A Quote by Engelbert Humperdinck
At seventeen years old, I found out I could sing, and I got up and sang in a club, and I got a big hand, and I thought, 'I'm gonna continue this.' So that's how it all began.
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I auditioned for a solo in church and got it. I was about seven and I sang a song called, 'Jesus, I Heard You Had a Big House' and I remember people standing up at the end and me thinking, 'Oh, I think I'm going to like this.' That's how it all began. Sounds funny to say you got your start in church, but I did.
My goals were small. My goal was to become a big enough stand-up that I wouldn't have to do radio. I could sell out a club, which is like 300 seats. If I got big enough, I could sell before I got there, and I wouldn't have to get up at 6 in the morning to do radio. That was pretty much the dream. I had no idea I'd be playing Madison Square Garden or anything.
I think I copied my style from Louis Armstrong. Because I used to like the big volume and the big sound that Bessie Smith got when she sang ... So I liked the feeling that Louis got and I wanted the big volume that Bessie Smith got. But I found that it didn't work with me, because I didn't have a big voice. So anyway between the two of them I sorta got Billie Holiday.
I got into cello in the fourth grade, and I played that for years. I adored playing it. I got an opera coach when I was 12 because I really wanted to learn how to sing properly. The only proper way to sing, I thought at that age, was opera.
Not surprisingly, he began to sing, and because no one in the world could hear him, and he sang without inhibition, he sang well.
I used to feel for years and years and years that I was very remiss not to have written a novel and I would question people who wrote novels and try to find out how they did it and how they had got past page 30. Then, with the approach of old age, I began to just think: “Well, lucky I can do anything at all.
I think my dream would have been to be a solo artist. But it didn't work out like that, and I also love to sing lots of musical stuff; I was really good at that, I've got a big voice. I dropped into musical theater and really enjoyed it and I sang for about nine years of my career.
Any idea that turns out to be truly great can be harvested for tens of years. On the other hand, if you want to continue to be great, you've got to bet on new things, big, bold bets.
I mean, it wasnt like I had said to myself beforehand, 'OK, I'm gonna go out there and sing 'The Star-Spangled Banner' in the weirdest way possible and cause a commotion.' I just sang it the way I felt it I sang it the only way I could.
This is what I know. I look like my father. My father disappeared when he was seventeen years old. Hannah once told me that there is something unnatural about being older than your father ever got to be. When you can say that at the age of seventeen, it's a different kind of devastating.
I always used to sing in the house and I went to school at Hywel Dda Primary School in Ely. I think they had a puppet-type show there and word got around I could sing. I sang at that puppet performance and used to sing in school. From there, it was in my blood. I didn't want to do anything else but sing.
Before I began The Cider House Rules, I thought I wanted to write about a father-son relationship that was closer, more conflicted, and ultimately more loving, than most. Then I began to think of a relationship between an old orphanage director and an unadoptable orphan - a kid who goes out into the world and fails and keeps coming back, so that the old guy ends up with someone he's got to keep.
At only 20 years old I got married. I was still a kid myself, but in those times, if you got someone pregnant, you had no choice but to get married. So I left school and the only thing I could do was sing.
I didn't get cool until I got to high school and people found out I could sing.
I knew I couldn't sing over them, so I decided to sing under them. The more noise they made the more softly I sang. When they discovered they couldn't hear me, they began to look at me. Then they began to listen. As I sang, I kept thinking, 'softly with feeling.' The noise dropped to a hum; the hum gave way to silence. I had learned how to reach and hold my audience -- softly, with feeling.
Beautiful songs could sometimes take a person out of themselves and carry them away to a place of magic. But when Jill sang, it was not about the song, really. She could sing the phone book. She could sing a shopping list. Whatever she sang, whatever the words or the tune, it was so beautiful, so achingly lovely, that no one could listen and be untouched.
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