Quotes of All Topics . Occasions . Authors
I just always wanted to be an actor. I don't remember ever not wanting to be an actor. I did a lot of musical theater when I was younger, and I really hope to get back there someday.
In the course of transferring all my CDs to my iPod, I have found myself wandering the musical hallways of my past and reacquainting myself with music I haven't listened to in years.
I don't come from a musical family and didn't go to Julliard or anything, but I had this kind of vision of stuff that was so powerful that I just needed to find it. I have no regrets.
Whitney Houston and Ella Fitzgerald are my musical mothers. I learned everything I know about true R&B, pop and jazz singing from these stunning performers and unparalleled musicians.
I love painting still lifes because there's a feeling of musical, flowing experience. The drawing doesn't matter as much - what you're really after is a feeling of clarity and beauty.
I don't want to do free jazz! Because free jazz - which is the musical equivalent of free marketeering - isn't actually free at all. It's just constrained by what your muscles can do.
I told her it was a bigger than life musical, that all the actors were going to be about the same age, late twenties into thirties. It would be a style; a kind of surreal high school.
I have no musical talent at all. I was banned from music classes and told I would never be able to understand anything. I still don't think I can sing, but somehow I get away with it.
I became an actor by accident. I suppose I figured since I was in musical comedy from the time I was a teenager, I suppose I figured that I'd always been in that world to some extent.
If you are in a play, and you catch a cold, you are able to muddle through. If you are carrying a musical, it's a different thing altogether. It's the great fear of any singer's life.
Often people try and just consider music as music, in a musical context. People seem to forget that music is not just audio material - it's also the artwork, the packaging it comes in.
We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
I came from somewhat of a musical family. I had an uncle on Broadway. My dad kind of knows how to play instruments. Although, I always find it annoying when he does play an instrument.
Essentially my contribution was to introduce repetition into Western music as the main ingredient without any melody over it, without anything just repeated patterns, musical patterns.
Punk rock has never really had much patience with musical virtuosity. Actually, it'd be more accurate to say that for most of its history, punk has been actively hostile to virtuosity.
My reading of serious books about serious music is seriously compromised by the way that I can't understand any musical theory. Any mentions of D major or C minor are meaningless to me.
Every year on my birthday, I start a new playlist titled after my current age so I can keep track of my favorite songs of the year as a sort of musical diary because I am a teenage girl.
Live concerts were to train the ears and to introduce, constantly, new musical ideas to the audience so the next time they showed up or the next record they would be ready and receptive.
I just wanted to see every single musical I could. The very first one I saw was 'Beauty and the Beast,' the only one I could get tickets for, and then 'Les Miserables' and then 'Chicago.
I enjoyed acting growing up; I did musical theater. I had a secret desire to be a television and movie actress, but it wasn't something I admitted to myself that I wanted to do, I guess.
MIDI made a natural transition to the PC. The MIDI messages that make up a musical composition can be saved as MIDI files, which are collections of MIDI messages with timing information.
And if Henry Higgins is not the most reprehensible character ever written for the stage, that's only because somewhere, somehow, someone is composing a musical biography of Ronald Reagan
I'm not like my siblings, who are musical but can turn their hands to other professions! I'd always wanted to be involved in music - I'm a great believer in doing things that fulfil you.
The process of filmmaking is very musical, you get into the rhythm and the rhythmics of how someone is, especially with Woody Allen who is very much into body language and body movement.
Y'all mythological niggas is comical, The astronomical is comin' thru like tha flu bombin' you... And embalmin' in your crew, too. With the musical, mystical, magical, you know how I do.
Like, I kind of developed my musical style in a vacuum. Even though I listen to a lot of stuff, the way I wrote was in my bedroom, really privately. It's still the way I write, actually.
It is the height of professionalism to be able to make an ordinary piece of music sound good. When playing routine melodic studies the player must treat them as if they are musical value.
I was a musical theater major at the University of Arizona. And I primarily trained with Marsha Bagwell. It was a classical program, so we did Chekov and Moliere and a lot of Shakespeare.
Basically, I composed the musical structure in one pass. The rest was editing and small adjustments. And when the play was read by actors with the music, the sequence timed-out perfectly.
Work on a good piece of writing proceeds on three levels: a musical one, where it is composed, an architectural one, where it is constructed, and finally a textile one, where it is woven.
I just wanted to see every single musical I could. The very first one I saw was 'Beauty and the Beast,' the only one I could get tickets for, and then 'Les Miserables' and then 'Chicago.'
I thought about going onto the first one, Pop Idol. My mum was saying, 'Go on!' But I decided not to. 'The X Factor,' though, doesn't really seem to be a show about musical talent anymore.
First of all, I think that is true, if you are a musician, particularly on the come, that you do have to end up in one of these musical centers, some way, to be viable, saleable and so on.
We are still not in the Rock & Roll Hall of Fame but there are 3,000 Kiss products, a Kiss musical toothbrush, everything from Kiss caskets to Kiss condoms. There are no Radiohead condoms.
So, essentially my contribution was to introduce repetition into Western music as the main ingredient without any melody over it, without anything just repeated patterns, musical patterns.
People are always going to have favorite albums or songs and you know that's more the listener's personal bias than basing it on anything musical or actual. I'm the same way as a listener.
First of all I think that is true, if you are a musician, particularly on the comeback that you do have to end up in one of these musical centers somewhere to be viable, salable and so on.
I always say that improvisation is the utterance of one's spirit, and it dictates your life experience, and that's how you find your concepts and your way for painting your musical picture.
My musical taste and image is going to change naturally. It's not forced; I do what comes natural to me. Sometimes, I like to be dark... other times, I like to be really light and ladylike.
If the composer withholds more than we anticipate, we experience a delicious falling sensation; we feel we have been torn from a stable point on the musical ladder and thrust into the void.
My musical style was developed basically by listening to music. The music I like helped to mold my style. I used to listen to the majority of down south music when I was a shorty coming up.
The designs were based on quite a lot of research of what a movie musical is, filtered through the eyes of today. If we'd gone strictly with the '20s, the movement would have been impaired.
When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them.
We have the insight and the tools to identify and bring to fruition the dormant talent that our artists possess. Favored Nations will be branded as the home base for inspired musical talent.
I'm very interested in music, but I was not born musical. I honestly do think some people have the knack. I can't play an instrument. I'm a terrible singer. I'm not about to launch my album!
James Brown's Live at the Apollo is not just a musical whiplash, it's a spiritual cleansing. You can just close your eyes and see him doing the splits, kicking the mic stand and doing a 360.
Thinking back on it, I've been in this business since I was 3, and I grew up in musical theater, so I was raised and surrounded by gay men and gay women. I was hardly around anyone straight.
It must have been an extraordinary time. I guess the worrying thing about musical theatre to me, is if you look at the London season this year, mine is actually the only one to have come in.
The musical mystery is: How do you marry tuned percussion and voice? On a metaphorical level, everything that's really important - like the clouds, the sky and the earth - is a giant mystery.
My mom is an avid musical theatergoer. My dad would always get a subscription to the Syracuse Stage. I was always exposed to theater. So I went to a theater conservatory at Boston University.