A Quote by Margo Jefferson
Like dancers with choreography or actors with scripts, jazz singers could take material that was known, even loved, then risk interpreting and revising it. They could conceal even as they revealed themselves. Inflection, timing and tonality were their language, at least as much as words.
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In vocal choreography you had to give a lot of consideration to the fact that you were working with singers and not dancers. But you had to make singers look like they were dancers, and to make the movements as natural as possible, and there to be an association with the movement, uh, somewhat to what the lyric was saying.
I wish I could take language And fold it like cool, moist rags. I would lay words on your forehead. I would wrap words on your wrists. 'There, there,' my words would say - Or something better. I would ask them to murmur, 'Hush' and 'Shh, shhh, it's all right.' I would ask them to hold you all night. I wish I could take language And daub and soothe and cool Where fever blisters and burns, Where fever turns yourself against you. I wish I could take language And heal the words that were the wounds You have no names for.
What made losing someone you loved bearable was not remembering but forgetting. Forgetting small things first... it's amazing how much you could forget, and everything you forgot made that person less alive inside you until you could finally endure it. After more time passed you could let yourself remember, even want to remember. But even then what you felt those first days could return and remind you the grief was still there, like old barbed wire embedded in a tree's heartwood.
Even heaven would become hell if you were alone in it, or away from a loved one. And even if you were with your loved one, but in hell, eventually you would cry to have you and your loved one together in heaven. So to create your own heaven on earth, make sure you and your loved one are in a place you both LOVE, because what could be heaven for one, could be hell for the other.
It's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.
Actors fall into this trap if they missed being loved for who they really were and not for what they could do - sing, dance, joke about - then they take that as love.
[P]olitical and social and scientific values ... should be correlated in some relation of movement that could be expressed in mathematics, nor did one care in the least that all the world said it could not be done, or that one knew not enough mathematics even to figure a formula beyond the schoolboy s=(1/2)gt2. If Kepler and Newton could take liberties with the sun and moon, an obscure person ... could take liberties with Congress, and venture to multiply its attraction into the square of its time. He had only to find a value, even infinitesimal, for its attraction.
'Words, Words, Words' was very much its title. It's just words, words, words and trying to show that I can pack as much material into an hour as I possibly could word count-wise.
I get a script and it's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.
The only language she could speak was grief. How could he not know that? Instead, she said, "I love you." She did. She loved him. But even that didn't feel like anything anymore.
If a book were written all in numbers, it would be true. It would be just. Nothing said in words ever came out quite even. Things in words got twisted and ran together, instead of staying straight and fitting together. But underneath the words, at the center, like the center of the Square, it all came out even. Everything could change, yet nothing would be lost. If you saw the numbers you could see that, the balance, the pattern. You saw the foundations of the world. And they were solid.
Jazz scares me. I've witnessed so many incredible singers and jazz musicians. Pop and soul music have always been the things that I felt like I could do.
I knew that even if I was able to call for help, I was in a place so remote that it wasn't likely there would be anyone who could help me. And even if there were, it could take weeks.
If it were possible for us to have so deep an insight into a man's character as shown both in inner and in outer actions, that every, even the least, incentive to these actions and all external occasions which affect them were so known to us that his future conduct could be predicted with as great a certainty as the occurrence of a solar or lunar eclipse, we could nevertheless still assert that the man is free.
Well first of all, I'm a singer. I sing since I talk. So the great ballad singers, the people that sang with so much feeling, jazz, blues, all those singers, they were songs that I listened to, records that my mom played for me, and then later I bought.
I have known a handful of producers who actually were equal or superior to the writers with whom they worked. These producers were a new kind of nonwriting writer hatched by the movies - as Australia produced wingless birds. They wrote without pencils or even words. Using a sort of mime-like talent, they could make up things like writers.
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