You have to work with your body when you dance; you can't shy away from your physicality. For me, it's really linked to an incandescent way of accepting yourself and projecting. The dancing was at the core from the beginning.
I'm a guy of 92kg. I haven't got the physique of someone who can work back and then sprint up front again throughout a match!
I like the fact that the audience does notice the hard work that I put in to maintain my physique, and there is nothing better than having your hard work appreciated!
After the Second World War, I returned to California to study composition with Darius Milhaud, who wrote wonderful works like 'Le Boeuf sur le Toit' and 'La Cretion du Monde.' I especially enjoy his work for two pianos, 'Scaramouche.'
I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.
I don't write for a particular audience. I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.
I grew up with the white picket fence. My dad went to work nine to five, and he had a station wagon.
I had the great opportunity to work with some of the greatest artists - the Beach Boys, the Temptations, the Four Tops. Otis Redding. Wilson Pickett. Stevie Wonder. So many great singers. And don't forget Clarence Carter!
All my tattoos, they've been thought out, thought over, been a work in progress for at least a year before I've got them. So I'm not walking into a tattoo shop, picking tattoos off a wall. It's something that means something to me. It's something that I believe in.
A lot of my work is about what's abstract and what's pictorial. Is it bubblegum, or is it an abstract painting using bubblegum? The energy comes from walking that line and watching things dip this way and that.
I hadn't thought specifically about doing graphic novels until a couple of my friends got contracts for them. Then I started picturing how various of my stories or poems would work in an illustrated format and thinking how cool that would be.
But the question is a matter of the survival and the teaching. That's what our work comes down to. No matter where we key into it, it's the same work, just different pieces of ourselves doing it.
When I was in Japan, everyone wanted to work for Pierre Gagnaire, and they wouldn't miss a beat.
The fact is, I diet every day of my life. I have to work at it. But I diet so I can pig out.
I'd been doing projects outdoors for the public. I made pigeons eat geometry by putting bread out in rhomboids and triangles. I don't know if this activity made sense, but the work was available.
My exercise varies from yoga to Pilates. The yoga provides me with achieving my balance and mental relaxation, whereas the Pilates allow me to work my inner core through stretching and keeping my muscles toned.
If you look at the beginning of this country, when the pilgrims came to this country, the first year they had a communistic experiment. They said, 'OK, we're going to take the land, we're going to work the land together and share in the fruits of our labor.' They almost starved to death. Almost half of them died that first year.
Since I was a little girl, I have witnessed the strength and courage that energized my mother, who left every sorrow and pain in the past, who would work unyieldingly to obtain her goals, who was the great warrior from whom I learned all the values that are today fundamental pillars of my every day.
I don't need to have three feather pillows in my trailer. I just don't work that way.
There's nothing better than sinking into my feather pillows after a hard day's work.
