Quotes of All Topics . Occasions . Authors
Once I get out onstage, it's the same sort of basic production that it is anywhere else. But I might be a little bit aware that there might be people I know out there, who wondered where I was.
I'm not saying I'll never go solo - never is a long time - but I've always been onstage with someone else. That way, you're in it together, and you can feel, together, when the songs are right.
The fun image is what we project onstage, because our music is dance music. But it's not what the group is about We're very serious about our music and the band and producing good quality songs.
Every time I've seen Sheryl Crow perform, it's like effortless perfection. She's so relaxed onstage, but she's really locked into the music and having fun. Vocally, I've always looked up to her.
I'm not drunk onstage, although I've done that a couple of times when I was younger. It's partly just the way I talk - I talk like somebody in a rocking chair. I'm your 150-year-old grandmother.
Jodi Melnick is hotly self-absorbed. Her onstage musicians are much too loud, and like so many narcissistic performers, she goes on much too long: She's interested in herself; why wouldn't we be?
When I got a part in 'All American Girl,' in 1994, I remember thinking, 'Now I have a series, I'm not going to need to do standup,' but every night I'd go out afterward and get onstage somewhere.
In 2004, I went onstage for the first time. They put a mike in my hand and pushed me out the door into the crowd. I did the three songs I had recorded and got out. It was the worst day of my life.
I feel powerful when I'm onstage talking to an audience. I like communicating; it feels like my calling in the world. Knowing what you're meant to be doing with your life is pretty bloody powerful.
Plays are frequently infected with ideas that came from actors or even sound engineers. Some Shakespeare scholars wonder whether some of the Bard's lines came from onstage improvisations by actors.
When I was 20, I used to go around telling stories, and I knew where I was comfortable - onstage, talking, making 'em laugh and listen to the weirdest things. I liked being the center of attention.
The first time I was onstage, I felt like the audience was breathing with me. I don't know if I was good or not; I just knew I was having a ball, and for the first time, I felt I belonged somewhere.
I think it's going to be the most difficult thing to do, to leave the stage. But if you have no lucidity about it, it's even worse because you don't see the negative side of you still being onstage.
I have worked in animation on 'King of the Hill.' I've worked in late-night with 'The Daily Show.' I've worked on single-camera stuff, whether it was a movie or television. I have performed onstage.
I speak onstage to try to establish some method of communication. The songs are supposed to be a way of communicating. But speech and drinks and sometimes chocolates are also a way of communicating.
And watching Ed, he's really coming into his own doing some new things onstage I've never seen him do. He's really getting into it, putting 120 percent into the show. We feel comfortable and excited.
People buy a ticket to see your show, so from the moment I get onstage, I can have no insecurities, because they're already there. You have to get people to listen. If they listen, everything's cool.
I'm used to being the only black guy. I've seriously walked onstage, looked out in the audience, 15,000 people - and I'm the only one in the place. It's no big deal. My whole career's been like that.
Especially when I'm heckled, that's a sticky situation because I don't defuse it... I really envy guys who have a grittier onstage presence and can really go after someone. I used to teach preschool.
I always say, 'Hip-hop takes me everywhere.' It's crazy when I step onstage, and people might not speak much English, but they know every word to your songs. It's kind of freaky, but it's really cool.
It was in San Diego and I was onstage and couldn't remember how to play the guitar properly. I was in terrible pain and my nervous system was just going wild, like somebody had just run a car over me.
My solo music - I get up onstage, I improvise and it's my improvisation. When I get up onstage with Fred Frith and Mike Patton, then we're improvising together. Then it's not my music; it's our music.
I was terrified, terrified in 'Songwriter,' because there I was, New York Jewish girl, singing country-western onstage with Kris Kristofferson and Willie Nelson. I mean, forget it. I was so terrified.
I always take a hot shower before I go onstage. It's so refreshing. I let the steam into my throat. That's the way I warm up my vocal cords - in the shower. I start by humming and then finally singing.
I'm not good enough to be playin' much acoustic guitar onstage. Man, you gotta get so right; I mean, the tones, the feel, the sound. Plus, acoustic blues guitar is just that much harder on the fingers.
Coming from a background of being onstage, you're onstage for two and a half hours and you're in it for the whole time no matter what you're doing. Even if you don't have a line, you have to stay in it.
I started as a straight actor. I'd go onstage, and I'd think, 'Wow, this is the only thing I want to work really hard at. I will rehearse fifty times on a single scene; I don't care - I'll do it again.'
Sometimes I'm more true when I'm up onstage than I'm able to be in my regular life. It's not as exciting to be at home, but I've got to learn how to make that work, and then I will be an ordinary woman.
The body cannot lie. You cannot be somebody else onstage, no matter how good of an actor or dancer or singer you are. When you open your arms, move your finger, the audience knows who you are, you know.
If I see a great performance on television, onstage, in the movies, I go to work the next day with a renewed energy and less fear. These great artists take me out of my life and make me want to go there.
I have so much fun with Matt LeBlanc that whether I love it or not really makes no difference to me because I just really have that much fun with him and playing with him. Being onstage with him is great.
A life being enacted onstage is a thing of utter fascination for me. And acting, it may begin out of vanity, but you hope that it's taken over by something else. I hope I've climbed over the vanity hurdle.
It's nice to be able to show how we are like in person and give a peek behind the curtain with 'Total Divas.' That's been my biggest feedback is how different than I am behind the scenes than I am onstage.
No matter what, I'm trying to have fun and, depending on the mood, fun can be on a roller coaster and playing onstage, or fun can be sitting in a room with three of your best friends talking for two hours.
Onstage I do all the stuff I'd never do in real life, like lashing out at people who make me mad or freaking out in a long bank lineup. Performing allows me to fulfill all the sicko fantasies I've ever had.
There were times in my career I went a little further than I wanted because of expectations. Doing certain things onstage when children were in the audience, wearing certain clothes, singing certain lyrics.
Whether I'm performing in a club or onstage as Erika Jayne, whether I'm making records, whether I'm doing TV, I've got to entertain, and I have to take people away from their space and bring them into mine.
When I've known something is right, the actual doing of it is not scary. It's like being onstage or performing. After it and before it, there might be a lot of fear, but the act of it is never scary for me.
Joe Rogan has this podcast where he's talking astrophysics and lean BMI indexes and weird philosophy most of the time and yet, when you see him onstage, you're like, 'Oh, this guy is just a killer comedian.'
I like to wear dresses and skirts when I go onstage because the attitude that I have is, 'I'm so excited to introduce myself to you.' And I want to be wearing what I'd be wearing to a date or a dinner party.
As a songwriter and a singer in a successful rock band, I have had the good fortune of being surrounded by incredible musicians, lots of wonderful production on both record and onstage, and plenty of volume!
Once, right before a show, I realized I'd forgotten shoes. I didn't want to wear my flip-flops onstage because I could trip. I ended up going barefoot, which actually worked out because it became my 'thing.'
It doesn't matter how tired I am; I will always still be happy. As soon as you go onstage, you get adrenaline. You hear the crowd: they're screaming your name. They have posters. The energy gives you energy.
I feel like any single woman of color who's been onstage has a Shakespeare monologue in her back pocket, and a monologue from 'For Colored Girls.' It's just part of what you should have, as a woman of color.
Somewhere during the 'Next to Normal' Broadway run, I found myself learning more about myself onstage than in real life, and I truly realized the beautiful, tremendous, extraordinary gift that is performing.
Onstage, even though you're here together with the other actor, face-to-face, playing out the scene, you also have that other ear pointed out toward the audience and how they're listening. That informs a lot.
I've heard New York actors say Chicago actors intimidate them because apparently we're the real nitty-gritty actors who're in a town where being onstage doesn't necessarily get you anything except your craft.
I've always been into guitars... we want to put keyboards on, but keyboard players don't look cool onstage, they just keep their heads down. There has never been a cool keyboard player, apart from Elton John.
I don't need the money after 11 years on 'Frasier,' and there aren't that many great roles onstage left for somebody my age. I'm more interested in playing those roles than I am in playing bit parts in movies.
There is a healthy amount of self-doubt and criticism with most people that make music. You find your areas that are your best. Onstage, I am good. But talking to someone in the grocery store? Forget about it.