A Quote by Diana DeGarmo
I actually grew up being part of the kids' choirs, so I knew 'Joseph' basically my entire life. We've brought in this new multimedia aspect that really makes the show jump off the stage and into the audience.
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I don't like to be my own audience, I find that being my own audience, being in the audience, makes me self-conscious, basically. So I tune in sometimes, with the sound off, to check it out and I back up to it. In the future I will look at it when some time has passed.
I would love to be on a really good show and share all the stuff that goes into creating a big TV show and get my audience into it. I think that makes it personal and makes the audience feel like they're a part of it.
An interesting difference between new and experienced stage managers is that the new stage manager thinks of running the show as the most difficult and most demanding part of the job, whereas the experienced stage manager thinks of it as the most relaxing part. Perhaps the reason is that experienced stage managers have built up work habits that make then so thoroughly prepared for the production phase that they [can] sit back during performances to watch that preparation pay off.
I love being in an arena that has like 10,000 people and huge crowds. I want to do a show at like the Viper room so badly. Like go up on stage and thrash myself around, go jump into the crowd. You can effing swear, get drunk on stage and do whatever you want basically.
I grew up in music theater playing to the audience - singing and dancing and showing off. That's really my background. But the camera's different. I think I'm more at home on stage.
Well, I actually grew up singing in church, and I was in choirs.
I grew up an Indians fan my entire life. I was never really 'against' the Yankees, but I knew what they were capable of.
The live audience, just getting an instant reaction off of an audience is the best part[of the show]. Being in the studio and working on your songs and listening to them back and doing all that - it's a lot of fun, but having that instant reaction and being able to work and vibe with an audience is the best part.
I jump around in the plotting stage, where I basically just make a bulleted list of every damn thing that happens in the entire book.
One of the things that really gets me excited and makes me start up companies is the fact that you can basically build something new, try to introduce a change in a way that people are used to doing certain activities, and basically create something out of scratch that doesn't exist and would revolutionize whatever it is that you are trying to do with it. So that's part of the reason I love being able to be a technologist.
I grew up in New Jersey and played sports and rode my bike around. It was a really nice time - kids didn't have cellphones then - and you knew everyone in the town.
As far as my street cred goes, I'll always have that, because I always hang with the kids. I'll jump right off the stage and buy them a beer. I'll be a star on stage, but I'll always hang with the kids.
Normally classical music is set up so you have professionals on a stage and a bunch of audience - it's us versus them. You spend your entire time as an audience member looking at the back of the conductor so you're already aware of a certain kind of hierarchy when you are there: there are people who can do it, who are on stage, and you aren't on stage so you can't do it. There's also a conductor who is telling the people who are onstage exactly what to do and when to do it and so you know that person is more important than the people on stage.
I grew up watching my sisters and seeing kids at the local mountain hit jumps. After I hit my first jump, I knew this was something I was going to pursue.
My dad tells me that he took us to a pantomime when I was very, very small - panto being a sort of English phenomenon. There's traditionally a part of the show where they'll invite kids up on the stage to interact with the show. I was too young to remember this, but my dad says that I was running up onstage before they even asked us.
Broadly speaking, in the past few years, we've more than doubled the editorial staff [in Mother Jones], as part of ramping up daily operations that have resulted in huge gains in audience, a slew of awards, new multimedia endeavors, and of course scoops like the 47 percent.
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