A Quote by Amy Tan

In the mid-1800s, they were known also as 'singsong houses,' and the courtesans were actually master musicians. — © Amy Tan
In the mid-1800s, they were known also as 'singsong houses,' and the courtesans were actually master musicians.
My house is actually two houses that were deconstructed. They were Connecticut Valley houses built in 1771 and 1781. I took them down piece by piece and reconstructed them about 50 miles to the west on the New York/Connecticut border.
In the year 2000, the very youngest members of the Baby Boomer crew were in their mid-30s while the oldest Boomers were mid-50s. That year, the Boomers were a generation divided somewhat equally between the GOP and Democrats.
Musicians ought to reclaim some of the power in the houses of production. The opera houses are run either by managers or by stage directors, never by musicians.
I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.
That the Hawkings were eccentric, even odd, was well known. That they were aloof, convinced of their own intellectual superiority over the rest of the human race, was also widely recognized in St. Albans, where they were regarded with a suspicion and awe.
All you have to do is go back to slavery - days, and there were two types of slaves, the house slave and the field slave. The house slave was the one who believed in the master, who had confidence in the master and usually was very friendly with the master. And usually he was also used by the master to try and keep the other slaves pacified.
Some were getting married; some were getting divorced. People were in different places, but you had enough time on this earth to actually get somewhere, and I think that's the exciting thing about being 36 and in your mid-30s. You've been somewhere, and you're going to go somewhere. It's fun; it's exciting.
I have always lived in Amsterdam. During the war, we inhabited the Rivieren neighborhood where many Jews lived at the time. Our downstairs neighbors were Jews, and there were also Jews a few houses from us. We saw how they were rounded up and taken away. That made a very great impression on me.
After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.
Cheech and I used to call ourselves musicians; we never called ourselves comedians. We were musicians that were funny.
Bach, Mozart, Beethoven and Tchaikovsky were not classical musicians while they were alive and active, they were the rock stars of their day.
Bach, Mozart, Beethoven, Tchaikovsky were not classical musicians while they were alive and active, they were the rock stars of their day.
The first meeting-houses were often built in the valleys, in the meadow lands; for the dwelling-houses must be clustered around them, since the colonists were ordered by law to build their new homes within half a mile of the meeting-house.
If you're setting a game during the Cuban Missile Crisis, look through a library. find out what people were wearing, what other issues were in the news, how houses were furnished, what cars were being driven. Especially include things which now seem foreign.
I was just utterly oblivious to how difficult it was, and how difficult it was going to be, and then also in the mid-eighties through the mid-nineties there was a boom of sorts. So there were plenty of stages. If I had started now, there would be very few places to get better and better.
Balzac loved courtesans. They were independent women, and in the 19th century, that was a breed that was just evolving.
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