A Quote by Tessanne Chin

Music for me is not just being on a stage and singing. It's my coping mechanism. — © Tessanne Chin
Music for me is not just being on a stage and singing. It's my coping mechanism.
Music in general, but really musical theater has always been a real coping mechanism for me.
Lying is not only a defense mechanism; it's also a coping mechanism and a survival technique.
Music was my coping mechanism. I could place myself outside my body. It humbles you.
For me, writing is a kind of coping mechanism.
I think being funny was a coping mechanism because I was always the new kid in school.
Give me rampant intellectualism as a coping mechanism.
What singing means to me, I never did consider myself a singer, I just let people watch me feel music and how it comes through me. I've worked on it and practiced a lot. I mean, music, I dance to it, and singing is just one way of getting it out of me.
I love being in a room in front of an audience who cares about the music, who knows the music, and who has lived with the music. It's kind of like an experience you share. I'm on stage performing it, but they're singing the words, too.
Classroom singing is common in India, but no one gives you marks for that. My idea is to introduce music and singing as full-fledged subject so that talent can be polished at an early stage. Also, it will help alleviate stage fear.
I think having a sense of humor is just as important a coping mechanism as it is a gift for everyday life.
The first one I remember singing on stage was 'Somewhere Out There' from 'An American Tail.' I was around 7, and my choir teacher at school asked me if I would sing it. My parents told me that I needed to move around the stage, so for the entire time I just walked back and forth from side to side while I was singing - there's videotape of it.
I think having imaginary friends is an amazing coping mechanism. It's pretty wonderful, and it makes a lot of sense to me.
I don't think comedy necessarily comes from a dark place. But I do think what a lot of us have in common is that, growing up, being funny was a coping mechanism.
When you sing on stage, the songs are part of the narrative, but in 'Unconditional Love,' it was just singing for singing's sake. It was playing at being pop star. As a young boy growing up in North Wales, that was my fantasy.
Me with nothing left to lose, plotting my big revenge in the spotlight. Give me violent revenge fantasies as a coping mechanism.
On-stage, I definitely want to use my real self because I'm singing to people who believe in what I'm singing, and I believe in what I'm singing, but they shouldn't be fooled because we all have fake selves and it's in there somewhere. It's not pretending to hurt somebody; it's just something that comes out of me, from my experience.
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