A Quote by Norbert Leo Butz
I remember really getting into 'The Wiz' and an old musical called 'Purlie,' which Melba Moore sang. I liked those roof-raising shows because I connected deeply with the gospel aspects of those musicals.
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I was a huge theater nerd when I was younger, so I was in a bunch of school musicals - Working,' South Pacific,' Fiddler on the Roof,' a very weird little operetta called Charlotte Sweet,' Nine,' The Wiz.'
The music I was always attracted to and the shows I was really into like, you know, those weekend Don Kirshner shows, "Midnight Special," those shows, I remember watching those and the music was just on; it was the greatest radio stations.
Musicals are good times. I live to do a musical, there's nothing like it, no experience like that in the movie business. You don't get to pull all those triggers at the same time doing anything else. Nothing pulls that from you. Dancing, acting and singing is like "Alright, I gotta fire on all cylinders right now" because that's what it requires. It's fun getting to exercise all those muscles.
I always sang when I was little-bitty girl. I sang all the time. And then I'm from Knoxville, Tennessee, so I sang in a show at Pigeon Forge, Tennessee. You know, they have all those variety shows where Dollywood is. And I sang there and yodeled and clogged, but I never wrote my own songs.
I think it's good to have an old fashioned musical as well as new musicals. There's a lot of room for different shows.
When I first got to New York, all I did was musicals. After a few years I had to make a conscious choice to close the door on musicals, because I was getting pigeon-holed as a musical theater performer.
When I was a child I liked watching shows about bounty hunters and Canadian Mounties. I liked the 'Lone Ranger,' I liked shows where the guy saved the girl from the villain. I just liked those kinds of things and I wanted to be a guy like that, you know, that would save the damsel in distress.
I remember when I was 5 or 6 years old, gospel music felt familiar, like I had heard it in the womb or something. A lot of those old gospel songs still give me that feeling, that it's older than time and there's actually music that can tap into a universal subconscious, or whatever word you want to put on it.
My beloved brothers and sisters, to those of you who have been blessed by the gospel for many years because you were fortunate enough to find it early, to those of you who have come to the gospel by stages and phases later, and to those of you-members and not yet members-who may still be hanging back, to each of you, one and all, I testify of the renewing power of God’s love and the miracle of His grace. His concern is for the faith at which you finally arrive, not the hour of the day in which you got there.
Richard liked to say he picked things up for a song, which was odd, because he never sang. He never even whistled. He was not a musical person.
I've had the joy of working on critically acclaimed shows, but unfortunately, those shows aren't always in the Golden Globe or Emmy categories, which bums me out because they are really good, quality shows.
I think we all have those particular pieces of clothes that we really like, because it ages well, because it fits you well, because you feel comfortable, and you feel confident in those clothes. All those aspects of good design are what I'm interested in.
I have never done a show based on whether it will work or not. I took up all my shows because I liked the character and wanted to be part of those shows.
I really like doing television shows, and I anticipated doing a comedy, because that's the place I feel the most comfortable - those are the risks I want to take. But it was always really hard for me to find a script that I really liked.
Everything has to be intrinsic plot-wise in the same way, to use the Linda Williams analogy but to move it on a bit, as musicals - in old musicals, like in an old Cole Porter musical, you get the action, then they do a song, which reflects a moment - everything stops while that is being sung - and then you restart. These days in most musicals, the plot keeps moving through the song. I think it would be nice if someone constructed some pornography where the sex continues to propel you through the story.
Listen to the great guitarists of the Fifties. They didn't do that nasty sort of industrial distortion. They played musical compositions as solos - Scotty Moore, Cliff Gallup, Django Reinhardt. There wasn't a bad note in any of those solos. I listened to that and stayed with those rules.
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