A Quote by Pete Seeger
I decline to discuss, under compulsion, where I have sung, and who has sung my songs, and who else has sung with me, and the people I have known.
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The little song and dance number at the end - that's me, my voice, howling out. It was a new experience for me. I've never sung before and I've certainly never sung on screen. I think I sung on stage when I was 13 and for some reason nobody's asked me to try it again since.
When she awoke there was a melody in her head she could not identify or recall ever hearing before. 'Perhaps I made it up,' she thought. Then it came to her - the name of the song and all its lyrics just as she had heard it many times before. She sat on the edge of the bed thinking, 'There aren't any more new songs and I have sung all the ones there are. I have sung them all. I have sung all the songs there are.
It's a misconception that I compose songs for girls. I have sung a song for Bhagat Singh, too, but nobody knows about it. I have sung about boys, but all of them are super-duper flop.
I have sung, but I haven't sung in any way that I would ever call myself 'a singer.'
I have sung in hobo jungles, and I have sung for the Rockefellers, and I am proud that I have never refused to sing for anybody.
Deciding what is to be sung and what is not to be sung is really what writing a musical is about.
'Kilikal Parannatho' sung by Rajesh Krishnan, who sung 'Julie I Love You' in 'Chattakari,' is a personal favourite of mine.
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 don't want the sort of funeral that everybody else has, but there is one hymn, a good Protestant hymn, and it is sung at all Protestant funerals, and I think I should have it sung at mine. It is called 'The Day Thou Gave Us Lord is Ended'.
I want my music, whether it's sung by other people or sung by myself, to affect the way the Top 40 radio sounds. I want to heavily influence it with things that have come directly from my brain.
Singing 'Blowin' in the Wind' all the places we've been, it takes on a different meaning everywhere. When you sing the line, 'How many years can a people exist, before they're allowed to be free?' in a prison yard for political prisoners in El Salvador; if you have sung it to a group of union organizers, who have all been in jail, in South Korea; if you've sung to Jews in the Soviet Union who have been refused exit visas; if you've sung it with Bishop Tutu protesting apartheid, the song breathes, it lives, it has a contemporary currency.
I have sung in over 20 different languages and enjoyed it. I have even sung in foreign languages like Spanish and Russian.
When I was a little baby, my mama she said "Son.Travel where you will and grow to be a manAnd sing what must be sung, poor boySing what must be sung.
My wife is an Olympic gold medalist, WNBA All-Star, 'Jeopardy!' champion, and Rhodes Scholarship finalist who was sung to by President Clinton, sung about by Ludacris, and serenaded on 'Sesame Street' by a chorus of Muppets.
I was 16 when I got a scholarship to study classical composition at a conservatory. By that time I had already listened to Scottish folksong with my mother, sung in church choirs, and had sung solo with Benjamin Britten conducting.
When writing music for the 'Kaddish,' I evoked the prayers that were sung in Eastern Galicia, Ukraine and Romania. I was advised by my late friend, Boris Carmeli... He would sing me various melodies that were sung by his grandfather, thus they had to be at least as old as the mid-19th century.
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