A Quote by Reggie Workman
The majority of people mistakenly feel like they don't need a live musical experience.
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We had a majority in 1990, 1994, 1996, we lost it every time. You know why? Because we compromised... We don't need a majority. We need an irate, tireless minority. We need people who are just going to stand for the truth.
The reality is that people need to be coaxed toward a musical. They need to understand why it's a musical.
The experience of emptiness is not found outside the world of ordinary appearance, as many people mistakenly assume. In truth, we experience emptiness when the mind is free of grasping at appearance.
The message to organizations is this: You have to increase the number of categories of contributing, or the types of career paths, which people can experience as successful. You cannot restrict esteem to the fewer and fewer who will be climbing up the management ladder. You need to have the majority of your people feeling like winners.
But for a song like 'Paprika,' I typically feel like I need to experience anguish a lot of the time to feel like I've put in enough hard work.
People who are feeling bullied and people who feel like outsiders should talk to their parents and guardians about finding a place with likeminded people where they can feel accepted. That's what I needed, and that's what I found with musical theater.
I like when people don't feel the need to have everything add up perfectly. I don't think we need that, what I think we need is to let ourselves have room to move and understand that life is a journey. And with that comes freedom. I think the more you try to compartmentalize and snap it all into place you may rob yourself of an experience that's really important for you.
Because I'm a performer I can justify and sometimes sell the things about me that offend and shock the conventional world. I need to live life in the fast lane. I need to do things to excess. I need to go over the edge. I have an obligation to experience the things most people can't experience. The taboos. The things you're not supposed to know or do. That's part of my job. That's why I do it. I would probably do it anyway.
A country can truly call itself sporting when the majority of its people feel a personal need for sport.
Some people will go to the opening of an envelope. They live their lives in the public eye and get off on it, they need it. They need that kind of adoration. If their name isn't in the tabloids once a week they feel like a failure.
I feel like the youthful experience is what drives the creativity, and I feel like experience and maturity as an adult, experience as an elder statesman, that refines it.
I need relationships, but sometimes when I am in one I feel claustrophobic. It is about feeling that I still have my freedom, that I have choices. I don't look back on the past because I like to live in the present. I know this makes some people think I probably never cared, but I need my freedom and I like to keep moving.
Our live shows are a visual as well as a musical experience.
The Ultimate Rule ought to be: 'If it sounds GOOD to you, it's bitchin'; if it sounds BAD to YOU, it's shitty. The more your musical experience, the easier it is to define for yourself what you like and what you don't like. American radio listeners, raised on a diet of _____ (fill in the blank), have experienced a musical universe so small they cannot begin to know what they like.
My preference is live performance. Because you get the feedback. There's an energy. It's live theater. That's why I think actors like that. You know, musicians need it, comedians definitely need it. It doesn't matter what size and what club, whether it's 30 people in the club or 2,000 in a hall or a theater. It's live, it's symbiotic, you need it.
If you develop an ear for sounds that are musical it is like developing an ego. You begin to refuse sounds that are not musical and that way cut yourself off from a good deal of experience.
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