Quotes of All Topics . Occasions . Authors
My daughter's favorite musical is 'Wicked,' which she has seen hundreds of times - she even worked as an usher at the Pantages so she could see it over and over. Her dream is to play Elphaba.
Everyone was so anti-wanting to be anything else. I guess a lot of bands say that but I think, for us, that notion - combined with our musical influences - ended up making us uncategorizable.
The best conducting technique is that which achieves the maximum musical result with the minimum effort. The only general rule is to infuse all gestures with precision, clarity, and vitality.
And my father was a comic. He could play any musical instrument. He loved to perform. He was a wonderfully comedic character. He had the ability to dance and sing and charm and analyze poetry.
I was very conceptual about what I was doing; I had the first five albums planned out, and all the songs on every album, and the artwork. I always had these ambitious musical projects in mind.
Hopefully each film can be given a musical voice of its own, which is not to say that the instrumentation is always unique, but that the relationship between the sound and the image is unique.
Music is more of a hobby to me than my hobbies, if that makes sense. I love music; my dad and brother were very musical, and music just happens to be one of my hobbies that became my vocation.
I would love to have a varied career, like Hugh Jackman. He started in musical theater, then established himself in film, but he still does a lot of stage work. And he does it all beautifully.
I feel very much a part of what I'm writing about, and I'm writing about things that concern me on a daily basis. I'm not really interested in writing musical diaries, if you know what I mean.
You can't fake this music. You might be a great singer or a great musician but, in the need, that's got nothing to do with it. It's how you connect to the songs and to the history behind them.
The very same book, even if it is translated very accurately, let's say from Hebrew into English or from English into Hebrew, becomes a different book because language is a musical instrument.
I would always say I can sing, but I'm musical. I'm very good at following instructions, reading the music, and singing as it's written down, but there was a challenge when I had to improvise.
It's funny because I consider myself a musical scavenger. What that means to me is that I usually avoid feeding on the fresh meat. I kinda go for the meat that's kinda been forgot for a while.
My musical style has changed dramatically from my first album until now. That's the real developmental shift. But my clothing has pretty much stayed the same. The important thing is to be real.
The way I look at a musical, you are commenting on the human condition no matter what you do. A musical may be light and frivolous, but by its very nature, it makes some kind of social comment.
It's - as opposed to tape where you have a magnetic tape that's excited by frequencies that you hit, digital was a process where musical sounds are transferred to numbers and stored as numbers.
I don't let the children watch TV on weeknights. They practice playing musical instruments instead. Both my sons play piano, drums and guitar, so my husband and I listen to them in the evening.
I do realize that the reader needs some form of resolution. Sometimes I think of it almost like writing a musical score where things have to harmonize and certain lines have to come to a close.
My aunt played upright bass in the Louisville Orchestra, and I was always really impressed by her musical ability. I found it really fascinating as a kid that one could play music for a living.
Wanting to be understood by an audience that didn't know Russian, I tried to paint musical pictures by emphasizing the phrasing, using voice color more boldly, and varying the shade and nuance.
The Western musical canon came about not merely by accumulation, but by opposition and subversion, both to the ruling powers on whom composers depended for their livelihoods and to other musics.
I wish I had come along when the studios were making those big musical pictures. It would be great to do re-makes of some of the old ones like 'Porgy and Bess' or 'Showboat.' I'd love to do 'em.
I've got a lot of energy at my shows, I'm very performative; that gave me the idea, I want to try to translate that into a musical project, having the same energy I have onstage and on my album.
I have this weird musical thing I do: I play violin, and I even went on tour with Tim Robbins. We did a bunch of Canadian cities, and then went down to the States, and then we ended up in Japan.
The bar for being shocking doesn't even exist anymore. What am I going to do to shock people? Seriously, try to get The Fisting Musical off the ground? Its really at this point, there is no bar.
When your dad is a preacher and your mom is a choir director and you're in church all the time, as a youngster, you've got to find something to do. That's where my musical background comes from.
My taste is very eclectic. I love musicals, but I also love the classics. I've seen some fantastic productions. I was in a musical for 600 performances in Australia that I first saw in New York.
I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.
I find that classical music helps put me in a place that is very calming and allows me to express emotion through my body. I played clarinet as a child, so I guess I have a bit of a musical ear.
Hall & Oates is one of the few musical groups as satisfying now as it was back then. There's something incredibly musically satisfying about their songs. Nothing has diminished my love for them.
People who take risks like Amy Winehouse and Norah Jones take a second to catch on, but eventually they do because they're different and honest in a musical landscape that's not always like that.
A musical is what happens when text collides with motion collides with song collides with spectacle. And spectacle can be the human heart; it doesn't necessarily have to be a helicopter crashing.
My personal life, my musical life, my life as an artist - almost everything has pointed all these little arrows that make up which way I go as a person and what I feel comfortable as my identity.
It's quite clear if you look at the actors in film right now, some of them came from theater but they didn't come from musical theater. There's still a bit of a stigma attached to it I would say.
I'm partial to epic poetry, which might be surprising given that I don't write poetry at all. The combination of rollicking storytelling with musical language seems to me the highest achievement.
I don't want to do something unproductive with my time, so I decided to do something musical. So it felt good to say, 'Yeah, I'm producing.' It gave me a fresh vibe - inspiring in a different way.
The Woodshed Orchestra trade in exuberance and might, a glistening thunderslap on the hind of musical atrophy. These songs leap from disc to lap, a many-legged beast trundling with joy and vision.
Kolkata is a musical city. What I like about people here is the lack of diplomacy. Some of the best Indian classical musicians belong to this place. Kolkatans do not go by fashion, but by passion.
I was always a visual artist my whole life, and I came to music really late - when I was 21 or 22 was the first time I ever touched a musical instrument. For me, it was always this fun side hobby.
I really was kind of like a musical nerd. I would watch VH1's 'Behind The Music.' That was heavy when I was a kid. I would sit up and want to watch that all day instead of going outside sometimes.
I think there's that weird bastardization where musical theatre actors are treated as almost like vaudevillians or circus performers - that we're somehow not good actors because we sing and dance.
I'm glad you asked that question, because of any musical situation I've been in, the communication feels great here with Russell. He really pays close attention to what I'm doing because he cares.
When someone gets passed that mic, and they know deep down inside that they wanna say something or sing something or produce something, but they don't do that, it's like killing your musical life.
Everybody in our family studied a musical instrument. My father was really big on that. Somehow I only took a year or two of piano lessons and I convinced my father to let me take dancing lessons.
The most influential person in my life had been George Michael. He was very important to me and was one of my musical heroes growing up. Then he became a friend and mentor and someone I'd lean on.
I've created several musical trends, really. That's not because I'm so far out and fabulous. It's because most bands have no ideas of their own. They're so desperate they'll grab at any old straw.
I believe that the brain has evolved over millions of years to be responsive to different kinds of content in the world. Language content, musical content, spatial content, numerical content, etc.
The late 20th century had just enough communication abilities to allow superstar-ness and communality to happen. It was a musical renaissance that rivals the visual one that happened in the 1400s.
I would love to do a Fred Astaire/Gene Kelly type movie musical - a fun, song and dance, romantic comedy. Or, even just play the lead in one of those broad comedies - that would just be fantastic.
I think I was first awakened to musical exploration by Dizzy Gillespie and Bird. It was through their work that I began to learn about musical structures and the more theoretical aspects of music.