Quotes of All Topics . Occasions . Authors
I was so busy with my studies that I didn't have a musical idol as a teenager. Later, around my 20s, I suddenly discovered the Beatles and the Rolling Stones but I guess my musical idol has always been Strauss.
I went through my adolescence having this revelatory experience - I can have any music I want, and I can get it immediately. For me and for a lot of people I know, there's this musical eclecticism that happened.
Quality is timeless: It will clearly define itself. And so I make reference to and acknowledge things that I feel have been dismissed, trying to restate those musical and cultural elements clearly and vehemently
Tina Fey and I have 15 things in development: 'Laverne and Shirley', 'Starsky and Hutch 3', 'Cagney and Lacey', 'Wonder Twins Activate From Two Hot Broads', 'Little House on the Prairie: The Musical: The Movie'.
I think that New York is the city of all cities. There is so much diversity there. I also like that when I go there, I can catch a play or musical and see some of the most talented people practicing their craft.
Revolt is designed to be a home for the next generation of musical artists, and we are investing in the artists and fans of the future. Revolt is for artists, by artists. This won't just be the P. Diddy network.
I just want to try everything. I want to see how good I can be, the best I can be at what I'm doing. I want to do everything. You know? I want to be in a musical. I want to do everything. I want to try and sing.
I grew up in an extremely musical atmosphere. There was a lot of music and singing around. I never really thought about one not singing, as a person. I've always sung and made music, it was just self-understood.
Quality is timeless: It will clearly define itself. And so I make reference to and acknowledge things that I feel have been dismissed, trying to restate those musical and cultural elements clearly and vehemently.
I wanted to be an artist, but at age 11, somehow all this musical knowledge and information and love for music that I had came out, and then suddenly it was very clear that I wanted to be a musician of some sort.
I should write a musical. That is probably one of the final areas that I should pay attention to, because it does kind of involve everything. It's got theatre, it's got young, pretty people... And it's got money!
If you listen to a Deadmau5 record or a Skrillex record, I really enjoy that stuff because, as aggressive sounding as the Skrillex records are, they're still musical, and that's why they have such a broad appeal.
I didn't grow up with a musical family. My mom had a lot of CDs in the house, particularly Whitney Houston, Mariah Carey, Celine Dion, ABBA, all the sort of like diva icons. She's Swedish, so she loves pop music.
There are right and wrong reasons for doing solo projects, and this album was done for the right reasons. At the time there was no Judas Priest and I certainly wasn't going to hang my hat up on my musical career.
From a young age, I had done a lot of theater and musical theater. I wasn't really sure what I wanted to do with my life, but every time I was away from acting, I just felt very incomplete and a little stir crazy.
I do think musical-theater actors can get a bad rap, and I see why. There is a certain slickness - there's nothing better than an amazing musical, but an okay musical can be one of the worst times you've ever had.
I frequently compose out the entire metric structure of a piece in modified cyclic form, where each cyclic revolution undergoes some form of 'variation' much as if measure lengths were concrete musical 'material.'
Roecker sure is a romantic about certain things, like art and music, though you might not know it from watching Live Freaky! Die Freaky!, his claymation musical retelling of the Helter Skelter Charlie Manson saga.
Even if you're improvising, the fact that beforehand you know certain things will work helps you make those improvisations successful. It really helps to have a certain amount of knowledge about musical structure.
I believe the use of noise to make music will increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.
I have to think in terms of musical tempo. Let's say someone comes into a room and slowly sits down or someone rushes into the room and rushes to sit down. That's how to work out the tempo of the music you produce.
I'm a bit multifaceted in the sense that I've got many more than one musical taste. If you think about it, I started out playing in a punk band and ended up doing electro-pop. That was more an accident than a plan.
I first did stand-up when I was 17, and then I passed out fliers for a comedy club (in New York City) and I got onstage whenever I could. And musical theater went out the window as soon as I started doing stand-up.
Music and comedy are so linked. The rhythm of comedy is conÂnected to the rhythm of music. They’re both about creating tension and knowing when to let it go. I’m always surprised when somebody funny is not musical.
I met a lot of amazing people whose lives were changed (for the better) by the power of music. Music gave them strength to get out of abusive relationships or to just pick up a musical instrument and learn to play.
I mean, it feels like a homecoming in a really wonderfully comfortable place to be - the same director, the same musical director, my same dressing room! [laughs] It's a great place to build something with freedom.
SIREN, n. One of several musical prodigies famous for a vain attempt to dissuade Odysseus from a life on the ocean wave. Figuratively, any lady of splendid promise, dissembled purpose and disappointing performance.
As a kid growing up in Lancaster, Pennsylvania, all I wanted to do was be on Broadway in a musical. 'Spring Awakening' kind of answered all of my questions and fulfilled all of my dreams - beyond my wildest dreams.
Punk is musical freedom. It's saying, doing and playing what you want. In Webster's terms, 'nirvana' means freedom from pain, suffering and the external world, and that's pretty close to my definition of Punk Rock.
I was Danny Zuko in 'Grease,' and I was in the musical 'Sweet Charity' and then in the musical 'On the Twentieth Century.' They were great. I mean, singing isn't really my strong suit, but I just really enjoyed it.
A musical audience is at best uninspiring, at worst definitely drab. ... Respectability hangs like a pall over the orchestra and the boxes; a sort of sterile sobriety ill-fitted to the passionate geometry of music.
My musical director, Mark Cherry, is the most wonderful person who ever lived on God's good green Earth. He's my director, he does the arrangements. Really, he does everything - including certain janitorial chores!
With respect to why some acquired savants are musical, and some are good at the arts, and some are mathematical, why aren't they all the same; I think that has to do with this genetic endowment that all of us have.
The private reader of listener can become an executant of felt meaning when he learns the poem or the musical passage by heart. To learn by heart is to afford the text or music an indwelling clarity and life-force.
I'm not saying every musical theater actor can do film or television, but a lot of them can. A lot of them are brilliant actors who absolutely don't need to sing to prove their ability and don't get the opportunity.
I come from an art history background. I studied at a master's degree level; I chose to dork out on art for much of my adult life. A lot of my heroes are artists and a lot of my musical heroes have an artistic side.
It seems like pop singing has sort of influenced musical theatre in so many ways - you could argue good or bad, really - and musical theatre is written for that style so often, which is a completely different style.
I'd love to be on a TV series someday, but I believe you get the jobs that you're meant to get. If the job that I'm meant to get is another musical or another play or film or TV show, I'm just happy to keep working.
Poetry is supposed to be musical. But people don't understand prose. They're so used to reading journalism - clunky, functional sentences that convey factual information - facts, more than just the surfaces of things.
For a while we were chasing a book by Graham Greene to do Brighton Rock as a musical. We didn't get the rights, so we decided to create something from scratch, with Jonathan. By that time we were big fans of his work.
Every song I've ever written always starts with the words because I want the music to be the musical extension of the feelings of the words, and not the words being the emotional extension of the feeling of the music.
Many MIDI files contain entire musical compositions. Because MIDI supports only 16 channels, however, no more than 16 different instruments can play at any time, and one of those is the key-based percussion instrument.
It's like a novelist writing far out things. If it makes a point and makes sense, then people like to read that. But if it's off in left field and goes over the edge, you lose it. The same with musical talent, I think.
In Seesaw, I played Gittel Mosca, and because it was a musical, I loved it more because I was able to do anything. I was able to use all parts of me that I dont get to use... the comedy and the singing and the dancing.
I don't listen to much rap, really. I can rarely listen to a whole record of it, because musically, it's very formulaic, and oftentimes it doesn't have the best hooks on every track. I like my music to be very musical.
I'm a storyteller, and there's some genres I like. I don't think I'm ever going to do science fiction, but I want to do a musical one day. I want to tell stories, I don't really try to get boxed in by a specific genre.
How is it possible that a being with such sensitive jewels as the eyes, such enchanted musical instruments as the ears, and such fabulous arabesque of nerves as the brain can experience itself anything less than a god.
My musical selections are a reflection of how I grew up. Because, back then, you could see Miles Davis and Ravi Shankar on the same stage. And nobody thought anything of it, other than the fact that it was great music.
I feel like a ghost wandering in a world grown alien. I cannot cast out the old way of writing and I cannot acquire the new. I have made an intense effort to feel the musical manner of today, but it will not come to me.
As a film composer I deal with short bursts of musical ideas that are defined to a large extent by what's happening on the screen, by not only narrative and action, but staying out of the way of dialogue, sound effects.