A Quote by Laura Branigan

I want to move people the way Edith Piaf did. — © Laura Branigan
I want to move people the way Edith Piaf did.
I love Aretha Franklin, Edith Piaf, Blondie.
Edith Piaf knocked my socks off when I was 8, but I didn't know what she was singing about.
I love to sing old Motown songs to myself, or some Patti Smith Edith Piaf or Billie Holiday. That gets me in the mood for singing.
I listened to John Denver and Simon & Garfunkel. Edith Piaf was a huge favourite. Then I discovered musicals - I loved 'Les Miserables' - and, at about 14, I started listening to David Gray.
I look up to people not necessarily based on what they look like. For example, Edith Piaf is somebody I think is a beauty hero even though she was definitely considered to not be beautiful. It was just her charisma and stage presence, and to me, that really defines beauty.
There has been a marvelous joyous carnival of mourning for Edith Piaf and Jean Coctaeau, and it was real! They died as they had lived, with style and grace and their proper eccentricity; and Paris loves anybody who can live anarchically and be delightful entertainment at the same time. So do I.
When I was very little, I was into Michael Jackson. At six or seven, it was Madonna, but she's not what she used to be. I've been into everything from Edith Piaf to Joe Strummer to the Velvet Underground to Suicide to A Tribe Called Quest to African music.
When you have something that you did so many jobs on and were so front and center on, and then people dislike it, you want to learn lessons from it, and you want to move on, and you want to move on too fast.
Americans are very mobile and move around and choose the communities they want. On the ocean people would be even more mobile and empowered to link up with people they enjoyed, and detach and move away from people they did not. Increasing choice is a way to foster fulfillment in people's lives. I choose my friends and I'd prefer to choose my neighbors too.
I love acting. It's way different from singing, but I like really put my ten thousand hours in to be really good. I want to be a premier actor. I want Oscars, I want recognition, and I want to move people just as much as I move people with my music, the same with my acting.
I was in art school, and we had all these random classes. We'd listen to a lot of Bollywood. I'd listen to Spanish music - and I don't even speak Spanish, but Hector Lavoe is amazing - we listened to French music like Edith Piaf. She's tight. I like cool vocal inflections; I like cool sounds. I pretty much listen to anything I think is good.
Seasteads cost money, and if you want to succeed as a Seastead you have to find ways to attract people to move there. If I was a billionaire I wouldn't want to move to a seastead, but if I was a member of the bottom billion, most of whom want to leave their dysfunctional governments, I might want to move to a seastead.
It was right after I did Piaf, 'La Vie en Rose'. I started to take singing lessons and finding where I could go.
You can't patent a move. It's challenging enough to come up with a move that nobody else does... I try and do things that I would want to see done that I haven't seen other people do. Most wrestlers obviously don't think that way, and instead they steal somebody's move as soon as they've gone on to the next company.
Cheap music, childish images, the vulgate in language, in its crassest sense, can penetrate to the deeps of our necessities and dreams. It can assert irrevocable tenure there. The opening bars, the hammer-beat accelerando of Edith Piaf's Je ne regrette rien - the text is infantile, the tune stentorian, and the politics which enlisted the song unattractive - tempt every nerve in me, touch the bone with a cold burn and draw me into God knows what infidelities to reason, each time I hear the song, and hear it, uncalled for, recurrent inside me.
'Piaf' I did it because I wanted to do more theater instead of only musicals, and someone gave me the book and said to me, 'You have to do it.'
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