But sometimes you get with a producer who really produces you and the music together, not just the beat then you can kinda throw in your ideas and vibe off each other.

I like Madonna a lot. I think she's really good and I think she's a good singer. I think she looks good and she's got a nice kind of... I don't think she's got a sinister or cynical vibe around her, and I don't think she's got any sort of bullshit around her.

I find that the quest to be perfect and make perfect music is like a black whole. I realize that you can come with the intention to capture a vibe and use a formula, but you have to accept that most of the time its not going to be what you envisioned and you might manifest something better. I think that's been the hardest thing to wrap my head around that most ideas we go for ends up sounding different. I think art in general should be about enjoying the process and the experience. All that matters is if you feel the music and it captures the element your going for.

I'd love to do a song with Tom Waits. Around when I was like 17 or 18, my buddy, D-Money, put me on the Tom Waits and I literally at that point got every one of his albums and kind of studied his music. I like that he provides an entire world for the listener. He's hopefully someone that I could vibe with down the line. I'm not sure how it would sound or even how it could work, but he's always been a huge influence.

I do feel like L.A. has a very supportive and collaborative energy. I felt that in New York too but also there's so much space here! You can have a home studio. In New York you had to rent a room to do a session or to practice. As a solo artist, it was a lot more expensive. Here there is that comfort in lifestyle a little bit more, being able to breathe a little bit more, and creatively flow, not having to stress about how to get our gear there in a cab and pay by the hour, it's just a different vibe.

Bob Dylan is my idol. Everybody has that person growing up that made them see things a little differently than they did before, Dylan is that guy for me. My dad gave me the 'Blonde on Blonde' album on cassette tape when I was seven or eight. It took me a while to get into Dylan's vibe, but once I did, I never looked back.

My upringing did influence me to a certain extent. I grew up going to private school, and we'd have these really cute uniforms, but you'd only have so much sway over how you could "customize" them. I would line my blazers, I would dart my skirts, I'd change the buttons, I would do anything I could to make them unique. And when I started designing, I found myself referencing those roots. I love a sort of preppy, gender-bender vibe. I wanted to incorporate the feel of menswear into the looks. That definitely comes from my private school days.

A good collaboration I think it's really, truly a vibe thing. The people who are most excited about collaborations are people in the business, people who are thinking, "This is going to be great press," or, "This is going to expose you to all these people you haven't reached before." I prefer not to think like that. I'm more, if you meet the person, you like the person, you've talked to them, you feel connected, you feel like there's a creative exchange, then it kind of happens by itself. I'm open to it, but it has to feel right. If it feels forced, then I'm fearful of doing it.

I want Pucci woman to be a Pucci girl. That's number one, because I think she should have that vibe that corresponds with today. Emilio Pucci - the house is, I think, 63 years old now. It's an old house. The Pucci woman from the beginning would be 80 years old or something today, so I've kind of had to update her.

My worlds are completely different. Painting is a peaceful world, and it's a different vibe than having a great match. You are able to look back at what you created when you finish. Recording music is an entirely different monster. When you finally write something, you do a demo and then you go into the studio. Doing the master version, that's the best feeling ever - especially when you're so proud of what you've written, and you can't wait for people to hear it. That's actually very similar to trying to tell a story in a wrestling match.

Ailee, to me, is just such a talented, powerful voice. She's sexy; she's beautiful. I'm a huge fan. I like her a lot. I really hope she keeps going at it. I really like her song 'I Will Show You.' To me, she has that Beyonce vibe.

As for what I look for, I don't know any other way to put it, but I look for truth, and honesty, because that's something that's few and far between. And obviously, someone who takes care of herself physically. But truth, honesty, and love, that's what's most important. Oh, and someone who can vibe to some jazz. Because I love jazz music a lot.

I would describe my style for those who haven't listened to my music as definitely..up-tempo. I try to have something nice, something people could dance to. It's kind of hard though to describe my sound in one record because I think when I approach music I try to do something different every day. Do a different vibe.

It's just human nature - isn't it? - to be more attracted to something that's taboo. If someone tells you not to smoke, you wanna smoke. If they say, 'Don't do drugs,' you wanna do drugs. That's why I've always thought that the best way to stop people taking drugs is to legalise the fucking things. It would take people about five seconds to realise that being an addict is a terribly unattractive and pathetic way to be, whereas at the moment it still has that kind of rebel cool vibe to it, y'know?