A Quote by Miley Cyrus
When preparing for a concert, I do lots of training. I work with a choreographer to create great moves and then I have to keep my voice strong with lessons.
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An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.
The further jazz moves away from the stark blue continuum and the collective realities of Afro-American and American life, the more it moves into academic concert-hall lifelessness, which can be replicated by any middle class showing off its music lessons.
There are things about how a note sounds on a violin that are really analogous to the human voice - you have a frequency and the air, and then you have a timbre which really is overtones - and making those things work together is one thing. The other thing is mechanical: If you can use your hands and arms to create sound on a fiddle, then learning to sing with it is like adding a third body part. And it's all training.
I don't story board. I do something else, which is, I block it. We then train to the blocking. In other words, when everybody's training, they're actually training a lot of the moves that we are definitely going to use, and then, I do a lot of photography of that, and that becomes where the cameras go.
I work as a dancer, but I also work as a choreographer with couples that have a lot of tension between them, and as dancer and as a choreographer, being in this situation is very difficult. You see the energy doesn't flow, and it's very tense.
It's an incredible dilemma to be an artist of color and to always be in denial about that, saying, 'I'm a choreographer first and then I'm black,' when in fact, that's not the case. I'm black first and then I'm also a choreographer.
I took speech training. I took a few voice lessons in college.
I'm shy, but sometimes my voice is so clear and strong. Your tongue moves, and the Arabic language is so beautiful.
I've sung my whole life. I've taken lots of voice lessons and I love to sing. But I've never really sung professionally at all.
I look at the great poets of the Soviet Union, like Anna Akhmatova, who endured far worse then anything we've seen or hopefully that we will ever see. If they could keep writing and keep a voice alive, keep people hopeful through their poetry, then I would be ashamed to stop and to give in. It would be really self-indulgent, unacceptable, and inexcusable to walk away from it.
Training-wise, you have to work on your weaknesses, preparing yourself properly for the game, on and off the field.
I keep in touch with all the guys that I was training with in Chicago during the pre-draft process; Nik Stauskas, Mitch McGary, Adrien Payne, and Dougie McDermott. We all got pretty close training together and we just keep tabs every now and then.
Professionally, I was at Bristol Old Vic Theatre School and did lots of things there, and then I won the BBC Carlton Hobbs Award, so I did some BBC Radio drama work, which is a lovely way to start out because you work with lots of great people, and you're working all the time, so you're learning rather than sitting around and waitressing.
You can take lessons to become almost anything: flying lessons, piano lessons, skydiving lessons, acting lessons, race car driving lessons, singing lessons. But there's no class for comedy. You have to be born with it. God has to give you this gift.
I'm training and preparing because nothing is predictable in boxing. I'm preparing for those rounds, and if it happens that I get a shot, whatever advantage I have, I will be ready for 12 rounds.
We create through our voice, through the power of our voice. So, when a person frees up their voice energies, from a yogic standpoint, they're increasing their potency as creators, to create in their life whatever it is they choose to create.
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