There are some experiences in life which should not be demanded twice from any man, and one of them is listening to the Brahms Requiem.
If anyone has conducted a Beethoven performance, and then doesn't have to go to an osteopath, then there's something wrong.
How wonderful opera would be if there were no singers.
The man that hath no music in himself
Mozart died too late rather than too soon.
Birth of the Cool' became a collector's item, I think, out of a reaction to Bird and Dizzy's music. Bird and Diz played this hip, real fast thing, and if you weren't a fast listener, you couldn't catch the humor or the feeling in their music. Their musical sound wasn't sweet, and it didn't have harmonic lines that you could easily hum out on the street with your girlfriend trying to get over with a kiss.
You might be a redneck if you think a chain saw is a musical instrument.
Musical talent is maybe something, but there are no unmusical people. You're moved by music. It's total rubbish to say, "Oh, I'm unmusical." It doesn't exist; it's ridiculous.
If you go to any fight, whether MMA or boxing, there's a whole musical soundscape to these events. There's pre-event pump up/psych-up music, there's fighter introductions, there's between rounds, so my musical needs are really diverse.
My family is very musical, I was surrounded by it. And from four years old I was the one that asked my mother could I take piano lessons.
I like the idea of having a film that is choreographic in all its aspects, not only in the dancing scenes, but also in the way the camera and the characters move in order to have that feeling that it's always musical.
I'd like to make all different kinds of movies. I don't think it would make sense though for my second film to walk straight into a musical even though I'd like to.
It's a juggling act. Every time I get going on the album stuff or being musical, acting kicks in and I book a job. It comes down to a money thing.
I want to do a musical so bad. I don't care what it is. I'm not picky. I just want to do a musical. I'm shameless, but it's true.
I have a great interest in Victorian musical & cabaret performances and Weimar artists so the references are there, to Cabaret and also All That Jazz and other films where, where there's a kind of (influential German playwright Bertolt) Brecht-ian approach, almost to the character standing outside of himself or, in this case, he's "self-séance-ing."
There's top 40 R&B/hip-hop, which is probably sexy but you wouldn't listen to it for a musical awakening.
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.
Most people might think that I've come from a musical background, but nobody in my family was in any kind of band or played anything. I just picked up music from breakdancing really, that's what got me to listen to music, and in general I was just a creative guy.
I approach song writing three different ways. One way is where I write the initial melody and lyrics first and then take it in to the producer to collaborate. Another way is where the producer sends me his initial musical track ideas and then I write the lyrics and melody over his track. The third way is where we just jam out in the studio and see what we come up with.
In the, uh, '30s and '40s, the Brill Building was the hub of, uh, musical activity in Tin Pan Alley in New York City. I believe Irving Berlin was there, and uh, and everything just centered around there.
My first strong musical memory is of the Villa-Lobos Sixth Quartet which my parents were rehearsing. I remember that it reminded me of big teddy bears dancing around.
Everybody is different. Some comedy is more musical like Steven Wright. His is a pillar of comedy to me. He invented a whole form and all his jokes are poems. So it's different. I wanted to do it like George Carlin. Now I do it like me.
For whatever reason, acting took the front seat but all of the projects that I've been doing seem to have some sort of musical element to them.
As soon as I was born, my mom said I was humming 'When the Saints Go Marching In,' or something like that, you know? It's in the family. And in that neighborhood [Treme, in New Orleans], I think everybody in the neighborhood has some type of musical influence, even if they don't play instruments or anything. It's the way they talk to you, the way they say your name - it's all musical.
There were so many bands in New Orleans. But most of the musicians had day jobs, you know -- trades. They were bricklayers and carpenters and cigar makers and plasterers. Some had little businesses of their own -- coal and wood and vegetable stores. Some worked on the cotton exchange and some were porters. They had to work at other trades 'cause there were so many musicians, so many bands. It was the most musical town in the country.
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