Xavier Rudd quotes and sayings
May 29, 1978
My first instrument was my voice. I was always singing and writing melodies when I was a little kid. I just sort of taught myself whatever was around. If there were instruments around, I'd play them. I always liked the idea of not being shown but coming up with my own energetic connection to the instrument.
Yidaki didgeridoo has been used in every part of Australian regional culture, all around the country. It's become a message stick for the survival of those people, for aboriginal people and aboriginal culture.
Follow, follow the sun, and which way the wind blows, when this day is done. Breathe, breathe in the air. Set your intentions. Dream with care.
I love New Zealand and don't get to come there much. The south coast of Australia and New Zealand have a similar vibration, and a lot of the music comes from this kind of space.
Playing yidaki, for me, is a meditation. It's incredibly deep breathing, but also, it's a structured process where you're circulating air.
We're not just on the earth, we're of the earth.
I played didgeridoo from a young age - on the vacuum cleaner, initially.
I have Aboriginal roots on my father's side, and have always indentified with that spirit. I feel a lot of my music comes from that place.
The best wisdom comes from the hardest struggle.
It's about listening to the land and being patient and being ready to absorb our dreaming or our path or our destiny slowly, with patience, being ready to absorb that when it's time and not chasing it.
For me, surfing is as close a connection I can have with Mother Nature. To surf, you're riding a pulse of energy from Mother Nature. And it's strong. It's real. It's there. And you're dancing with that. You're connecting with that. You're might be the only person in the history of the universe that connects with that particular pulse of energy.
My music is roots music: it's a combination of growing up on the coast and mucking around with wood and wooden tones and sounds, salt, sand, fire, dogs, and heaps of brothers.
I was always drawn to the didgeridoo.
The music comes through me, and I let it come the way it comes, and it shapes itself. I just hold space for it. I don't intend to write it for a purpose, but it comes as it comes and am proud of the way it can support change because I believe strongly in what I sing about.
It's always great to visit Taranaki; it's beautiful, and I've caught some great waves there.
I feel my live shows are my music; everything blossoms from the live shows.
Most of my instruments are handmade.
Playing live is everything. Sometimes being on the road is hard, and it's a lot of work, and tiring. From a musical point of view, you improve all the time. Not only that, but you learn how to deal with people and deal with energy in a live setting.
It's kind of like some kind of church for me, playing live. Each show, good people from different pockets of the world come and open their soul and let their spirits mingle and dance. That energy comes up through me, and all I do is channel it; it's like a circular motion and very sacred.
When people connect to my work, it makes me feel great. A lot of that stuff is really deep, and when I play something and people feel what I feel, and use it in important situations in their lives, like at weddings or funerals, that's so powerful. It means I can connect with them on an important level.
I do pinch myself, like when shows in non-English speaking countries are sold out, and people are singing my lyrics. I don't think I'll ever lose that; I'm always appreciative every day of the support I have as an artist, because I'm not a commercial artist.
Surf culture and surfing for me are two completely different things. Surf culture has become very - it's a very commercial, competitive thing, fashionable. With all due respect to the 'Surfer Dude' movie, I think the 'Surfer Dude' movie reflects that, reflects what surfing's become, but I come from a place where the surf industry began.
My dad was a really good surfer, and by the time I was 10, he was dragging me out on some good days at Bells. I'd reckon they were solid, 6-foot days, and he'd tell me to wait on the shoulder. I'd see him coming through the barrel, and he'd just scream at me to go. I'd drop in, and he'd give me a hoot from behind - I've always loved it.
Rita Mae Brown
Mary Elizabeth Winstead
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