Musical Theater Quotes

We've searched our database for all the quotes and captions related to Musical Theater. Here they are! All 182 of them:

I never liked jazz music because jazz music doesn't resolve. But I was outside the Bagdad Theater in Portland one night when I saw a man playing the saxophone. I stood there for fifteen minutes, and he never opened his eyes. After that I liked jazz music. Sometimes you have to watch somebody love something before you can love it yourself. It is as if they are showing you the way. I used to not like God because God didn't resolve. But that was before any of this happened.
Donald Miller (Blue Like Jazz: Nonreligious Thoughts on Christian Spirituality)
I’m afraid I’ll be a book that no one reads. Music that no one listens to anymore. I’m afraid I’ll be abandoned like a movie playing in an empty theater.
C’est moi, c’est moi,’tis I,' I told him. It seemed appropriately melodramatic, though I didn’t know if he’d catch the reference. I shouldn’t have worried. Unexpectedly, he laughed. “Trust you to quote Lancelot rather than Guinevere.
Patricia Briggs (Moon Called (Mercy Thompson, #1))
Even so, there were times I saw freshness and beauty. I could smell the air, and I really loved rock 'n' roll. Tears were warm, and girls were beautiful, like dreams. I liked movie theaters, the darkness and intimacy, and I liked the deep, sad summer nights.
Haruki Murakami (Dance Dance Dance (The Rat #4))
The streets of Prague were a fantasia scarcely touched by the twenty-first century—or the twentieth or nineteenth, for that matter. It was a city of alchemists and dreamers, its medieval cobbles once trod by golems, mystics, invading armies. Tall houses glowed goldenrod and carmine and eggshell blue, embellished with Rococo plasterwork and capped in roofs of uniform red. Baroque cupolas were the soft green of antique copper, and Gothic steeples stood ready to impale fallen angels. The wind carried the memory of magic, revolution, violins, and the cobbled lanes meandered like creeks. Thugs wore Motzart wigs and pushed chamber music on street corners, and marionettes hung in windows, making the whole city seem like a theater with unseen puppeteers crouched behind velvet.
Laini Taylor (Daughter of Smoke & Bone (Daughter of Smoke & Bone, #1))
The man who has many answers is often found in the theaters of information where he offers, graciously, his deep findings. While the man who has only questions, to comfort himself, makes music.
Mary Oliver (A Thousand Mornings)
So I kept reading, just to stay alive. In fact, I'd read two or three books at the same time, so I wouldn't finish one without being in the middle of another -- anything to stop me from falling into the big, gaping void. You see, books fill the empty spaces. If I'm waiting for a bus, or am eating alone, I can always rely on a book to keep me company. Sometimes I think I like them even more than people. People will let you down in life. They'll disappoint you and hurt you and betray you. But not books. They're better than life.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
What grinds me the most is we're sending kids out into the world who don't know how to balance a checkbook, don't know how to apply for a loan, don't even know how to properly fill out a job application, but because they know the quadratic formula we consider them prepared for the world` With that said, I'll admit even I can see how looking at the equation x -3 = 19 and knowing x =22 can be useful. I'll even say knowing x =7 and y= 8 in a problem like 9x - 6y= 15 can be helpful. But seriously, do we all need to know how to simplify (x-3)(x-3i)?? And the joke is, no one can continue their education unless they do. A student living in California cannot get into a four-year college unless they pass Algebra 2 in high school. A future psychologist can't become a psychologist, a future lawyer can't become a lawyer, and I can't become a journalist unless each of us has a basic understanding of engineering. Of course, engineers and scientists use this shit all the time, and I applaud them! But they don't take years of theater arts appreciation courses, because a scientist or an engineer doesn't need to know that 'The Phantom of the Opoera' was the longest-running Broadway musical of all time. Get my point?
Chris Colfer (Struck By Lightning: The Carson Phillips Journal)
It is the part of a wise man, I say, to refresh and restore himself in moderation with pleasant food and drink, with scents, with the beauty of green plants, with decoration, music, sports, the theater, and other things of this kind, which anyone can use without injury to another.
Baruch Spinoza (Ethics)
But as they rode out of Rifthold, that city that had been her home and her hell and her salvation, as she memorized each street and building and face and shop, each smell and the coolness of the river breeze, she didn't see one slave. Didn't hear one whip. And as they passed by the domed Royal Theater, there was music - beautiful, exquisite music - playing within.
Sarah J. Maas (Queen of Shadows (Throne of Glass, #4))
Music blows lyrics up very quickly, and suddenly they become more than art. They become pompous and they become self-conscious ... I firmly believe that lyrics have to breathe and give the audience's ear a chance to understand what's going on. Particularly in the theater, where you not only have the music, but you've got costume, story, acting, orchestra. There's a lot to take in.
Stephen Sondheim
There are moments in your life when you see yourself through someone else’s eyes, when your only hope of believing you’re capable of doing something is because someone else believes it for you.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
I envy the music lovers hear. I see them walking hand in hand, standing close to each other in a queue at a theater or subway station, heads touching while they sit on a park bench, and I ache to hear the song that plays between them: The stirring chords of romance's first bloom, the stately airs that whisper between a couple long in love. You can see it in the way they look at each other... you can almost hear it. Almost, but not quite, because the music belongs to them and all you can have of it is a vague echo that rises up from the bittersweet murmur and shuffle of your own memories.
Charles de Lint (Moonlight and Vines (Newford, #6))
I never liked jazz music because jazz music doesn't resolve. But I was outside the Bagdad Theater in Portland one night when I saw a man playing the saxophone. I stood there for fifteen minutes, and he never opened his eyes.
Donald Miller (Blue Like Jazz: Nonreligious Thoughts on Christian Spirituality)
It is central to Christian living that we should celebrate the goodness of creation, ponder its present brokenness, and, insofar as we can, celebrate in advance the healing of the world, the new creation itself. Art, music, literature, dance, theater, and many other expressions of human delight and wisdom, can all be explored in new ways.
N.T. Wright (Simply Christian: Why Christianity Makes Sense)
When a show ends, for a few days, my body sizzles with leftover energy, like a tree in the wake of a lightning strike.
S.M. Stevens
I'm a sucker for a guy with a big organ.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
Musical theater can save you, even if only for two or three hours at a time.
Michelle Knudsen (Evil Librarian)
Radicalism usually prospers in the gap between rising expectations and declining opportunities. This is especially true where the population is young, idle, and bored; where the art is impoverished; where entertainment—movies, theater, music—is policed or absent altogether; and where young men are set apart from the consoling and socializing presence of women.
Lawrence Wright (The Looming Tower)
When you're in a show, all through rehearsals Tech Week hovers out there like a magical holy grail. In reality, Tech Week is always a train wreck of missed cues, forgotten lines, malfunctioning set pieces and short tempers.
S.M. Stevens
Hard work may pay off in the long run, but the benefits of laziness are immediate (p. 170).
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
Actors are agents of change. A film, a piece of theater, a piece of music, or a book can make a difference. It can change the world.
Alan Rickman
Anything really is possible in musical theater.
Michelle Knudsen (Evil Librarian)
The best literature is always a take [in the musical sense]; there is an implicit risk in its execution, a margin of danger that is the pleasure of the flight, of the love, carrying with it a tangible loss but also a total engagement that, on another level, lends the theater its unparalleled imperfection faced with the perfection of film. I don’t want to write anything but takes.
Julio Cortázar (Around the Day in Eighty Worlds)
Every paragraph, every sentence, seemed written in a musical key. The narrative drew her eyes through a cadence of timbres and colors that sketched a theater of shadows in her mind. She read without pause for two hours, relishing every sentence and dreading the moment she would reach the end.
Carlos Ruiz Zafón (The Labyrinth of the Spirits (The Cemetery of Forgotten Books, #4))
I spent most of my life trying to specialize myself. I went to theater school, film school, music school, mime school ... Finally, I was able to gather enough knowledge to build the confidence to create my own work, that goes utterly against the sense of specialization.
Nuno Roque
Children do not need half a dozen sports, music, art, or theater activities. Kids actually need more free playtime without adult instruction.
Laura Schlessinger
Along the way [Mozart] got married; fathered seven children (two of whom survived into adulthood); performed as a pianist; violinist; and conductor; maintained a successful teaching studio; wrote thousands of letters; traveled widely; attended the theater religiously; played cards, billiards, and bocce; and rode horseback for exercise. Not bad for someone portrayed as a giggling idiot in the movies.
Robert Greenberg (How to Listen to and Understand Great Music)
A non-religious man today ignores what he considers sacred but, in the structure of his consciousness, could not be without the ideas of being and the meaningful. He may consider these purely human aspects of the structure of consciousness. What we see today is that man considers himself to have nothing sacred, no god; but still his life has a meaning, because without it he could not live; he would be in chaos. He looks for being and does not immediately call it being, but meaning or goals; he behaves in his existence as if he had a kind of center. He is going somewhere, he is doing something. We do not see anything religious here; we just see man behaving as a human being. But as a historian of religion, I am not certain that there is nothing religious here… I cannot consider exclusively what that man tells me when he consciously says, ‘I don’t believe in God; I believe in history,’ and so on. For example, I do not think that Jean-Paul Sartre gives all of himself in his philosophy, because I know that Sartre sleeps and dreams and likes music and goes to the theater. And in the theater he gets into a temporal dimension in which he no longer lives his ‘moment historique.’ There he lives in quite another dimension. We live in another dimension when we listen to Bach. Another experience of time is given in drama. We spend two hours at a play, and yet the time represented in the play occupies years and years. We also dream. This is the complete man. I cannot cut this complete man off and believe someone immediately when he consciously says that he is not a religious man. I think that unconsciously, this man still behaves as the ‘homo religiosus,’ has some source of value and meaning, some images, is nourished by his unconscious, by the imaginary universe of the poems he reads, of the plays he sees; he still lives in different universes. I cannot limit his universe to that purely self-conscious, rationalistic universe which he pretends to inhabit, since that universe is not human.
Mircea Eliade
If Patti Lupone was born to play Evita then Madonna was born to play Patti Lupone playing Evita.
Buck Bannister
Operating theaters are not nearly as popular as dramatic theaters, musical theaters, and movie theaters, and it is easy to see why. A dramatic theater is a large, dark room in which actors perform a play, and if you are in the audience, you can enjoy yourself by listening to the dialog and looking at the costumes. A musical theater is a large, dark room in which musicians preform a symphony, and if you are in the audience you can enjoy yourself by listening to the melodies and watching the conductor wave his little stick around. And a movie theater is a large, dark room in which a projectionist shows a film, and if you are in the audience, you can enjoy yourself by eating popcorn and gossiping about movie stars. But an operating theater is a large, dark room in which doctors preform medical procedures, and if you are in the audience, the best thing to do is to leave at once because there is never anything on display in an operating theater but pain, suffering and discomfort, and for this reason most operating theaters have been closed down or have been turned into restaurants.
Lemony Snicket (The Hostile Hospital (A Series of Unfortunate Events, #8))
I have built a city from the books I've read. A good book sings a a timeless music that is heard in the choir lofts, and balconies, and theaters that thrived within that secret city inside me.
Pat Conroy (My Reading Life)
It was not the sorrowful, lovely piece she had once played for Dorian, and it was not the light, dancing melodies she'd played for sport; it was not the complex and clever pieces she had played for Nehemia and Chaol. This piece was a celebration—a reaffirmation of life, of glory, of the pain and beauty in breathing. Perhaps that was why she'd gone to hear it performed every year, after so much killing and torture and punishment: as a reminder of that she was, of what she struggled to keep. Up and up it built, the sound breaking from the pianoforte like the heart-song of a god, until Rowan drifted over to stand beside the instrument, until she whispered to him, “Now,” and the crescendo shattered into the world, note after note after note. The music crashed around them, roaring through the emptiness of the theater. The hollow silence that had been inside her for so many months now overflowed with sound. She brought the piece home to its final explosive, triumphant chord. When she looked up, panting slightly, Rowan's eyes were lined with silver, his throat bobbing. Somehow, after all this time, her warrior-prince still managed to surprise her. He seemed to struggle for words, but he finally breathed, “Show me—show me how you did that.” So she obliged him.
Sarah J. Maas (Queen of Shadows (Throne of Glass, #4))
That´s the problem with planning a late night supper after the opera, not only does the hero or the heroine die singing, but you end up famished after the last notes of the finale.
E.A. Bucchianeri (Brushstrokes of a Gadfly, (Gadfly Saga, #1))
There is no such thing as hell, of course, but if there was, then the sound track to the screaming, the pitchfork action and the infernal wailing of damned souls would be a looped medley of “show tunes” drawn from the annals of musical theater.
Gail Honeyman (Eleanor Oliphant Is Completely Fine)
What liberals must conserve is the middle class: the stable family who can afford to enjoy music and theater and take the kids to Europe someday and put money in the collection plate and save for college and keep up the home and be secure against catastrophe. This family has taken big hits in payroll taxes and loss of buying power and a certain suppressed panic about job security.
Garrison Keillor (Homegrown Democrat: A Few Plain Thoughts from the Heart of America)
To speak of creativity is to speak of profound intimacy. It is also to speak of our connecting to the Divine in us and of our bringing the Divine back to the community. This is true whether we understand our creativity to be begetting and nourishing our children, making music, doing theater, gardening, writing, teaching, running a business, painting, constructing houses, or sharing the healing arts of medicine and therapy.
Matthew Fox (Creativity)
The public considers all women on stage to be of questionable morals, if not outright whores. But the serious Shakespearean actresses console themselves that at least they aren’t involved in the vulgarity of musical theater. And those of us in musical theater congratulate ourselves on not being involved in the pornographic nonsense that is the burlesque. I don’t know to whom the burlesque performers compare themselves, but I’m sure they feel superior to someone.
Sherry Thomas (A Study In Scarlet Women (Lady Sherlock, #1))
My favorite term for a new kind of performance is "security theater." In this genre, we watch as ritualized inspections and patdowns create the illusion of security. It's a form that has become common since 9/11, and even the government agencies that participate in this activity acknowledge,off the record, that it is indeed a species of theater.
David Byrne (How Music Works)
When we play an unaccompanied Bach suite we may compare ourselves to an actor in Shakespeare's day, creating scenery which did not exist at all, through the power of declamation and suggestion. So in Bach. There is but one voice -- and many voices have to be suggested.
Pablo Casals
Wave after wave of glass and debris slammed into her wildfire. But she kept that wall of flame burning—for the Royal Theater. And the flower girls at the market. For the slaves and the courtesans and the Faliq family. For the city that had offered her joy and pain, death and rebirth, for the city that had given her music, Aelin kept that wall of fire burning bright.
Sarah J. Maas (Queen of Shadows (Throne of Glass, #4))
Communication is not only about words and numbers. Some thoughts can’t be properly expressed in these ways at all. We also think in sounds and images, in movement and gesture, which gives rise to our capacities for music, visual arts, dance, and theater in all their variations.
Ken Robinson (Creative Schools: The Grassroots Revolution That's Transforming Education)
And the more I think about it, the more frustrated I get by the entire concept of a backup plan. Because it only ever seems to pertain to people who are interested in art, music, theater--and yes, the circus. Nobody would ever dream of going up to someone in medical school and telling them, 'Gee, I really think you should have a backup plan. You know, just in case this doesn't work out for you.
Akemi Dawn Bowman (Harley in the Sky)
For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day.... To me, it's all art, inside the studio and out. At least it is if we approach our lives that way.
Terri Windling
I’ve been labeled before. I’m supposed to be a jock and then a brain and then one of those music/theater people. I guess I like to keep surprising people. But what kind of life can you live in a tiny square box? My personality is less narrow. I like a lot of different things. But still, people like to be able to put you in a category, to be able to place you in even rows and put a sign at the front. They think the best you can achieve is being at the front of your row…but why not form your own row? Isn’t that the definition of being a leader? Maybe taking charge means something different nowadays. How come lately people think you’re a leader just because you happen to be at the front of the line? A good leader need only point the way and watch as others follow a direction, not a figure. A great leader can lead without anyone ever knowing it. A spectacular leader can lead without ever knowing it themselves. The person at the front of the line is the puppet of someone that you couldn’t name because someone else pointed the way. I must have missed something. I thought being a follower was letting other people shape your life. I thought it meant letting other people decide who you were going to be. I won’t conform. I won’t let people class me. Because once you’re there you’re stuck. I will be whoever I want to be, and no one can stop me. I have something they don’t have, which is nothing to lose. I have my entire life to live and I intend to live it the way I would like to live. I will form my own row. I will point in a new direction. If that means going against other peoples’ opinion of normal, then so be it. Who says normal is right? Normal certainly strikes me as a boring way to live my life.
K.D. Enos
I also realized that there were lots of unacknowledged theater forms going on all around. Our lives are filled with performances that have been so woven into our daily routine that the artificial and performative aspect has slipped into invisibility.
David Byrne (How Music Works)
I forget every single thing in the world, every heartache, every tear, every pain as I watch that performance. The dancers, the music, the lights, the people in the theater are all so beautiful that I want to wear them on my skin for the rest of my life.
Ibi Zoboi (American Street)
There is no such thing as hell, of course, but if there was, then the sound track to the screaming, the pitchfork action and the infernal wailing of damned souls would be a looped medley of “show tunes” drawn from the annals of musical theater. The complete oeuvre of Lloyd Webber and Rice would be performed, without breaks, on a stage inside the fiery pit, and an audience of sinners would be forced to watch—and listen—for eternity. The very worst among them, the child molesters and the murderous dictators, would have to perform them.
Gail Honeyman (Eleanor Oliphant Is Completely Fine)
Libby, not all the gays have an encyclopedic knowledge of the American musical theater. It's not like they hand you a DVD box set of of the Rodgers and Hammerstein Collection in a Liza Minnelli souvenir tote bag when you come out.' 'Well, they should. I'd totally be gay for a Liza Minnelli tote bag.
Stephanie Kate Strohm (Pilgrims Don't Wear Pink (Pilgrims, #1))
Contemporary art, like contemporary literature, theater, music, everything, is almost always completely atrocious.
A.D. Aliwat (In Limbo)
Music is constructed in notes. Language in words. Both are communicating. Music is a language of feeling, the heart. Words are the music of the mind. Theater is their marriage.
Ethan Hawke (A Bright Ray of Darkness)
I was hungry when I left Pyongyang. I wasn't hungry just for a bookshop that sold books that weren't about Fat Man and Little Boy. I wasn't ravenous just for a newspaper that had no pictures of F.M. and L.B. I wasn't starving just for a TV program or a piece of music or theater or cinema that wasn't cultist and hero-worshiping. I was hungry. I got off the North Korean plane in Shenyang, one of the provincial capitals of Manchuria, and the airport buffet looked like a cornucopia. I fell on the food, only to find that I couldn't do it justice, because my stomach had shrunk. And as a foreign tourist in North Korea, under the care of vigilant minders who wanted me to see only the best, I had enjoyed the finest fare available.
Christopher Hitchens (Love, Poverty, and War: Journeys and Essays)
This is who Shakespeare was meant for: not The New York Times! Not intellectuals. Just plain folks. You play Shakespeare’s music right for a real house and that shit goes up all by itself.
Ethan Hawke (A Bright Ray of Darkness)
Rarely offstage, rarely on hiatus, Fiddler on the Roof has already been back on Broadway for four revivals, played London's West End four times, and remains among Broadway's longest-running shows ever.
Barbara Isenberg (Tradition!: The Highly Improbable, Ultimately Triumphant Broadway-to-Hollywood Story of Fiddler on the Roof, the World's Most Beloved Musical)
Sunday “Well then, as I have just told you, they devoted each day of the week to productions in one or another special branch of knowledge—either works of their hands, or some other form of consciously designed being-manifestation “Thus, Monday was devoted to the first group, and this day was called the ‘day of religious and civil ceremonies’, “Tuesday was allotted to the second group, and was called the ‘day of architecture’, “Wednesday was called the ‘day of painting’, “Thursday, the ‘day of religious and popular dances’, “Friday, the ‘day of sculpture’, “Saturday, the ‘day of the mysteries’ or, as it was also called, the ‘day of the theater’, “Sunday, the ‘day of music and song
G.I. Gurdjieff (Beelzebub's Tales to His Grandson)
Making music, dancing, the theater, conversation, proper and urbane deportment, these were cultivated here as particular arts. It was not the military, nor the political, nor the commercial, that was predominant in the life of the individual and of the masses.
Stefan Zweig (The World of Yesterday)
It is not just bookstores and libraries that are disappearing but museums, theaters, performing arts centers, art and music schools— all those places where I felt at home have joined the list of endangered species. The San Francisco Chronicle, the Los Angeles Times, the Boston Globe and my own hometown paper, The Washington Post, have all closed their weekend book review sections, leaving books orphaned and stranded, poor cousins to television and the movies. In a sign of the times, the Bloomberg News website recently transferred its book coverage to the Luxury section, alongside yachts, sports clubs and wine, as if to signal that books are an idle indulgence of the super-rich. But if there is one thing that should not be denied to anyone rich or poor it is the opportunity to dream.
Azar Nafisi (Things I've Been Silent About)
A show in progress. A story unfolding. The theater goes dark for a scene change. The orchestra, though, continues to play. A riff on the show’s dominant melody fills the house—somber or suspenseful or sweepingly romantic—and the tone of the next scene starts there, with the music.
Julia Drake (The Last True Poets of the Sea)
That day and night, the bleeding and the screaming, had knocked something askew for Esme, like a picture swinging crooked on a wall. She loved the life she lived with her mother. It was beautiful. It was, she sometimes thought, a sweet emulation of the fairy tales they cherished in their lovely, gold-edged books. They sewed their own clothes from bolts of velvet and silk, ate all their meals as picnics, indoors or out, and danced on the rooftop, cutting passageways through the fog with their bodies. They embroidered tapestries of their own design, wove endless melodies on their violins, charted the course of the moon each month, and went to the theater and the ballet as often as they liked--every night last week to see Swan Lake again and again. Esme herself could dance like a faerie, climb trees like a squirrel, and sit so still in the park that birds would come to perch on her. Her mother had taught her all that, and for years it had been enough. But she wasn't a little girl anymore, and she had begun to catch hints and glints of another world outside her pretty little life, one filled with spice and poetry and strangers.
Laini Taylor (Lips Touch: Three Times)
It is said that physicians sometimes ask patients, “Do you really wish to get well?” And, to be perfectly realistic in this matter, we must put the question of whether modern civilization wishes to survive. One can detect signs of suicidal impulse; one feels at times that the modern world is calling for madder music and for stronger wine, is craving some delirium which will take it completely away from reality. One is made to think of Kierkegaard’s figure of spectators in the theater, who applaud the announcement and repeated announcement that the building is on fire. I
Ted j. Smith III (Ideas Have Consequences)
 It’s weird being alone in the museum. It’s dark and eerily quiet: Only the after-hours lights are on—just enough to illuminate the hallways and stop you from tripping over your own feet—and the background music that normally plays all the time is shut off. I quickly organize the flashlights and check their batteries, and when I don’t hear Porter walking around, I stare at the phone sitting at the information desk. How many chances come along like this? I pick up the receiver, press the little red button next to the word ALL, and speak into the phone in a low voice. “Paging Porter Roth to the information desk,” I say formally, my voice crackling through the entire lobby and echoing down the corridors. Then I press the button again and add, “While you’re at it, check your shoes to make sure they’re a match, you bastard. By the way, I still haven’t quite forgiven you for humiliating me. It’s going to take a lot more than a kiss and a cookie to make me forget both that and the time you provoked me in the Hotbox.” I’m only teasing, which I hope he knows. I feel a little drunk on all my megaphone power, so I page one more thing: “PS—You look totally hot in those tight-fitting security guard pants tonight, and I plan to get very handsy with you at the movies, so we better sit in the back row.” I hang up the phone and cover my mouth, silently laughing at myself. Two seconds later, Porter’s footfalls pound down Jay’s corridor—Boom! Boom! Boom! Boom! He sounds like a T. rex running from Godzilla. He races into the lobby and slides in front of the information desk, grabbing onto the edge to stop himself, wild curls flying everywhere. His grin is enormous. “Whadidya say ’bout where you want to be puttin’ your hands on me?” he asks breathlessly. “I think you have me confused with someone else,” I tease. His head sags against the desk. I push his hair away from one of his eyes. He looks up at me and asks, “You really still haven’t forgiven me?” “Maybe if you put your hands onme, I might.” “Don’t go getting my hopes up like that.” “Oh, your hopes should be up. Way up.” “Dear God, woman,” he murmurs. “And here I was, thinking you were a classy dame.” “Pfft. You don’t know me at all.” “I aim to find out. What are we still doing here? Let’s blow this place and get to the theater, fast.
Jenn Bennett (Alex, Approximately)
Don’t be afraid of aging. As the saying goes, don’t be afraid of anything but fear itself. Find “your” perfume before you turn thirty. Wear it for the next thirty years. No one should ever see your gums when you talk or laugh. If you own only one sweater, make sure it’s cashmere. Wear a black bra under your white blouse, like two notes on a sheet of music. One must live with the opposite sex, not against them. Except when making love. Be unfaithful: cheat on your perfume, but only on cold days. Go to the theater, to museums, and to concerts as often as possible: it gives you a healthy glow. Be aware of your qualities and your faults. Cultivate them in private but don’t obsess. Make it look easy. Everything you do should seem effortless and graceful. Not too much makeup, too many colors, too many accessories …  Take a deep breath and keep it simple. Your look should always have one thing left undone—the devil is in the details. Be your own knight in shining armor. Cut your own hair or ask your sister to do it for you. Of course you know celebrity hairdressers, but only as friends. Always be fuckable: when standing in line at the bakery on a Sunday morning, buying champagne in the middle of the night, or even picking the kids up from school. You never know. Either go all gray or no gray hair. Salt and pepper is for the table.
Anne Berest (How to Be Parisian Wherever You Are: Love, Style, and Bad Habits)
The role of cinema here is not that of a servant nor is it to betray the painting. Rather it is to provide it with a new form of existence. The film of a painting is an aesthetic symbiosis of screen and painting, as is the lichen of the algae and mushroom. To be annoyed by this is as ridiculous as to condemn the opera on behalf of theater and music.
André Bazin (What is Cinema?: Volume I)
In America, music was the first sphere of social interaction in which racial barriers were challenged and overturned. And the challenge went both ways: by the mid-1920s, white bands were playing for all-black audiences at Lincoln Theater and elsewhere. These intermediate steps between segregation and integration represented, for all their problems, progress of sorts.
Ted Gioia (The History of Jazz)
Empowered by the Enabling Law, Hitler launched a political blitzkrieg, destroying what remained of German democracy. He began by abolishing local assemblies and replacing provincial governors with Nazis. He sent SA thugs to brutalize political opponents and, when necessary, cart them off to newly opened concentration camps. He disposed of the unions by declaring May 1, 1933, a paid national holiday, then occupying union offices throughout the country on May 2. He purged the civil service of disloyal elements and issued a decree banning Jews from the professions. He placed theater, music, and radio productions under the control of Joseph Goebbels and barred unsympathetic journalists from doing their jobs. To ensure order, he consolidated political, intelligence, and police functions in a new organization, the Gestapo.
Madeleine K. Albright (Fascism: A Warning)
How is she already asleep?” Sully whispers. “At home she stays up until like two a.m.” “She probably was tired,” Church whispers back. “What, from climbing a hill?” Church doesn’t respond. They get into their sleeping bags and whisper for half an hour about the outdoor soccer season about to start. I hadn’t even realized the indoor season was over—Mom and Dad just told me when I needed to take them to practice or pick them up. I didn’t know how they’d done. Were there any tournaments? Trophies? After a long stretch of silence, Sully says, “So did you really try out for the spring musical?” Church doesn’t respond for a second. “Yes. Why?” “Just wondering. Why didn’t you tell me?” “Because you would have made it about Macy Garrison.” “It—it’s not?” “No.” “Oh. But you’re not going to try out forchoir?” “Maybe.” “Why?” Just the smallest bit of mocking enters Sully’s tone. “Because I like it,” Church snaps back. “We don’t have to do all the same things. Try out for mathletes or something. You like math. You’d be good at it.” “Mathletes is for nerds.” “Sull, there’s something you should know.” “Don’t say it.” “You are a nerd.” “I’m not a nerd. Eliza’s a nerd.” “Actually, I think Eliza’s a geek. I’ve seen her grades. Compared to us, she’s horrible at school.” “You’re a nerd for knowing the difference.” “That’s fine.” Sully makes no sound, but I can feel him fuming in the darkness. I didn’t know Church could get under Sully’s skin so easily. I didn’t know Sully liked math. I didn’t know either of them were that good at school. I didn’t know Church already knew he was good at singing . . . or that he was interested in musical theater. I’ve been living with them their whole lives, but until right now, they’ve felt like strangers
Francesca Zappia (Eliza and Her Monsters)
Destroyed, that is, were not only men, women and thousands of children but also restaurants and inns, laundries, theater groups, sports clubs, sewing clubs, boys’ clubs, girls’ clubs, love affairs, trees and gardens, grass, gates, gravestones, temples and shrines, family heirlooms, radios, classmates, books, courts of law, clothes, pets, groceries and markets, telephones, personal letters, automobiles, bicycles, horses—120 war-horses—musical instruments, medicines and medical equipment, life savings, eyeglasses, city records, sidewalks, family scrapbooks, monuments, engagements, marriages, employees, clocks and watches, public transportation, street signs, parents, works of art. “The whole of society,” concludes the Japanese study, “was laid waste to its very foundations.”2698 Lifton’s history professor saw not even foundations left. “Such a weapon,” he told the American psychiatrist, “has the power to make everything into nothing.
Richard Rhodes (Making of the Atomic Bomb)
all television news programs begin, end, and are somewhere in between punctuated with music...It is there, I assume, for the same reason music is used in theater and films - to create a mood and provide a leitmotif for the long as the music is there as a frame for the program, the viewer is comforted to believe that there is nothing to be greatly alarmed about; that, in fact, the events that are reported have as much relation to reality as do scenes in a play.
Neil Postman (Amusing Ourselves to Death: Public Discourse in the Age of Show Business)
Everybody works according to his ability, some doing more, some doing less, but everyone ought to know whether he is doing good or harm. Artists are not released from that obligation, especially as there are no works of art which do neither harm nor good. If a book, a picture or a melody is accepted by a reader, a spectator or a listener, it means that the reader, spectator or listener has had his emotions stirred; and emotions must be either harmful or useful. They cannot be neutral.
Sergei Obraztsov (My Profession)
Awkward. \ˈȯ-kwərd\. Adjective. A feeling of embarrassment, discomfort, or abnormality. If music is the universal language, then awkward is the universal feeling. Awkward works in mysterious ways. Sometimes it’s a handshake that was meant to be a high-five. Other times it’s telling the guy who works at the movie theater to enjoy the movie, too. Awkward comes in so many forms: meeting your girlfriend’s parents, getting socks as a birthday present, a friend request that turned out to be a computer virus, on and on and on.
Michael McCreary (Funny, You Don't Look Autistic: A Comedian's Guide to Life on the Spectrum)
Most people seem to resent the controversial in music; they don't want their listening habits disturbed. They use music as a couch; they want to be pillowed on it, relaxed and consoled for the stress of daily living. But serious music was never meant to be used as a soporific. Contemporary music, especially, is created to wake you up, not put you to sleep. It is meant to stir and excite you, to move you--it may even exhaust you. But isn't that the kind of stimulation you go to the theater for or read a book for? Why make an exception for music?
Aaron Copland
The students tend to stick close to campus. There is nothing for them to do in Blacksmith proper, no natural haunt or attraction. They have their own food, movies, music, theater, sports, conversation and sex. This is a town of dry cleaning shops and opticians. Photos of looming Victorian homes decorate the windows of real estate firms. These pictures have not changed in years. The homes are sold or gone or stand in other towns in other states. This is a town of tag sales and yard sales, the failed possessions arrayed in driveways and tended by kids.
Don DeLillo (White Noise)
When an artist is asked to speak about form, you expect something different than when a critic talks about it. Because you think that somewhere between sentences and words, the secret will slip out. I am trying to give you that secret; it isn't a secret at all, but it is building solidly, not using secrets. I had been trying to extend into metaphysical extension; that film is changing, metamorphic; that is, infinite; the idea that the movement of life is totally important rather than a single life. My films were built on an incline, an increase in intensity. I hoped to make a form which was infinite, the changingness of things. I thought I would want to find a total form which conveyed that sense, particularly in reference to an Oriental subject. My impression was: one is walking down a corridor of a hotel. One hears a sound, opens a door and a man is playing; one listens for three minutes and closes the door. The music went on before you opened the door and it continues after you close the door. There was neither beginning nor end. Western music increases in intensity to a climax and then resolves itself. Oriental music is infinite; it goes on and on. The Chinese theater goes on for hours and hours with time for lunch moving scenery, etc.
Maya Deren
Flore and I were very different people, but that is what made me so enchanted with her. I was very sensible, and methodical and I like to work with machines and numbers. She loved meeting new people, to listen to music, cook good food and go to the theater. When we went to a show together she would know the works off by heart and could whisper the lines of the same time the actors did! But this is what made us such a good pair. You don't want to fall in love with the reflection of yourself! A strong partnership is with a man or a woman who is different from you, who challenges you to try new things, to become a better person.
Eddie Jaku
An introversion party is three people sprawled on couches and pillows, reading and occasionally talking. Or a couple cuddling by a fire at camp, savoring the music of crackling wood and crickets. Your introversion party might be a solitary walk where thoughts are exposed to air and become clear. You might find your party in meditation, when time expands and everything seems possible. Your party might come with popcorn as you passionately observe the big screen of the theater or with a steaming cup of Ethiopian blend as you watch people from your table at the coffeehouse, or with a cold beer as you watch the world go by from your porch.
Laurie A. Helgoe (Introvert Power: Why Your Inner Life Is Your Hidden Strength)
Sir Magnus Donners himself appeared to greet his guests at exactly the same moment. I wondered whether he had been watching at a peephole. It was like the stage entrance of a famous actor, the conscious modesty of which is designed, by its absolute ease and lack of emphasis, both to prevent the performance from being disturbed at some anti-climax of the play by too deafening a round of applause, at the same time to confirm--what everyone in the theater knows already--the complete mastery he possesses of his art. The manner in which Sir Magnus held out his hand also suggested brilliant miming of a distinguished man feeling a little uncomfortable about something.
Anthony Powell (The Kindly Ones (A Dance to the Music of Time, #6))
Skotos performed music in two different genres. When he wasn’t singing about love, his music fell in the genre I can only describe as doucherock. When he was singing about love, he was all about the power ballad. Or even the pop ballad. It just depended on where his cheesy muse took him. Given a choice between listening to Skotos sing and listening to a lawn mower, I would pick the mower. He also spent a good deal of time doing theater. He was a master of melodrama, and there were certain Dynamisians who thought that was the pinnacle of acting. I personally found him over the top. When we were assigned to do a scene together I had to pinch myself to keep from asking him where he spit out all the scenery he’d chewed.
Darinne Paciotti (Growing Up Godly)
Q. Which is my favorite country? A. The United States of America. Not because I'm chauvinistic or xenophobic, but because I believe that we alone have it all, even if not to perfection. The U.S. has the widest possible diversity of spectacular scenery and depth of natural resources; relatively clean air and water; a fascinatingly heterogeneous population living in relative harmony; safe streets; few deadly communicable diseases; a functioning democracy; a superlative Constitution; equal opportunity in most spheres of life; an increasing tolerance of different races, religions, and sexual preferences; equal justice under the law; a free and vibrant press; a world-class culture in books,films, theater, museums, dance, and popular music; the cuisines of every nation; an increasing attention to health and good diet; an abiding entrepreneurial spirit; and peace at home.
Albert Podell (Around the World in 50 Years: My Adventure to Every Country on Earth)
My mom worked as a hairdresser at the Village Mall in Horsham Township when I was a little kid. There was a movie theater in the mall that showed second-run features, and I have clear memories of being around five years old and walking through the mall by myself to go watch Star Wars. I believe I saw it in that theater twenty-one times. The research definitely began then. Actually, it began even earlier. Before I was born, my father conspired with my uncle to name me Wyatt, after Wyatt Earp. There was an election held by putting names into a hat, and whatever name was drawn would be the winner. Uncle Billy distracted the people in attendance while my dad rigged the hat so that every name inside read Wyatt. My mom was horrified at the result, but eventually uncovered their ruse. The research was really just me referring to things I already knew from the life I’ve lived. You either hear the music of the open range and a man with two six-shooters or you don’t. You either look out at the stars and wonder what lies beyond them or…I don’t know what you are…someone who loves Nicholas Sparks books.
Bernard Schaffer
And years later too, when Martín would return to Buenos Aires from that remote region in the South and come to see him, out of that eager desire (Bruno thought) that causes men to cling to the last remaining traces of a person whom they have loved a great deal, those last traces of body and soul that the beloved has left behind in the world: in the vague, fragmentary immortality of photographs, of words spoken to others at one time or another, of a certain expression that someone remembers, or says he remembers, and even of those small objects that take on an inordinate symbolic value (a little box of matches, a ticket to a movie theater); objects or words that then bring about the miracle of giving that spirit a fleeting, intangible, though despairingly real presence, just as a fond memory is brought back by a breath of perfume or a snatch of music, a fragment that need not be important or profound and may indeed even be an unpretentious and even banal melody that made us laugh in those magic days because it was so vulgar, but that now, ennobled by death and eternal separation, seems moving and profound to us.
Ernesto Sabato (Sobre héroes y tumbas)
I step up to a podium and speak to the audience as if I were addressing a rally. But just as I begin, a tall figure in the fifth row stands up and says, "Excuse me, Jesus..." I lean forward to search the blackness for the voice. The figure raises a pistol and fires a shot that echoes all over the auditorium. The place goes nuts. People scream. I smash the blood pack under my shirt and collapse on the floor as the figure dashes out the nearest exit. A couple of audience members actually run after him like it's real. The stage goes to red and the electric guitars start to wail. It's fucking brilliant. There's no time for the audience to recover. Onstage it's chaos: fifty teenagers keen and scream, choristers dressed as cops, paramedics, and reporters dash on trying to restore order, but only complicating things. And in the middle of it all is me, lying in a pool of blood. This, this, this is what being an actor is about. To be able to elicit such a strong reaction from hundreds of people at once - that power is awesome and irresistible and humbling. If you want to think I'm needy because I love applause, go ahead. But I know that the reason I perform is for moments like these, moments when you connect with an audience and take them somewhere.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
FOLKSBIENE, an impoverished, frail Yiddish theater company in constant danger of annihilation, had outlasted all the giants. The year of Schwartz's death the little troupe moved into the Forward building, guaranteeing it a permanent home with four walls and a roof, plus heat in the winter, fans in the summer, and best of all, continuing subsidies from the newspaper and the Workmen's Circle. Sporadically, other Yiddish productions would take place in New York, but they were one-shots, musicals, and charity fund-raisers. Ensconced in their new place, Folksbiene managers claimed that theirs was the oldest continuously operating Yiddish theater in the world. As proof, all past productions were listed year by year, ranging all the way back to 1915. It was an impressive roster. Among the authors included were Sholem Aleichem, Leon Kobrin, and both Singer brothers, Israel Joshua and Isaac Bashevis; also the Russians Alexander Pushkin and Maxim Gorki; and such American authors as Theodore Dreiser, Eugene O'Neill, Sherwood Anderson, and Clifford Odets. It didn't matter how well attended those shows were, or how well acted, or the duration of their runs. The point was that the Folksbiene had survived, just as the Jewish people had survived. Together, they were the keepers of the flame. It was a very small candle in a very big city.
Stefan Kanfer (Stardust Lost: The Triumph, Tragedy, and Meshugas of the Yiddish Theater in America (Vintage))
Early in a career that began in 1912 when he was 19 years old, Romain de Tirtoff, the Russian-born artists who called himself Erté after the french pronunciation of his initials, was regarded as a 'miraculous magician,' whose spectacular fashions transformed the ordinary into the outstanding, whose period costumes made the present vanish mystically into the past, and whose décors converted bare stages into sparkling wonderlands of fun and fancy. When his career ended with his death in 1990, Erté was considered as 'one of the twentieth-century's single most important influences on fashion,' 'a mirror of fashion for 75 years,' and the unchallenged 'prince of the music hall,' who had been accorded the most significant international honors in the field of design and whose work was represented in major museums and private collections throughout the world. It is not surprising that Erté's imaginative designs for fashion, theater, opera, ballet, music hall, film and commerce achieved such renown, for they are as crisp and innovative in their color and design as they are elegant and extravagant in character, and redolent of the romance of the pre- and post-Great War era, the period when Erté's hand became mature, fully developed and representative of its time. Art historians and scholars define Ertés unique style as transitional Art Deco, because it bridges the visual gab between fin-de-siècle schools of Symbolism, with its ethereal quality, Art Nouveau, with its high ornament, and the mid-1920s movement of Art Deco, with its inspirational sources and concise execution.
Jean Tibbetts (Erte)
When teachers participate in a literary experience with a professionally presented children's play, they are offering their students a text quite different from anything that they will experience within their classrooms. Within this literary experience, teachers join as equals with their students, and each, as audience members within the darkened space of the performance, create their own poems to hold within themselves or share with others.
James Hugh Comey (Three Moons Till Tomorrow: An Examination of the Interactions, Transactions, and the Construction and Co-Construction of Meaning by Elementary School Students, Teachers, and Theatre Professionals with an Original Children's Musical Play)
Novel-reading is indeed unusually private, unusually personal, unusually intimate. It doesn’t happen out there, in front of our eyes; it happens in here, in our heads. The form’s relationship to time is also unique. The novel isn’t static, like painting and sculpture, but though it tells a story, it doesn’t unfold in an inexorable progression, like music, dance, theater, or film. The reader, not the clock, controls the pace. The novel allows you the freedom to pause: to savor a phrase, contemplate a meaning, daydream about an image, absorb the impact of a revelation—make the experience uniquely your own.
Two objects cannot occupy the same space at the same time. We've never quite made peace with that in the theater---set designer Robin Wagner
Barbara Isenberg (Making It Big: The Diary of a Broadway Musical)
A few days after Camelot, Roz calls me and asks if she might use my ticket for The Mystery of Edwin Drood. Her sister is coming to town, and wouldn’t it be nice for the three of them to go together? I say yes, because who wants to see a musical version of The Mystery of Edwin Drood? Whenever you subscribe to a regional theater season, there’re always a few duds. She says she’ll pay me for the ticket, and I say your money’s no good here, Roz Horowitz. It’s a mitzvah to not have to go to Edwin Drood.
Gabrielle Zevin (Young Jane Young)
Santería was traditionally an unacknowledged and underappreciated aspect of what it meant to be Cuban. Yet the syncretism between the Yoruban religion that the slaves brought to the island and the Catholicism of their masters is, in my opinion, the underpinning of Cuban culture. Every artistic realm--music, theater, literature, etc.--owes a huge debt to santería and the slaves who practiced it and passed it on, largely secretively, for generations.
Cristina García (Dreaming in Cuban)
After college she worked in the theater and started publishing her stories. She still plays the piano, and in a way that is similar to Mark Strand’s strategy of driving a car or running errands when the focus on his work becomes excessively absorbing, she uses music to help clear her mind and get back in touch with experiences beyond the compass of rationality: Playing the piano is for me a way of getting unstuck. If I’m stuck in life or in what I’m writing, if I can I sit down and play the piano. What it does is break the barrier that comes between the conscious and the subconscious mind. The conscious mind wants to take over and refuses to let the subconscious mind work, the intuition. So if I can play the piano, that will break the block, and my intuition will be free to give things up to my mind, my intellect. So it’s not just a hobby. It’s a joy.
Mihaly Csikszentmihalyi (Creativity: Flow and the Psychology of Discovery and Invention)
Along the way, he published a novel about the music business with the title Sweetie Baby Cookie Honey.
Michael Sokolove (Drama High: The Incredible True Story of a Brilliant Teacher, a Struggling Town, and the Magic of Theater)
I’m sorry, but this is musical theater, guys. Okay? You’ve just got to do it all.
Michael Sokolove (Drama High: The Incredible True Story of a Brilliant Teacher, a Struggling Town, and the Magic of Theater)
I need to warm up,” she blurted, and plunged in without another word, playing as softly as she could. Once she had started seeing the notes in her mind again, when muscle memory had her fingers reaching for those familiar chords, she began. It was not the sorrowful, lovely piece she had once played for Dorian, and it was not the light, dancing melodies she’d played for sport; it was not the complex and clever pieces she had played for Nehemia and Chaol. This piece was a celebration—a reaffirmation of life, of glory, of the pain and beauty in breathing. Perhaps that was why she’d gone to hear it performed every year, after so much killing and torture and punishment: as a reminder of what she was, of what she struggled to keep. Up and up it built, the sound breaking from the pianoforte like the heart-song of a god, until Rowan drifted over to stand beside the instrument, until she whispered to him, “Now,” and the crescendo shattered into the world, note after note after note. The music crashed around them, roaring through the emptiness of the theater. The hollow silence that had been inside her for so many months now overflowed with sound. She brought the piece home to its final explosive, triumphant chord. When she looked up, panting slightly, Rowan’s eyes were lined with silver, his throat bobbing. Somehow, after all this time, her warrior-prince still managed to surprise her. He seemed to struggle for words, but he finally breathed, “Show me—show me how you did that.” So she obliged him.
Sarah J. Maas (Queen of Shadows (Throne of Glass, #4))
Resistance is not, fundamentally, political. It is cultural and spiritual. It is about finding meaning and expression in the transcendent and the incongruities of life. Music, poetry, theater and art sustain resistance by giving expression to the nobility of rebellion against the overwhelming forces, what the ancient Greeks called fortuna, which can never ultimately be overcome. Art celebrates the freedom and dignity of those who defy malignant evil. Victory is not inevitable, or at least not victory as defined by the powerful. Yet in every act of rebellion we are free.
Chris Hedges (America: The Farewell Tour)
Dorian? Is that an important publisher?" "Count Dorian is really famous. How do you not know him?" "I can only think of the Dorian in the painting. You know, Oscar Wilde’s beautiful, cursed one?" he says. "Sorry. And, anyway, why is he important?" he asks, noting her apprehension. "Well, for one thing, he’s a Count." "Pardon..." he mocks, in a French accent. "Why is this Count famous?" "Because he cultivates young talent. He’s launched a lot of young people in different fields: music, painting, sculpture, fashion, theater, movies." She pauses for breath. "And writers, too." "So he’s a type of patron." She nods. "And he’s contacted you about your novels?" She nods again. "And what’s the problem?" "He has an estate in Tuscany, as well as houses in New York and Hong Kong. And he’s asked to meet me." "Are you embarrassed to go on your own? I can take you if you want. But if he’s a talent hunter, you just need to act as natural as possible and you'll be fine. I imagine he’s used to it. He can’t not like you," he says, caressing her face. "He thinks I’m a man..," she whispers. Andrea freezes. "Eh?!" he exclaims, looking at her and suddenly feeling a strange foreboding. "I
Key Genius (Heart of flesh)
Despite forty years in the music business, he still never knew for certain which of his acts would succeed, and the Hollywood dictum that “Nobody knows anything” held equally true for every other type of show business. Every year hundreds of movies played to empty theaters; dozens of TV shows were commissioned and then killed after a few episodes; thousands of freshly printed books were remaindered and pulped. Perhaps the saying even held true for the corporate world at large, and those who embraced this uncomfortable state of Socratic ignorance were those who tended to survive.
Stephen Witt (How Music Got Free: The End of an Industry, the Turn of the Century, and the Patient Zero of Piracy)
Can the theater teach us to wait? To forestall our satisfaction? Poems teach us how to wait. The natural world makes us wait. Erik Satie teaches us how to wait. And so does much music. Will YouTube teach us how to wait? Will YouTube teach us how to die?  
Sarah Ruhl (100 Essays I Don't Have Time to Write: On Umbrellas and Sword Fights, Parades and Dogs, Fire Alarms, Children, and Theater)
Before Rowland could reply a shout from the crow’s-nest split the air. “Ice,” yelled the lookout; “ice ahead. Iceberg. Right under the bows.” The first officer ran amidships, and the captain, who had remained there, sprang to the engine-room telegraph, and this time the lever was turned. But in five seconds the bow of the Titan began to lift, and ahead, and on either hand, could be seen, through the fog, a field ofice, which arose in an incline to a hundred feet high in her track. The music in the theater ceased, and among the babel of shouts and cries, and the deafening noise of steel, scraping and crashing over ice, Rowland heard the agonized voice of a woman crying from the bridge steps: “Myra—Myra, where are you? Come back.
Morgan Robertson (The Wreck of the Titan)
One possible benefit of new workforce trends is that people will have more leisure time than in the past. This can happen in one of two ways. Some people will not be needed in the new digital economy, so they will find other ways to construct meaning in their lives outside the workplace. Alternatively, even those who work may find themselves with time for other kinds of pursuits. Rather than most waking hours being spent on work-related tasks, the society of the future may have time for nonwork activities, including art, culture, music, sports, and theater.
Darrell M. West (The Future of Work: Robots, AI, and Automation)
He had seen the banning of books, music and films, the closure of theaters and cinemas, the outlawing of football, and all the other countless ways in which the Libyan dictatorship, like a crazed jealous lover, infiltrated every aspect of public and private life.
Hisham Matar (The Return (Pulitzer Prize Winner): Fathers, Sons and the Land in Between)
Entertainment isn’t a meritocracy. Van Zandt was making an argument about the necessity and importance of managers in music. He said the Beatles would still be in Germany and the Stones would have been playing dinner theaters, if not for great, visionary managers who helped sell them to the world. The same can be said for generations. No icon is so talented that they don’t need the right generation to receive their message. Of course, some icons transcend their time, but that’s nearly impossible without first connecting deeply with the generation that’s consuming culture when you’re at your peak. The
Touré (I Would Die 4 U: Why Prince Became an Icon)
Opera was born in Florence at the end of the sixteenth century. It derived almost seamlessly from its immediate precursor, the intermedio, or lavish between-the-acts spectacle presented in conjunction with a play on festive occasions. Plays were spoken, and their stage settings were simple: a street backed by palace facades for tragedies, by lower-class houses for comedies; for satyr plays or pastorals, the setting was a woodland or country scene. Meanwhile the ever-growing magnificence of state celebrations in Medici Florence on occasions such as dynastic weddings gave rise to a variety of spectacles involving exuberant scenic displays: naval battles in the flooded courtyard of the Pitti Palace, tournaments in the squares, triumphal entries into the city. These all called upon the services of architects, machinists, costume designers, instrumental and vocal artists. Such visual and aural delights also found their way into the theater—not in plays, with their traditional, sober settings, but between the acts of plays. Intermedi had everything the plays had not: miraculous transformations of scenery, flying creatures (both natural and supernatural), dancing, singing. The plays satisfied Renaissance intellects imbued with classical culture; the intermedi fed the new Baroque craving for the marvelous, the incredible, the impossible. By all accounts, no Medici festivities were as grand and lavish as those held through much of the month of May 1589 in conjunction with the marriage of Grand Duke Ferdinand I and Christine of Lorraine. The intermedi produced between the acts of a comedy on the evening of May 2 were considered to be the highlight of the entire occasion and were repeated, with different plays, on May 6 and 13. Nearly all the main figures we will read about in connection with the birth of opera took part in the extravagant production, which was many months in the making: Emilio de' Cavalieri acted as intermediary between the court and the theater besides being responsible for the actors and musicians and composing some of the music; Giovanni Bardi conceived the scenarios for the six intermedi and saw to it that his highly allegorical allusions were made clear in the realization. Jacopo Peri and Giulio Caccini were among the featured singers, as was the madrigal composer Luca Marenzio, who wrote the music for Intermedio 3, described below. The poet responsible for the musical texts, finally, was Ottavio Rinuccini, who wrote the poetry for the earliest operas...
Piero Weiss (Opera: A History in Documents)
Music is defining time with emotions, with notes.
John Myung (Six Degrees of Inner Turbulence - I. Overture)
held on to Edward’s hand, gave him some of the best eye contact I’d given anyone in a while, and Dr. Fields tried to stitch me up ahead of my body’s healing. Even with the ardeur days from being fed I was healing too fast for normal medical help. Fuck. Edward talked low to me. He whispered about the case, tried to get me to think about work. It worked for a while, and then the painkiller was all gone and I was still being stitched up. I couldn’t think about work. He talked about his family, about what Donna was doing with her metaphysical shop, about Peter in school and in martial arts. He was working on his second black belt. Becca and her musical theater, and the fact that he was still taking her to dance class twice a week, that amused me enough for me to say, “I want to see you sitting with all the suburban moms in the waiting area.
Laurell K. Hamilton (Hit List (Anita Blake, Vampire Hunter, #20))
the psychologist turned to Gillian’s mother and said, “You know, Mrs. Lynne, Gillian isn’t sick. She’s a dancer. Take her to a dance school.” I asked Gillian what happened then. She said her mother did exactly what the psychologist suggested. “I can’t tell you how wonderful it was,” she told me. “I walked into this room, and it was full of people like me. People who couldn’t sit still. People who had to move to think.” She started going to the dance school every week, and she practiced at home every day. Eventually, she auditioned for the Royal Ballet School in London, and they accepted her. She went on to join the Royal Ballet Company itself, becoming a soloist and performing all over the world. When that part of her career ended, she formed her own musical theater company and produced a series of highly successful shows in London and New York. Eventually, she met Andrew Lloyd Webber and created with him some of the most successful musical theater productions in history, including Cats and The Phantom of the Opera. Little Gillian, the girl with the high-risk future, became known to the world as Gillian Lynne, one of the most accomplished choreographers of our time, someone who has brought pleasure to millions and earned millions of dollars. This happened because someone looked deep into her eyes—someone who had seen children like her before and knew how to read the signs. Someone else might have put her on medication and told her to calm down. But Gillian wasn’t a problem child. She didn’t need to go away to a special school. She just needed to be who she really was.
Ken Robinson (The Element: How Finding Your Passion Changes Everything)
Although he was not yet allowed to set foot in Greece, on pain of sure imprisonment and possible death, this prize resulted in a commission to compose the music for a 1964 production of Aeschylus’s Hiketides (The Supplicants) at the ancient theater in Epidaurus.
James Harley (Xenakis: His Life in Music)
On a break from the tour, I went south to Bali, a place the choreographer Toni Basil, whom Eno and I had met during the Bush Of Ghosts sessions, had recommended as being transporting and all about performance. I rented a small motorcycle and headed up into the hills, away from the beach resort. I soon discovered that if one saw offerings of flowers and fruit being brought to a village temple compound in the afternoon, one could be pretty certain that some sort of ritual performance would follow there at night. Sure enough, night after night I would catch dances accompanied by gamelan orchestras and shadow-puppet excerpts from the Hindu Ramayana--epic and sometimes ritual performances that blended religious and theatrical elements. (A gamelan is a small orchestra made up mainly of tuned metallic gongs and xylophone-like instruments--the interplay between the parts is beautiful and intricate.) In these latter events some participants would often fall into a trance, but even in trance there were prescribed procedures. It wasn't all thrashing chaos, as a Westerner might expect, but a deeper kind of dance. As In Japanese theater, the performers often wore masks and extreme makeup; their movements, too, were stylized and "unnatural." It began to sink in that this kind of "presentational" theater has more in common with certain kinds of pop-music performance that traditional Western theater did. I was struck by other peripheral aspects of these performances. The audiences, mostly local villagers of all ages, weren't paying attention half the time. People would wander in and out, go get a snack from a cart or leave to smoke a bidi cigarette, and then return to watch some more. This was more like the behavior of audiences in music clubs than in Western theaters, where they were expected to sit quietly and only leave or converse once the show was over. The Balinese "shows" were completely integrated into people's daily lives, or so it seemed to me. There was no attempt to formally separate the ritual and the show from the audience. Everything seemed to flow into everything else. The food, the music, and the dance were all just another part of daily activity. I remembered a story about John Cage, who, when in Japan, asked someone what their religion was. The reply was that they didn't have a strict religion--they danced. Japanese do, of course, have Buddhist and Shinto rituals for weddings, funerals, and marriages, but a weekly thing like going to church or temple doesn't exist. The "religion" is so integrated into the culture that it appears in daily gestures and routines, unsegregated for ordinary life. I was beginning to see that theatricality wasn't necessarily a bad thing. It was part of life in much of the world, and not necessarily phony either.
David Byrne (How Music Works)
By looking across the market boundary of theater, Cirque du Soleil also offered new noncircus factors, such as a story line and, with it, intellectual richness, artistic music and dance, and multiple productions. These factors, entirely new creations for the circus industry, are drawn from the alternative live entertainment industry of theater.
W. Chan Kim (Blue Ocean Strategy, Expanded Edition: How to Create Uncontested Market Space and Make the Competition Irrelevant)
In those days, the pursuit of music was perceived in a pair of dichotomies. Listeners were divided into amateurs and connoisseurs, performers into dilettanti and virtuosi. As in C. P. E. Bach’s keyboard sonatas for Kenner und Liebhaber, composers generally wrote with those divisions in mind. In 1782, Mozart wrote his father about his new concertos, “[H]ere and there connoisseurs alone can derive satisfaction; the non-connoisseurs cannot fail to be pleased, though without knowing why.”35 That defined the essentially populist attitude of what came to be called the Classical style: composers should provide something for everybody, at the same time gearing each work for its setting, whether it was the more intimate and complex chamber music played by enthusiasts in private homes, or public pieces for theater and larger concerts, which were written in a more straightforward style.
Jan Swafford (Beethoven: Anguish and Triumph)
This is the golden rule that sustains every artifice of paper and ink. Because when the lights go out, when the music ends and the stalls are empty again, the only thing that matters is the mirage that has been engraved in the theater of the imagination all readers hold in their mind.
Carlos Ruiz Zafón (The Shadow of the Wind (The Cemetery of Forgotten Books, #1))
The initial guiding principle was simple: “Buy the rights to a fine play, hire the biggest names available, and hope the public will listen.” But competition for big names was fierce in New York. When film stars came east—usually on a train between movies, en route to Europe—they were mobbed by agents seeking their appearances on the big variety shows. An appearance on The Rudy Vallee Hour or Shell Chateau paid more and was less demanding—a bit of fluff between musical selections, which an actor could learn in a single rehearsal. The demand for top stars was so desperate that Lux scouts created devious ways of snaring them. One “bright young fellow,” as described by Radio Guide, simply grabbed up Leslie Howard’s suitcases and led him through a gauntlet of competing agents to a waiting cab. Only when they were settled in the car did it occur to Howard to ask who he was. “I’m from The Lux Radio Theater, and you’re going to act for us tomorrow night,” said the brash young fellow. He had caught (and subsequently booked) a hot young star by knowing that “a man will always follow his suitcases.
John Dunning (On the Air: The Encyclopedia of Old-Time Radio)
Finding Favor in God’s Eyes Noah found favor in the eyes of the LORD…. Noah did everything just as God commanded him. —GENESIS 6:8,22     One way to find favor with God is to love His little children. In the New Testament we read where Jesus loved the young children and warned us as adults to be careful not to harm the little children. As a grandparent, I can gain favor with God by being kind and gentle with the little ones in our family. What an honor to be a part of the spiritual development of any child. In government, sports, business, medicine, education, theater, and music—there are those who rise to the top of their professions and are honored because they find favor through their actions, personalities, efforts, or sometimes just because of their social connections. They might be known for very amazing and noble accomplishments like running a nonprofit, discovering a new cancer drug, teaching those thought unteachable, or singing the most beautiful aria the world has ever heard. These are all remarkable reasons to have favor among men. But have you ever thought how much richer life would be to have God find favor with you as a parent, a grandparent? I stand in awe when I think of God finding favor with me, but He does. Noah lived in a world much like today’s, a world full of sin. Humanity hasn’t changed much over the centuries—we just give sin a different name. Yet through all this wickedness, Noah was a person who lived a godly life. His life was pleasing to God even during those evil days. Noah didn’t find favor because of his individual goodness but through his obedience to God. We are also judged according to the same standard—that of our personal faith and obedience. Even though Noah was upright and blameless before God, he wasn’t perfect. God recognized that Noah’s life reflected a genuine faith, but not always a perfect faith. Do you sometimes feel all alone in your walk with God? I know I do. Noah found that it wasn’t the surroundings of his life that kept him in close fellowship with God, but it was the heart of Noah that qualified him to find friendship with God. It isn’t important to find favor from our fellow humans. God’s favor is so much more rewarding. Somehow God’s favor with me is passed down through the favor from my grandchildren. As we live in this very difficult time of history, I might ask, “Do I find favor in God’s sight?” God gives us grace to live victoriously: “He gives us more grace” (James 4:6).
Emilie Barnes (Walk with Me Today, Lord: Inspiring Devotions for Women)
Teachers Who Purport to Believe That Writing Can't Be Taught. When you hear a teacher say that writing can't be taught, run to another workshop. Again, the craft of writing — just like the crafts of music, dance, painting, film, theater, etc. — can be taught. Have you ever heard someone say, “Why on earth are you taking piano instruction? Music can't be taught”? Of course not, but you hear this nonsense all the time about writing. What is especially pernicious about this pervasive idiocy is that many of the teachers hired (often by the most high-profile institutions) purport to believe this. Why do I say purport to believe? Because the idea is something that only stupid people would actually believe, and none of these writers is stupid. But if you believe that writing can be taught, then you have to figure out a way to teach it, and that requires work — and a lot of it — even before the workshops begin.
The New York Writers Workshop (The Portable MFA in Creative Writing (New York Writers Workshop))
Even before the first Soviet tanks crossed into Afghanistan in 1979, a movement of Islamists had sprung up nationwide in opposition to the Communist state. They were, at first, city-bound intellectuals, university students and professors with limited countryside appeal. But under unrelenting Soviet brutality they began to forge alliances with rural tribal leaders and clerics. The resulting Islamist insurgents—the mujahedeen—became proxies in a Cold War battle, with the Soviet Union on one side and the United States, Pakistan, and Saudi Arabia on the other. As the Soviets propped up the Afghan government, the CIA and other intelligence agencies funneled millions of dollars in aid to the mujahedeen, along with crate after crate of weaponry. In the process, traditional hierarchies came radically undone. When the Communists killed hundreds of tribal leaders and landlords, young men of more humble backgrounds used CIA money and arms to form a new warrior elite in their place. In the West, we would call such men “warlords.” In Afghanistan they are usually labeled “commanders.” Whatever the term, they represented a phenomenon previously unknown in Afghan history. Now, each valley and district had its own mujahedeen commanders, all fighting to free the country from Soviet rule but ultimately subservient to the CIA’s guns and money. The war revolutionized the very core of rural culture. With Afghan schools destroyed, millions of boys were instead educated across the border in Pakistani madrassas, or religious seminaries, where they were fed an extreme, violence-laden version of Islam. Looking to keep the war fueled, Washington—where the prevailing ethos was to bleed the Russians until the last Afghan—financed textbooks for schoolchildren in refugee camps festooned with illustrations of Kalashnikovs, swords, and overturned tanks. One edition declared: Jihad is a kind of war that Muslims fight in the name of God to free Muslims.… If infidels invade, jihad is the obligation of every Muslim. An American text designed to teach children Farsi: Tey [is for] Tofang (rifle); Javed obtains rifles for the mujahedeen Jeem [is for] Jihad; Jihad is an obligation. My mom went to the jihad. The cult of martyrdom, the veneration of jihad, the casting of music and cinema as sinful—once heard only from the pulpits of a few zealots—now became the common vocabulary of resistance nationwide. The US-backed mujahedeen branded those supporting the Communist government, or even simply refusing to pick sides, as “infidels,” and justified the killing of civilians by labeling them apostates. They waged assassination campaigns against professors and civil servants, bombed movie theaters, and kidnapped humanitarian workers. They sabotaged basic infrastructure and even razed schools and clinics. With foreign backing, the Afghan resistance eventually proved too much for the Russians. The last Soviet troops withdrew in 1989, leaving a battered nation, a tottering government that was Communist in name only, and a countryside in the sway of the commanders. For three long years following the withdrawal, the CIA kept the weapons and money flowing to the mujahedeen, while working to block any peace deal between them and the Soviet-funded government. The CIA and Pakistan’s spy agency pushed the rebels to shell Afghan cities still under government control, including a major assault on the eastern city of Jalalabad that flattened whole neighborhoods. As long as Soviet patronage continued though, the government withstood the onslaught. With the collapse of the Soviet Union in late 1991, however, Moscow and Washington agreed to cease all aid to their respective proxies. Within months, the Afghan government crumbled. The question of who would fill the vacuum, who would build a new state, has not been fully resolved to this day.
Anand Gopal
This was awkward to infinity. Alex living here would change my entire routine. I was sharing a bathroom with my boyfriend. How scary was that? I had tampons and pads and everything in there. He was going to be naked in the shower on the other side of my bedroom wall. And I was going to be naked in the shower with him in my house.
S.M. Stevens (Bit Players, Bird Girls and Fake Break-Ups)
The first few weeks of school were always surreal, like you landed on an alien planet with strange teachers and unfamiliar classrooms, even though the lockers and cafeteria seemed familiar.
S.M. Stevens (Bit Players, Has-Been Actors and Other Posers (Bit Players, #1))
be familiar to potential participants, such as Passover or Hanukkah. Charge no entry fee to keep the barriers low for participation. 3. As an option, take an event or program already planned and move it into a public space. Or take a longer multisession program and divide it into individual stand-alone events. Also, plan events as part of the secular community-at-large calendar, such as local fairs and parades. 4. Always design events to appeal to a defined target audience. Focus on the needs of the potential participant, not the needs or interests of the sponsoring institution. 5. Make sure the event is convenient for potential participants to attend. Identify arts, music, and cultural venues that your target audience frequents, including bookstores, theaters, concert halls, and athletic centers. 6. Market your programs in secular venues
Kerry M. Olitzky (Playlist Judaism: Making Choices for a Vital Future)
what I call Destination Jewish Culture. These programs are also low barrier and held in secular spaces. However, they usually require some level of planned participation (a set start time and destination event) and may charge a nominal fee (though no more than what would be charged at a secular equivalent). Good examples of programs that might fit in this circle are Jewish film festivals held in commercial theaters or a Jewish musical event held in a concert hall. The third level of Public Space Judaism is what might be described as Open Door Community programs. These may be held within Jewish communal institutions, but they are open to the entire community. A good example of this approach is the Reform Jewish movement’s Taste of Judaism program (although the program is not limited to the Reform movement). This brief three-week introduction to Judaism is free, welcomes all participants
Kerry M. Olitzky (Playlist Judaism: Making Choices for a Vital Future)
It is not so much that subjectivity is communicated or expressed by music as that in it, as in a theater, something objective is enacted, the identifiable face of which has been obliterated. It is rather that the orchestra plays within musical consciousness than that a consciousness is projected onto the orchestra.
Theodor W. Adorno (Mahler: A Musical Physiognomy)
Question 2: How Do You Want to Grow? When you watch how young children soak up information, you realize how deeply wired we are to learn and grow. Personal growth can and should happen throughout life, not just when we’re children. In this section, you’re essentially asking yourself: In order to have the experiences above, how do I have to grow? What sort of man or woman do I need to evolve into? Notice how this question ties to the previous one? Now, consider these four categories from the Twelve Areas of Balance: 5.​YOUR HEALTH AND FITNESS. Describe how you want to feel and look every day. What about five, ten, or twenty years from now? What eating and fitness systems would you like to have? What health or fitness systems would you like to explore, not because you think you ought to but because you’re curious and want to? Are there fitness goals you’d like to achieve purely for the thrill of knowing you accomplished them (whether it’s hiking a mountain, learning to tap dance, or getting in a routine of going to the gym)? 6.​YOUR INTELLECTUAL LIFE. What do you need to learn in order to have the experiences you listed above? What would you love to learn? What books and movies would stretch your mind and tastes? What kinds of art, music, or theater would you like to know more about? Are there languages you want to master? Remember to focus on end goals—choosing learning opportunities where the joy is in the learning itself, and the learning is not merely a means to an end, such as a diploma. 7.​YOUR SKILLS. What skills would help you thrive at your job and would you enjoy mastering? If you’d love to switch gears professionally, what skills would it take to do that? What are some skills you want to learn just for fun? What would make you happy and proud to know how to do? If you could go back to school to learn anything you wanted just for the joy of it, what would that be? 8.​YOUR SPIRITUAL LIFE. Where are you now spiritually, and where would you like to be? Would you like to move deeper into the spiritual practice you already have or try out others? What is your highest aspiration for your spiritual practice? Would you like to learn things like lucid dreaming, deep states of meditation, or ways to overcome fear, worry, or stress?
Vishen Lakhiani (The Code of the Extraordinary Mind: 10 Unconventional Laws to Redefine Your Life and Succeed On Your Own Terms)
It was a gorgeous evening, with a breeze shimmering through the trees, people strolling hand in hand through the quaint streets and the plaza. The shops, bistros and restaurants were abuzz with patrons. She showed him where the farmer's market took place every Saturday, and pointed out her favorite spots- the town library, a tasting room co-op run by the area vintners, the Brew Ha-Ha and the Rose, a vintage community theater. On a night like this, she took a special pride in Archangel, with its cheerful spirit and colorful sights. She refused to let the Calvin sighting drag her down. He had ruined many things for her, but he was not going to ruin the way she felt about her hometown. After some deliberation, she chose Andaluz, her favorite spot for Spanish-style wines and tapas. The bar spilled out onto the sidewalk, brightened by twinkling lights strung under the big canvas umbrellas. The tables were small, encouraging quiet intimacy and insuring that their knees would bump as they scooted their chairs close. She ordered a carafe of local Mataro, a deep, strong red from some of the oldest vines in the county, and a plancha of tapas- deviled dates, warm, marinated olives, a spicy seared tuna with smoked paprika. Across the way in the plaza garden, the musician strummed a few chords on his guitar. The food was delicious, the wine even better, as elemental and earthy as the wild hills where the grapes grew. They finished with sips of chocolate-infused port and cinnamon churros. The guitar player was singing "The Keeper," his gentle voice seeming to float with the breeze.
Susan Wiggs (The Beekeeper's Ball (Bella Vista Chronicles, #2))
She spent her idle time conceiving of musicals that would never be. It was the only medium that could properly express our true madness and hypocrisy---our collective ability to sit in a theater watching lunatics sing nonsense while the world outside burns.
Dave Eggers
Let’s remember that it would afterward create inventions unimaginable to previous generations, outracing sound via the telegraph and flooding silences with the music of the phonograph—and harnessing electricity to illuminate the darkness with delicate glass bulbs; and it would invent the motion picture so that people in darkened theaters could dream while still awake; and it would loft human beings into the world of the birds above our heads in winged apparatuses that would eventually soar across continents and then across oceans; and it would via assembly-line innovation make the horseless carriage available to the working man; and it would invent baseball and football and basketball; and it would in two wars defend civilization and democracy from totalitarian tyranny; and it would invent jazz and blues and rock and roll; and it would invent a device that could make what was happening in one place appear instantly to other people thousands of miles away; and it would make this device available to almost everyone; and it would vault our species beyond Earth’s gravity and onto other heavenly bodies, depositing one, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve men onto the white surface of the moon; and it would invent the computer and it would invent the Internet, with its endless information going to and fro over the surface of the Earth. All of these things and so many more were made possible by that one document written in that hot room in Philadelphia over the course of one hundred days—that promise to the future of the world.
Eric Metaxas (If You Can Keep It: The Forgotten Promise of American Liberty)
painting, in music, in literature or theater? If so, did that make the rest of the world nothing more than the audience? Passive observers whose only contribution was applause or criticism?
Nora Roberts (Key of Light (Key Trilogy #1))
Most of the theaters in Jersey City and the surrounding area have been closed, demolished, renovated or restored, but nothing remained the same. The Stanley Theatre still stands in Journal Square, completely restored as a Jehovah’s Witnesses Assembly Hall. Originally built as a vaudeville and movie theater, having 4,300 seats, it opened on March 22, 1928 as the second largest theater in the United States. With only Radio City Music Hall in Manhattan across the Hudson River being larger, many celebrities attended the gala occasion. The well liked but notorious Mayor Hague was present to cut the ribbon. Famous and not-so-famous headline acts performed here, including the Three Stooges, Jimmy Durante, Tony Bennett and Janis Joplin. It was here at the Stanley Theatre that Frank Sinatra was inspired to become a professional performer. Being part of the audience, he watched Bing Crosby doing a Christmas performance. By the time the show was over, Sinatra had decided on the path he would follow. In 1933 Frank’s mother got him together with a group called the “Three Flashes.” They changed their name to the “Hoboken Four” and won first prize performing on the Major Bowes Amateur Hour show. Frank worked locally until June of 1939, when Harry James hired him for a one-year contract, paying only $75 a week. That December, Sinatra joined Tommy Dorsey’s band as a replacement vocalist for Jack Leonard, and the rest is history!
Hank Bracker
If you want to be a garbage man, be a garbage man, but be the best garbage man you can be. (p. 8)
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
Pairs of shoes should be like pairs of people,' Paula says. 'They should complement one another, not match.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
You've got strengths you're not even aware of yet and you are going to be amazed at what you can do when this is all over. I believe in you; not just in your talent, but in you yourself. There is so much more to you than you even realize, I promise.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
Holy Lesbos, Batman!
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
She won an amateur night at Keeney’s Theater in Brooklyn, singing When You Know You’re Not Forgotten by the Girl You Can’t Forget. Her prize was $10, and she gathered $23 in coins from the floor of the stage. She worked for George M. Cohan but was fired when Cohan learned that she couldn’t dance. After singing with a road show, she appeared in New York musical revues. A struggling young songwriter, Irving Berlin, gave her a musical piece called Sadie Salome and suggested she sing it in Yiddish dialect at the Columbia Burlesque House, where she was working. In the audience that night was Florenz Ziegfeld, whose Follies were at the pinnacle of Broadway entertainment.
John Dunning (On the Air: The Encyclopedia of Old-Time Radio)
Paris,” a Seventh Army soldier wrote his wife. “It was wonderful, but I slept on the floor because the bed was just too much like sleeping in butter.” A woman working for the OSS described fleets of vélos, odd contraptions like “canvas-covered bathtubs and drawn or propelled by motorcycles or bicycles,” carting around GIs “who little count the cost in their exuberance at being alive.” The writer Simone de Beauvoir concluded that “the easygoing manner of the young Americans incarnated liberty itself.” Troops packed movie theaters along the Champs-Élysées, and two music halls featured vaudeville shows. Post Number One of the American Legion served hamburgers and bourbon, and bars opened with names intended to entice the homesick, like The Sunny Side of the Street and New York. Army special services organized activities ranging from piano recitals to jitterbug lessons, while distributing thousands of hobby kits for sketching, clay modeling, and leather craft. The Bayeux Tapestry, long tucked away for safekeeping, reemerged in an exhibit at the Louvre, with the segment depicting the Norman defeat of the Anglo-Saxons in 1066 tactfully
Rick Atkinson (The Guns at Last Light: The War in Western Europe 1944-1945 (The Liberation Trilogy))
Anita,” Jason said. I looked at him and J.J. “You okay?” I shrugged. “I think this is the most complicated BDSM scene I’ve tried without Jean-Claude or Asher involved. It’s like we have all this talent and potential, but no one is in charge.” That was all true. It wasn’t exactly what was spooking me, but it was still part of the truth. It also meant that they’d probably quit asking me what was wrong. “I cannot be with Asher,” Jade said. I shook my head. “I wasn’t suggesting it, just not sure who’s directing everything.” “We’ve made love with Nathaniel in bed with us before,” she said, her voice soft, low, and strangely musical. Her voice didn’t always sound that way, but it often did when she was trying to persuade, or I guess manipulate me. I’d asked her if she’d had theater training, but she didn’t seem to know what I meant, so I’d let it go. I let a lot of things go with Jade, even I knew that, but when she puzzled me enough I stepped back rather than pushing. I wasn’t sure if I was growing up, or she was winning. “You’re in charge, Anita,” Domino said, “so be in charge. What do you want to do?” In my head I thought, Leave. Maybe it showed on my face, because he said, “Do what you enjoy and Jade will follow your lead.” Jade nodded. “Really?” I asked her. “Truly,” she said. “Okay, I know what I want to do.” “I will follow where you lead,” she said. I knew it was both the truth and a lie. She’d follow me for a while, until she decided she didn’t want to, or she got too uncomfortable, then she’d do whatever the hell she wanted to do and somehow it would be my fault, again. I was starting to seriously sympathize with the men who were dating me.
Laurell K. Hamilton (Jason (Anita Blake, Vampire Hunter, #23))
No matter how hard I tried to get Ronnie’s attention he wouldn’t look me. He avoided eye contact by toying with the ring tones on his cellular phone. His unwillingness to look me in the eye and speak directly to me annoyed me. Ronnie was seventeen and stood about five foot nine inches tall. He had brown skin just like mine and wore his hair French braided. That day he was wearing an oversize white T-shirt, baggy Sean John jeans and what appeared to be a new pair of Nike Air Force One gym shoes. We were standing on the sidewalk in front of the apartment building that he lived in with his mother. In the distance I heard the thud of music from a trunk amp bouncing against the air. Ronnie is my boyfriend, or should I say was my boyfriend until I caught him snuggled up with some girl inside of a movie theater. When I saw him and the other girl I decided to play it cool at first, you know, just to make sure that I wasn’t overreacting. I discreetly positioned myself in a seat directly behind them so that I could keep a close eye on them. No sooner than the lights
Earl Sewell (Keysha's Drama (Keysha, #1))
By 1950, Brennan was settling into a schedule that saw him making three films a year, giving him more time on his ranch and with a new business he started in Joseph, a 487-seat movie theater that opened on July 27, 1950. It was housed in a Quonset hut made out of surplus war materials also used to build the civic center. “The reason he got the theater built,” Mike recalled, “was because the civic center was the same size, and they [Frank McCully and Walter] got the chance to buy two of them for half the price.” At the theater’s grand opening, actors Chill Wills and Forrest Tucker said a few words and signed autographs, and Joseph’s mayor and other local dignitaries attended the event. A La Grande radio station broadcast the event. Curtain Call at Cactus Creek was the feature, following a musical short with the Nat King Cole trio.
Carl Rollyson (A Real American Character: The Life of Walter Brennan (Hollywood Legends Series))
Powerpoint presentations are a kind of theater, a kind of augmented stand-up. Too often it's a boring and tedious genre, and audiences are subjected to the bad as well as the good.
David Byrne (How Music Works)
This summer is my big chance to improve myself and I'm determined to give up sugar, caffeine, alcohol, read meat, white flour and fried foods, as well as finally learn to meditate and become the spiritually evolved person I know that I truly am inside.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
The people here are such snobs." She doesn't seem concerned that those snobs can hear her. "But I honestly don't understand what they've got to be so snobby about. Don't they realize they live in New Jersey?
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
The house is about as tidy as most people's attics, which makes it a particularly hospitable hangout for sloppy teenagers.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
Now I realize that sliding underneath a table in a restaurant is somewhat of an I Love Lucy response to a crisis, but once I'm down on the floor I can't very well reappear without giving some thought as to how I'm going to accomplish it.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
The sky is turning from black to gray and I stop to remember this melancholy moment for my acting. I huddle on a bench in my big thrift-store overcoat and my painful hair, watching my breath make clouds and thinking Holden Caulfield-y thoughts, like how come you never see any baby pigeons? This is what those people on black-and-white French postcards must feel like. I find myself craving a cup of coffee and a cigarette despite the fact that I neither drink coffee nor smoke.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
They are, essentially, a happy family, in their scream-at-each-other-from-the-other-end-of-the-house kind of way and I've always felt at home around them. Jews are a lot like Italians, except smarter.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
Excluding vacations, that's 144 gym classes a year, which comes to a lifetime total of 1,584; multiply that by forty minutes a class and it comes to 1,056 hours of nonstop harassment, or forty-four days of round-the-clock terror. POWs have died for less.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
Pork chop, pork chop, Greazy, greazy, We'ze gonna beat you, Easy, easy. Corn bread, Jeri Curl, Bar-bee-cue, We'ze gonna beat the whoopy outta you!
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater)
He’d stopped talking about bonding her to him forever and had apparently decided to concentrate on being charming instead. Liv never would have believed that such an intensely alpha male could be light and playful but she had been seeing an entirely different side of Baird lately. Aside from the sushi class, he’d also taken her to an alien petting zoo where she was able to see and touch animals that were native to the three home worlds of the Kindred and they’d been twice to the Kindred version of a movie theater where the seats were wired to make the viewer feel whatever was happening on the screen. He’d also taken her to a musical performance where the musicians played giant drums bigger than themselves and tiny flutes smaller than her pinky finger. The music had been surprisingly beautiful—the melodies sweet and haunting and Liv had been moved. But it was the evenings they spent alone together in the suite that made Liv really believe she was in danger of feeling too much. Baird cooked for her—sometimes strange but delicious alien dishes and once Earth food, when she’d taught him how to make cheeseburgers. They ate in the dim, romantic light of some candle-like glow sticks he’d placed on the table and there was always very good wine or the potent fireflower juice to go with the meal. Liv was very careful not to over-imbibe because she needed every ounce of willpower she had to remember why she was holding out. For dessert Baird always made sure there was some kind of chocolate because he’d learned from his dreams how much she loved it. Liv had been thinking lately that she might really be in trouble if she didn’t get away from him soon. If all he’d had going for him was his muscular good looks she could have resisted easily enough. But he was thoughtful too and endlessly interested in her—asking her all kinds of questions about her past and friends and family as well as people he’d seen while they were “dream-sharing” as he called it. Liv found herself talking to him like an old friend, actually feeling comfortable with him instead of being constantly on her guard. She knew that Baird was actively wooing her, doing everything he could to earn her affection, but even knowing that couldn’t stop her from liking him. She had never been so ardently pursued in her life and she was finding that she actually liked it. Baird had taken her more places and paid her more attention in the past week than Mitch had for their entire relationship. It was intoxicating to always be the center of the big warrior’s attention, to know that he was focused exclusively on her needs and wants. But attention and attraction aside, there was another factor that was making Liv desperate to get away. Just as he had predicted, the physical attraction she felt for Baird seemed to be growing exponentially. She only had to be in the same room with him for a minute or two, breathing in his warm, spicy scent, and she was instantly ready to jump his bones. The need was growing every day and Liv didn’t know how much longer she could fight it.
Evangeline Anderson (Claimed (Brides of the Kindred, #1))
I thought about that, about this town, about what it has done to him. Spoon wasn’t so much actively bullied or picked on as he was ignored. Week after week, month after month, year after year—ignored or worse. He had found an escape by pouring himself into things that don’t turn away from you—musical theater, books, random facts, his imagination. He was like a sponge, absorbing all of this information and goodness, but he didn’t really have anyone to wring himself out on, as it were. Except
Harlan Coben (Seconds Away (Mickey Bolitar, #2))
someone turned our episode into an off-Broadway musical, Mr. Burns: A Post-Electric Play, a story of some postapocalyptic survivors who share only one cultural link: the “Cape Feare” episode of The Simpsons. They recreate the script and perform it as a traveling theater troupe. In act 2 we see their play seventy-five years later: it’s become as ritualized and bizarre as a Greek Orthodox Mass. I’m
Mike Reiss (Springfield Confidential: Jokes, Secrets, and Outright Lies from a Lifetime Writing for The Simpsons)
If Reagan’s story were fiction, it would seem absurdly pat and overdetermined, the irony too heavy-headed. Out of college during the Depression, he went straight to work for the new fantasy-industrial complex. In a Des Moines radio studio, he regularly pretended he was at Wrigley Field in Chicago, performing fake play-by-play broadcasts of Cubs games based on real-time wire-service descriptions. He visited Hollywood and got his first movie role — playing a radio announcer. During World War II he was an officer in the army — serving in the First Motion Picture Unit, stationed in Burbank and Culver City, where he starred in "This Is the Army," a movie in which he played a corporal who stages a piece of musical theater called "This Is the Army.
Kurt Andersen (Fantasyland: How America Went Haywire: A 500-Year History)
Where am I from? I'm from the most polluted city on the planet. I'm from the Milky Way. I'm from Russian literature and Japanese theater. I'm from every city where I fought or fucked. I'm from jail and I'm from the White House. I'm from punk records and from Bach's compositions, from my obsession with turquoise, coffee, and loud music.
Nadya Tolokonnikova (Read & Riot: A Pussy Riot Guide to Activism)
He had a conventional notion of culture. He thought that going to the theater or ballet and keeping up-to-date with the movie listings made you cultured. I, on the other hand, learned to believe in the depth of experience: returning ten times to the art gallery near my house to look at that Kandinsky again because I identified with its shapes, on a deep level, in my soul. I didn’t care at all whether it was fashionable and I didn’t attend the concerts my father timidly suggested. For me music worked better in the solitude of my room than it did live.
Marcela Serrano (Ten Women)
Aye, they are noble. Noble bastards, they are. How did it begin? And how will it end? I’ll tell you how. The story’s in the history books, if you know how to read them’ [...] ‘Together, they stole from weaker people and then used the money to create armed theater. That’s what is was, lad. That’s what it is! Armed theater! Castles and music and fine robes and crowns and jewels-- it’s all theater. Acting! Performing! And all of it made possible by the use of swords nad muskets and cannon, and driven by jealousy and theft! [...] They bow down to the Great Actor, the King Himself, [...] The kings sneer at them for being fools, and with all that stolen money, they build armies and fleets and export their skills at robbery to the entire world! That’s how it all began, lad. A few cynical actors who fooled entire nations!’ ‘And how will it end?’ ‘If there’s a God in Heaven,’ he said, ‘it will end at the gallows.’ He sighed. ‘Any civilized man must be against homicide,’ he said ‘But negicide seems a most admirable crime
Pete Hamill (Forever)
Yet [Hoggart] could not help noticing that those unschooled slum dwellers were mentally independent in a way that his postwar students were not. His grandmother’s range of cultural reference was narrow and unimpressive, consisting mainly of homespun aphorisms and the Bible, but at least her mind had not been colonized by pulp novels and Hollywood movies. The difference between the old culture and mass culture was like the difference between preparing a meal and microwaving one, and Hoggart’s students had been rendered helpless in teh same way as someone who has never been taught how to cook. The colonial aspect of mass culture was easier for Hoggart to spot because he was British. Mass culture, for England and Europe, was a foreign takeover. But “Americanization” homogenized the home country as much as it did the rest of the globe, sapping the life out of regional subcultures. Before the 1950s, music, theater, magazines, and even radio were all local, to one degree or another. Hollywood movies were not.
Helen Andrews (Boomers: The Men and Women Who Promised Freedom and Delivered Disaster)
I will spend the rest of my life knowing that I may never again hear finer music, never again experience a shred of what I felt sitting in that theater while he conducted.
Sarah J. Maas (Queen of Shadows (Throne of Glass, #4))
Special government bodies were created to control—according to the requirements of “the public interest”—every aspect of literature, music, the fine arts, the theater, the movies, radio, and the press. Hundreds of tons of books were destroyed; the Marxists and the cultural modernists (and several other groups) had done their job; Hitler had no further need for anarchy and subversion of the system. The Churches were not regarded as subversive; though harassed and intimidated, they were allowed to function.
Leonard Peikoff (Ominous Parallels)
So much that it seems consistent only for porosity37—seen as a kind of productive fragility that overcomes rigid dualisms—to be the key concept by which the nature of the city is revealed and interpreted in all its profundity. Porosity is the principle of the true life of Naples: At the base of the cliff itself, where it touches the shore, caves have been hewn. As in the paintings of hermits from the Trecento, a door appears here and there in the cliffs. If it is open, one looks into large cellars that are at once sleeping places and storerooms. Steps also lead to the sea, to fishermen’s taverns that have been installed in natural grottoes. Faint light and thin music rise up from there in the evening. As porous as those stones is the architecture. Buildings and action merge in courtyards, arcades, and staircases. The space is preserved to act as a stage for new and unforeseen configurations. What is avoided is the definitive, the fully formed. No situation appears as it is, intended forever, no form asserts its “thus and not otherwise.” . . . Because nothing is finished and concluded. Porosity results not only from the indolence of the southern craftsman but above all from the passion for improvisation. For that space and opportunity must be preserved at all costs. Buildings are used as a popular stage. They are divided into innumerable theaters, animated simultaneously. All share innumerable stages, brought to life simultaneously. Balcony, forecourt, window, gateway, staircase, roof are at once stage and theater box. Even the most miserable wretch is sovereign in his dim, twofold awareness of contributing, however deprived he may be, to one of the images of the Neapolitan street that will never return and, in his poverty, the leisure of enjoying the grand panorama. What is played out on the stairs is the highest school in theatrical direction. The stairs, never entirely revealed, but closed off in the dull northern house-
Wolfram Eilenberger (Time of the Magicians: Wittgenstein, Benjamin, Cassirer, Heidegger, and the Decade That Reinvented Philosophy)
Finian’s Rainbow was arguably one of the most controversial and racially provocative shows of its time. It was written in 1947, before Martin Luther King Jr. and the civil rights movement brought the fight for equality to the forefront of social issues. In the show, blacks, whites, and immigrants live happily together. Black and white performers in the chorus shared the stage and even held hands, breaking barriers still in place in the 1940s. In addition to racism, Finian’s Rainbow took on the U.S. economic system, consumerism, and political corruption.
Jennifer Packard (A Taste of Broadway: Food in Musical Theater (Rowman & Littlefield Studies in Food and Gastronomy))
Ah, but it is hard to find this track of the divine in the midst of this life we lead, in this besotted humdrum age of spiritual blindness, with its architecture, its business, its politics, its men! How could I fail to be a lone wolf, and an uncouth hermit, as I did not share one of its aims nor understand one of its pleasures? I cannot remain for long in either theater or picture-house. I can scarcely read a paper, seldom a modern book. I cannot understand what pleasures and joys they are that drive people to the overcrowded railways and hotels, into the packed cafés with the suffocating and oppressive music, to the Bars and variety entertainments, to World Exhibitions, to the Corsos. I cannot understand nor share these joys, though they are within my reach, for which thousands of others strive. On the other hand, what happens to me in my rare hours of joy, what for me is bliss and life and ecstasy and exaltation, the world in general seeks at most in imagination; in life it finds it absurd. And in fact, if the world is right, if this music of the cafés, these mass enjoyments and these Americanised men who are pleased with so little are right, then I am wrong, I am crazy. I am in truth the Steppenwolf that I often call myself; that beast astray who finds neither home nor joy nor nourishment in a world that is strange and incomprehensible to him.
Hermann Hesse
Beyond the headlines about war and death, the region is alive with music, art, books, theater, social entrepreneurship, advocacy, libraries, cafes, bookshops, poetry, and so much more, as old and young push to reclaim space for cultural expression and freedom of expression.
Kim Ghattas (Black Wave)
Ten years ago, there was no public entertainment in Riyadh. No theaters, no cinemas, no sporting events that women could attend, no restaurants where unmarried couples could dine together, and no music anywhere. All of this has changed.
David Rundell (Vision or Mirage: Saudi Arabia at the Crossroads)
In Rodgers and Hammerstein’s familiar “A Wonderful Guy,” from South Pacific, the hard, alliterative consonants of the opening line, “corny” and “Kansas,” fall precisely on the downbeat of two successive measures. However interesting Rodgers’s waltz and Hammerstein’s simile, the two join in a musical-verbal conjunction that conveys the emphatic joy of the singer at that moment. Hammerstein knew that the anapests (“corny as,” “Kansas in”) were verbal equivalents of the waltz, which he emphasized with the crackling alliteration. Kansas is actually not very corny in August: Kansas is the wheat state and Iowa is the corn state. If you imagine “I’m as corny as Iowa in August,” you can hear the poetic, musical, and dramatic reasons for Hammerstein’s agricultural stretcher. Americans hear and, consequently, understand these verbal-musical bundles automatically; the words and music of the best American film and theater songs fit so snugly that their conjunction seems “natural.” Only by pulling words and music apart does one hear careful art coyly masquerading as simple nature.
Gerald Mast (Can't Help Singin': The American Musical On Stage And Screen)
In other words, Berlin conceived shows as events more than as works. As a result, Berlin’s shows do not exactly represent the most enduring oeuvre in the American theater: only Annie Get Your Gun, the show that least obviously addresses its time, has enjoyed an unbroken string of productions that stretches from its premiere to the present. Yet by engaging with the here-and-now, with no apparent thought of posterity but mainly of the “mob” before him, Berlin distilled and packaged musical comedy conventions that resonated in the theater deep into the twentieth century even as they held to comedy’s ancient ideals. Above all—and this I think manifests the engine that drives all of his work—Berlin seems to have understood and embraced the idea that American musical theater is always, inescapably, about itself. He probably would have scorned the term metatheater, but the boot fits. All of his stage shows and films are in some way about theater, about putting on a show, about performing in public, and about the place that tested his mettle and nourished his craft: New York City. This is the case even in shows that are not chiefly set in New York. Annie Get Your Gun may be widely considered one of the “Western” musicals of the Oklahoma! age, but it is above all a show about “show business,” and it all takes place east of (or near to) the Mississippi River and ends up in New York, with plenty of swinging tunes that resonate more with postwar Manhattan than with Annie Oakley’s earlier America in Darke County,
Jeffrey Magee (Irving Berlin's American Musical Theater (Broadway Legacies))
I think that I became so impassioned with realistic values that I forgot that musical theater is not really interested in that kind of truth.
Dominic McHugh (Alan Jay Lerner: A Lyricist's Letters)
All of his musicals through the mid-1930s include at least one extended, multisectional musical sequence featuring two or more characters in dialogue and action.
Jeffrey Magee (Irving Berlin's American Musical Theater (Broadway Legacies))
he started writing counterpoint songs for the theater in the same period that he publicly claimed his desire to compose an opera, because in opera two or more characters regularly express conflicting feelings simultaneously, as in the famous quartet from Verdi’s Rigoletto, which Berlin parodied in his first musical comedy, Watch Your Step.
Jeffrey Magee (Irving Berlin's American Musical Theater (Broadway Legacies))
Minstrelsy and opera, then, form the twin currents that charge the three genres in which he channeled his theatrical energy: vaudeville, revue, and musical comedy.
Jeffrey Magee (Irving Berlin's American Musical Theater (Broadway Legacies))
he believed that minstrelsy’s conventions, its structure, and its vitality gave it access to the common denominator in an American audience.
Jeffrey Magee (Irving Berlin's American Musical Theater (Broadway Legacies))
End-man–style banter with an authoritative interlocutor remained fundamental to Berlin’s theater, even when the more obvious trappings of minstrelsy are absent. It resurfaces, for example, in Groucho Marx’s put-ons of Margaret Dumont (in The Cocoanuts) and the brash, benighted challenges that Ethel Merman’s homespun characters present to show business professionals (in Annie Get Your Gun) and to foreign dignitaries (in Call Me Madam).
Jeffrey Magee (Irving Berlin's American Musical Theater (Broadway Legacies))
the young medium of film became Berlin’s means of preserving an old theatrical form that he knew was dying out.
Jeffrey Magee (Irving Berlin's American Musical Theater (Broadway Legacies))
Opera enjoyed a place in Berlin’s theatrical vocabulary partly because of its long presence in minstrel parody, but also because Berlin loved opera and wished to write one, one that would be widely construed as a distinctively American contribution to the genre.
Jeffrey Magee (Irving Berlin's American Musical Theater (Broadway Legacies))
for Berlin, a minstrel scene was not just a good way to begin a movie but also a way to dramatize the origins and foundations of American show business.
Jeffrey Magee (Irving Berlin's American Musical Theater (Broadway Legacies))
Most important, in late 1980, Yip joined Leonard Bernstein, Arthur Laurents, and Sheldon Harnick at a news conference announcing the creation of a new musical theater program at New York University’s Tisch School of the Arts, a program that has gained international renown.
Harriet Hyman Alonso (Yip Harburg: Legendary Lyricist and Human Rights Activist (Music/Interview))
Although it ran a respectable 315 performances, Allegro was, by Rodgers and Hammerstein standards, a failure. Deeply disappointed, Hammerstein would never be so daring again; the next two Rodgers and Hammerstein shows, South Pacific and The King and I, while incorporating some of the staging innovations of Allegro, were dramatically and narratively firmly in the aesthetic of musical-theater realism established by Oklahoma!57 Sondheim argues that Hammerstein’s disappointment was personal as well as artistic: Oscar meant it as a metaphor for what had happened to him. He had become so successful with the results of Oklahoma! and Carousel that he was suddenly in demand all over the place. What he was talking about was the trappings, not so much of success, but of losing sight of what your goal is. […] [A]ll the critics pounced on it as being a corny story, the doctor who gets corrupted by money. That’s not what he meant…. It wasn’t about money; it was about losing sight of your goal. On the highest level it’s about—an artist has to be selfish. That’s not what Oscar meant, but that’s what I think it’s about.58 Clearly, Sondheim is also describing one of the things Merrily We Roll Along is about.
Robert L. McLaughlin (Stephen Sondheim and the Reinvention of the American Musical)
Dostoyevsky—everybody going around with grudges and immense fury, rage like it was all put to music, rage like it was two hundred pounds to lose.
Philip Roth (Sabbath's Theater)
Unable to throw myself completely into painting, I explored literature, theater, music and film.
Akira Kurosawa (Something Like An Autobiography)
With my head crammed full of art, literature, theater, music and film knowledge, I continued to wander, vainly looking for a place to make use of it.
Akira Kurosawa (Something Like An Autobiography)
the Westlander Theater. I'd never been to the Westlander, but I knew what and where it was—and I was very soon going to visit it for the first time. The Westlander was a burlesque house, but it was to the burlesque circuit about what Spike Jones is to classical music, or one pair of bloomers is to the Arabian Nights. On occasion newcomers to the game got their start at the Westlander, but usually the game was almost over before an act hit the small theater on Los Angeles Street. I headed for Los Angeles Street. The Westlander was showing a twin movie bill—Dope Hell of the Sadistic Nudists, and a film about a real negative thinker, I Even Went Wrong Wrong.
Richard S. Prather (Shell Scott PI Mystery Series, Volume Two)
Where Jolson conquered, Bing Crosby convinced and charmed, and like Astaire, Jolson too for that matter, he did not possess the physical gifts of a standard leading man (angles and ears and hair, yet again). Also like Astaire, he made it all seem easy, with the laid-back acting and the unforced way that devastating baritone could pour out and swing out. In one crucial sense he was more beholden to Jolson than Astaire, being primarily a solo performer who sang to people more than he sang with them. Recall: who was Crosby’s only steady partner on film? Bob Hope, in a partnership based in jokey rivalry. Other singers in Crosby films, besides Hope and Dorothy Lamour, seldom counted. Nor did most of Crosby’s films. Paramount, his home studio, was a formula-bound factory for most of the 1930s and ’40s, and the golden goose of the Crosby films did not countenance feather-ruffling. One after another, they were amiable time-passers, relaxed escapism that made a mint and sold tons of records and sheet music. For many then and some now, these vehicles offered unthreatening comfort—few chances taken, little deviation from formula, a likable guy ambling through some minor plot and singing mostly great songs. On occasion there was something as glaring as the ridiculous Dixie: as composer Dan Emmett, Crosby speeds up the title song into an uptempo hit only because the theater’s caught on fire. Generally, his films lacked even that cuckoo invigoration, which is why posterity dotes on Holiday Inn and its splashy, inferior semi-remake, White Christmas, and few of the others. While it would not be accurate to view Crosby as another megalomaniacal Jolson type, he lacked Astaire’s forceful imagination. Greater professional curiosity might have made his films—not simply his singing—transcend time and circumstance.
Richard Barrios (Dangerous Rhythm: Why Movie Musicals Matter)
Rent creates new possibilities for characters’ sexualities in musicals by representing multiple gay and lesbian characters with frank and casual openness. Rent is peopled with a gay male couple (Angel and Collins) and a lesbian couple (Maureen and Joanne) and it takes those sexualities for granted in the musical’s world of NYC’s East Village circa 1990. Rent’s structure—a single protagonist, Mark, surrounded by a close-knit community—borrows formal conventions of ensemble musicals of the late 1960s and 1970s, including Hair, Company, Godspell, and A Chorus Line. This structure enables the musical to nod to nonheterosexual identities and relationships, an ideological gesture that speaks to its (successful) intention to address musical theater’s wide range of spectators and even make them feel politically progressive. This device of including a few gay characters in a community-based story is repeated with the gay male couples in Avenue Q and Spring Awakening, and perhaps foretells a musical theater future with a more consistent nod to gay people (or gay men, at least).
Raymond Knapp (Identities and Audiences in the Musical: An Oxford Handbook of the American Musical, Volume 3 (Oxford Handbooks))
Rent creates new possibilities for characters’ sexualities in musicals by representing multiple gay and lesbian characters with frank and casual openness. Rent is peopled with a gay male couple (Angel and Collins) and a lesbian couple (Maureen and Joanne) and it takes those sexualities for granted in the musical’s world of NYC’s East Village circa 1990. Rent’s structure—a single protagonist, Mark, surrounded by a close-knit community—borrows formal conventions of ensemble musicals of the late 1960s and 1970s, including Hair, Company, Godspell, and A Chorus Line. This structure enables the musical to nod to nonheterosexual identities and relationships, an ideological gesture that speaks to its (successful) intention to address musical theater’s wide range of spectators and even make them feel politically progressive. This device of including a few gay characters in a community-based story is repeated with the gay male couples in Avenue Q and Spring Awakening, and perhaps foretells a musical theater future with a more consistent nod to gay people (or gay men, at least).14 Still, both Rent and Spring Awakening ultimately use gay characters to bolster heteronormativity. Angel serves as the emotional touchstone of Rent, endlessly generous and hopeful, caring and sensitive. All mourn his death, which compels the other characters to look at their lives and choices. That Angel’s death enables the other characters to learn about themselves replicates a typical (tired) trope in which an Other (usually a person of color or a person with a disability) aids in the self-actualization of the principal character. Also, Collins and Angel have the most loving and healthy relationship, which the musical needs to eliminate so as not to valorize the gay male couple above all else. In addition, Joanne and Maureen sing a lively number, “Take Me or Leave Me,” but the musical doesn’t take their relationship seriously. Maureen is presented as a fickle, emotionally abusive, yet irresistible lover (Joanne and Mark’s duet, “The Tango Maureen”) and a less-than-accomplished artist (her “The Cow Jumped over the Moon” is a parody of performance art).15 In contrast, Mimi
Raymond Knapp (Identities and Audiences in the Musical: An Oxford Handbook of the American Musical, Volume 3 (Oxford Handbooks))
The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.
Todd Decker (Music Makes Me: Fred Astaire and Jazz)
Maybe a film is just a diversion, a way to feel briefly better about our lives, the limitations and disappointments that define us, the things we cannot change. Most of us leave the theater, after all, and just go on being ourselves. Still, maybe something else is possible. Maybe in the moment when the music swells, and our hearts beat faster, and we feel overcome by the beauty of an image—in the instant that we feel newly brave and noble, and ready to be different, braver versions of ourselves—that we are who we really are.
J. Kenji López-Alt (The Best American Food Writing 2020 (The Best American Series ®))
His album that year was Sign O’ the Times. I took the fact that the gang in the title track was named the Disciples as a personal tribute. The tour behind that record was the best Rock show I’ve ever seen. I went three times, and it blew my mind every time. The production was the highest evolution of the live, physical part of our Artform I have ever seen. It was Prince’s vision, but his production designer, LeRoy Bennett, deserves much of the credit for pulling it off. It was Rock, it was Theater, it was Soul, it was Cinema, it was Jazz, it was Broadway. The stage metamorphized into different scenes and configurations right before your eyes, transforming itself into whatever emotional setting was appropriate for each song. On top of that, the music never stopped, for three solid hours. Prince wrote various pieces, or covered Jazz, as interstitial transitions for those moments when the stage was shifting or the musicians were changing clothes. At one point, he even had a craps game break out, which made me laugh—it brought me back to Dr. Zoom and the Sonic Boom and our onstage Monopoly games. They captured it pretty well on film, but it can’t compare. When you’re watching a movie, your mind is used to scene changes, different sets and lighting. Live, it’s something else. That kind of legerdemain before your eyes is mind-boggling.
Stevie Van Zandt (Unrequited Infatuations: A Memoir)
Why is it possible to pay your way through college by means of competitive sports but not music or theater? Note that there are scholarships for musicians to study music, but the difference is that you can get an athletic scholarship to pay for your degree in something else. Why can't you get a music scholarship to pay for your math degree?
Eugenia Cheng (x + y: A Mathematician's Manifesto for Rethinking Gender)
…let me understand this musical theater nonsense—you’re being gay for credit, right?
Paul Rudnick (Playing the Palace)