In country and R&B, there's much more of that division between writers and performers, and that's where you see more of those [crossover] songs, but you don't get a lot of that coming out of the more pop and rock side of things.
I've always liked extreme performers; I don't think I am one, but my mentality is in line with that.
I will say, the performers in the musical are some of the most super-talented people I've ever seen.
I was so fortunate to sing and work with so many amazing performers and artists.
The irony is that I use computers every day of my life to do music because I edit all of my music in a computer. But when it comes to doing live processing, I prefer, as a performer with an instrument, not just having the computer as the only thing I have. I really prefer and find it much more flexible to have the limitations of pedals.
I grew up around fashion - my mom was an editor for Vogue. Compared to the music industry, though, I'd say [fashion] is a little bit more disorganized. But it's exciting for me because, when you're a performer, there is a fashion element.
I am used to being on tours with people who are fantastic performers and I respect them and I love their music. But the bottom line is they got the vision for what we are trying to do.
When somebody is doing something really funny, in real life and as a performer, my instinct is to join them.
People who are great thinkers, in science or in art, people who are great performers, have to have that kind of capacity. Without that kind of capacity, it's extremely difficult to manage a high level of performance because you're going to get a lot of extraneous material chipping away at the finery of your thinking or the finery of your motor execution.
I think part of the bad thing is that skill is emphasized so much that a lot of people, by the time they get to Juilliard, well I think they kind of forget why they got into music in the first place and if they're performers - this is a simplification, but a lot of them are trying to win a competition and play more accurately, or better, or more beautifully, whatever can be measured, than somebody else.
A place like Sound City, which was just a big, beautiful room where you would hit record and capture the sound of the performer - a place like that isn't necessarily in demand anymore.
I'm not a performer, in that I don't like the public, but I work in that respect.
Naturally, people's image is of a performer, but the reality of it is the writing for me has always been the most important thing and the most rewarding thing.
I've always called myself a writer/performer, not an actor because I basically write what I perform.
Oh sure, I have lots of fears. My job is to conquer my fears. The irony of being a performer is that I have huge insecurities. Each of us is responsible for what happens in our lives. When good things happen, we take ownership, but when bad things happen we often don't take responsibility. There are no mistakes or accidents. Consciousness is everything and all things begin with a thought. We are responsible for our own fate. We reap what we sow, we get what we give and we pull in what we put out.
No, I'm a theatrical, live performer or a movie performer.
Johnny Depp, as far as I'm concerned, is number one. Of his generation, there's no one who can touch him. Some performers, today, it's like looking at holes in the air.
If you own a portfolio of stocks, you must learn to sell the worst performers first and keep the best a little longer.
Any kind of music can be written badly and it can be written wonderfully. I admire a top performer in any field.
As a pianist, our particular role is to enter a piece and its logic and create a particular interpretation from our understanding. The most important thing for the performer is, after all, to create a special atmosphere - we enter the composer's feelings and emotions and recreate them freshly for a given audience.
I think the most important thing is to establish myself as an actor. As much as it's a performing art, I'm not really a performer.
I don't know why people don't want to talk about their numbers. I guess in a sense, there's a bit of performer nudity, a bit of ego nudity when you expose your numbers, I guess because someone's are higher or someone's are lower. I've never really talked about the numbers with anyone, so maybe I'm not supposed to.
Television and movies just take so long. If you pitch a show or develop a project, it can be a year before your show even gets on the air, if it gets picked up. Just the concept of "I had this idea" and within a week it was in the world, that was a part of why it felt weirdly empowering as a performer.
Mark Twain was so good with crowds that he became, in competition with singers and dancers and actors and acrobats, one of the most popular performers of his time. It is so unusual, and so psychologically unlikely, too, for a great writer to be a great performer, too.
Improvisation was the blood and bone of jazz, and in the classic, New Orleans jazz it was collective improvisation in which each performer, seemingly going his own melodic way, played in harmony, dissonance, or counterpoint with the improvisations of his colleagues. Quite unlike ragtime, which was written down in many cases by its composers and could be repeated note for note (if not expression for expression) by others, jazz was a performer's not a composer's art.
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