A Quote by Madonna Ciccone
When I left Michigan and I came to New York, that was my goal, to be a professional dancer. And I sort of fell into singing by accident in a way.
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I've always created solo work. When I first came to New York I was working in a few different areas; I was working as a drummer, a vocalist, an actor, and a dancer. I had gotten picked up more on the music side and that sort of went, and that's where I found my community in New York and that's the path that I went down.
My whole family is in the arts some way or the other. My father was a cellist in a symphony outside Chicago that was a side-job, he was a scientist. My mother was a dancer in New York. She was next-door neighbors with Dorothy Loudon and they moved to New York together. Mom was a dancer in New York for several years before she got married. My sister was a classical pianist. And my brother was a partier. So it all just seemed to work.
A long time ago, when I was a young dancer in New York City, I fell in love with Jimmy Dean and he fell in love with me.
I'd excluded New York from my writing, and then I came back and I fell in love with it all over again... The energy comes from an absence, that yearning for New York when you are not there.
I'd excluded New York from my writing, and then I came back and I fell in love with it all over again. The energy comes from an absence, that yearning for New York when you are not there.
I grew up always wanting to be a dancer and when I went to New York, I fell in love with the idea of performing in all ways.
When I first came to New York I was a dancer, and a French record label offered me a recording contract and I had to go to Paris to do it. So I went there and that's how I really got into the music business. But I didn't like what I was doing when I got there, so I left, and I never did a record there.
Woody Allen stayed so good because he never left New York. Howard Stern stayed so good because he never left New York - Mel Brooks when he just got out of New York was doing 'Blazing Saddles;' when he left New York he started doing stuff like 'Robin Hood Men In Tights' - he was in L.A. too long. He lost the edge.
I went to really good New York City public schools that had arts programs. So in junior high, I got into the drama department. From there, I went to a performing arts high school in New York City called Laguardia and I just kind of fell into the professional side by happenstance.
A lot of the reason I left New York, in addition to being so broke, was that I just felt I was becoming provincial in that way that only New Yorkers are. My points of reference were really insular. They were insular in that fantastic New York way, but they didn't go much beyond that. I didn't have any sense of class and geography, because the economy of New York is so specific. So I definitely had access and exposure to a huge variety of people that I wouldn't have had if I'd stayed in New York - much more so in Nebraska even than in L.A.
I left New York in 2009 when I fell in love with someone who had a farmhouse in New Hampshire... Portland, Maine, felt like the inevitable place for us.
It's about being open to what comes your way. I came to New York and saw 'Spelling Bee.' I said to myself, 'That's the greatest show ever, and I can't believe I'm not a part of it.' I felt the only way I'm going to get to be a part of something that good is to live in New York. So I moved to New York and ended up in 'Spelling Bee.'
I actually came to New York when I was 12 and did ballet school for a little while. I was being groomed to be professional, and a lot of the professors and teachers there were drawn to me and thought that I could become a professional ballerina.
People misconstrue when I say I was a dancer. I was not classically trained. I was a street dancer, and I got to do what I did in the nightclubs of New York City.
I always thought it's not that the greatest players in the world come from New York. It's just the guys who shouldn't have made it, they came from New York. That's what makes New York special.
You open a section of 'The New York Times,' and there's a review or a story on a choreographer or a dancer, and there's an informative, clear image of a dancer. This is, in my view, not an interesting photograph.
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