A Quote by David Foster Wallace

I'm screaming for help and everybody's acting as if I'm singing Ethel Merman covers. — © David Foster Wallace
I'm screaming for help and everybody's acting as if I'm singing Ethel Merman covers.
I worshipped Ethel Merman and I worshipped Ethel Merman a lot. It's incredible - Ethel Merman was a conventional singer. Her naming her child Ethel Merman, Jr., was, to me, one of the coolest feminist things.
My singing voice has sort of an Ethel Merman-type quality: just, like, loud and strong and full.
Musicals have clearly gotten more physical. You never saw Ethel Merman doing step aerobics.
I used to be a very serious pianist, and I was one of the snot-nosed classical ones who was appalled by nightmares of Ethel Merman and trombones blasting in the background and who knows what else.
Boy George always told me to stop noodling; he wanted me to belt like Ethel Merman.
There have been people who have tried to take advantage of me. They want to be linked to me just because I'm Ethel Merman.
The three theater peeps I would love to dine with are Mel Brooks, because he is so funny; Stephen Sondheim, because he is a god-like genius; and Ethel Merman, to compare notes on fabulous belting.
Ethel Merman would stay with a show for years and tour with it. So would Mary Martin, the great stars. They recognized the value of that success and nurtured it. Now, you come from Hollywood, you play 12 weeks and go away. I don't think that's the best policy.
If you do a musical, it's really thrilling and it's a lot of work, but it's very rewarding. I would say, for me, what I like best is what I do, which is, I call it vaudeville, I call it live, I call it in concert, I call it what Bette Midler does, and what Garland did for years, and Ethel Merman.
I was in California, and I was going to UCLA, and I knew I certainly didn't have movie star looks. I remember seeing pictures and photos of Ethel Merman and Mary Martin, who were kind of average looking. I said, 'Well, that's for me, then, to go back to New York and try to be in musical comedy on Broadway.'
I think the transition between singing covers on a reality show to being able to do my own thing was really exciting. I'm no longer singing covers every second, and people are actually getting to hear my own original music.
When you go to a college for acting, at least the college I went to, it's like everybody just singing and dancing and acting, and they all come together, and everyone's talking about head shots... It just turned me off. I was like, 'What is this? I don't understand this. People are singing in the hallways.'
Singing and acting are very similar. Singing makes you reach into your deepest feelings. Singing is an extension of everything that you do when you're acting.
As far as entertainers, I know I'll sound like a cliché but they don't make 'em, like they use to. Barbra Streisand is one of them, also Frank Sinatra and Tony Bennett. The first theater voice I heard on a record was Ethel Merman and again, they just don't make them like that anymore.
A lot of people when they try to sing Skid Row songs, they're screaming and yelling too much. It's more singing than screaming.
Mary Martin was Broadway's biggest closet king. Everyone thought Ethel (Merman) was butch and maybe a lesbian, but she wasn't. And everyone thought that lovely little Mary was Miss Femme, and she was -- except next to her gay husband. In other words, don't judge a star by her cover.
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