A Quote by Jay DeMarcus
When you first start out in the music business and hope that you have a couple hits, the ultimate payoff is to be standing in front of all those people who are singing it back to you at the top of their lungs. And you know by the way they're singing it back that it's affected their life in some way. That's the ultimate reward as an artist for me.
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You start singing by singing what you hear. So everyone, when they first start singing, they naturally are singing like whatever they're hearing, because that's the only way you learned how to sing. So when I was growing up on Lauryn Hill, when I started singing her songs, I literally trained my voice to be able to do runs.
When my generation, those early days of television - I know I've been thinking about this lately - my two flashes of me as a little boy. One, I'm standing in front of the radio freaking out that Nat King Cole's singing 'Lady of Spain', just this stuff coming out of the radio, and Guy Williams singing 'Wild Horses' coming out of the radio.
I've been riding the carousel in Central Park since I was five years old. If I'm very depressed or if something's bothering me today, my husband, Larry, and I go back to the park. We get on the carousel horse and we start riding, and I start singing at the top of my lungs. It is pure and absolute joy and happiness.
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.
The thing that fuels me the most is the desire to be on stage. And singing is the ultimate way of expressing all the emotions that I have inside.
Church was the thing for me. The fellowship and the message that was given and singing in the choir and singing the solos and really listening to the words that you were singing and seeing how it affected people was huge for me.
I always try, when I'm singing songs, to interpret them the way that I would've arranged them. I think about the melody first, and then I pull out my guitar and start singing it.
You shouldn't feel judged when you are dancing or singing at the top of your lungs or existing in a maximum-expression way.
You're standing onstage in a sold-out arena with people singing your music, and you feel like the loneliest person in the world. Because here's a party that, essentially, it's for you. And you still somehow feel like you don't belong there. Those people all have their lives and go back home.
You have to be careful not to make music something you don't want to do. Which happens. I've gotten off the road and been like, 'I hate it. I hate singing, I hate playing guitar.' Six days later, I'm in my bedroom singing at the top of my lungs because I love it so much.
You had to give, uh, a lot of consideration to the fact that, uh, the artist had to come back into the mike area and start singing, especially the background singers, you know. And you had to make sure they had a couple of bars of music in order to catch their breath. And uh, in many cases a lot of choreographers didn't give that, uh, the proper thought.
An intelligent couple can read their Darwin and know that the ultimate reason for their sexual urges is procreation. They know that the woman cannot conceive because she is on the pill. Yet they find that their sexual desire is in no way diminished by the knowledge. Sexual desire is sexual desire and its force, in an individual's psychology, is independent of the ultimate Darwinian pressure that drove it. It is a strong urge which exists independently of its ultimate rationale.
There is nothing like singing a song that 20,000 people know and are singing back to you.
My father being in the movie business, I thought being an actor would be great. But when I started singing to people in coffeehouses, you know, singing folk music and then, later, singing songs that I started to write myself, I felt more than an affinity for it.
The audience keeps singing, keeps making my case, and I just keep strumming until I get close enough to see her eyes. And then I start singing the chorus. Right to her. And she smiles at me, and it’s like we’re the only two people out here, the only ones who know what’s happening. Which is that this song we’re all singing together is being rewritten. It’s no longer an angry plea shouted to the void. Right here, on this stage, in front of eighty thousand people, it’s becoming something else. This is our new vow.
I just would like to keep singing. As soon as I'm not singing well, I hope that I know it, so that I can get off the stage and leave what I have done. I hope I'll know, and if I don't, I hope somebody tells me.
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