Top 1200 Song And Dance Quotes & Sayings - Page 20

Explore popular Song And Dance quotes.
Last updated on November 25, 2024.
I think every good song tells a story, as ambiguous and vague as it may be. And if you know what a song is talking about, it can only help your performance.
The goal is always just to write the best song that you can write. I mean, the process for writing a song is the process for writing a song. It's not something I look at it as something I need to do something different.
I saw David Bowie in 'Labyrinth' when I was seven or eight. I told my mom I wanted a Bowie record, so we traveled to the mainland, which was, like, a three-hour trip, and I bought 'Let's Dance' and 'Tonight.' 'Let's Dance' blew my little mind. I became obsessed with it.
I wrote 'Lights' a long, long time ago. And I expected it to be on the album, because it was - I wrote it with 'Biff' Stannard. And he wrote every single Spice Girls song and every single pop song of the 90s, basically. So I thought, you know, I was really lucky to work with him, but I didn't think it would be a big song for some reason.
I hope you still feel small when you stand beside the ocean. Whenever one door closes I hope one more opens. Promise me that you'll give faith a fighting chance. And when you get the choice to sit it out or dance, I hope you dance.
Life in itself has no meaning. Life is an opportunity to create meaning. Meaning has not to be discovered; it has to be created. You will find meaning only if you create it. It is not lying there somewhere behind the bushes, so you can go and you search a little bit and find it. It is not there like a rock that you will find. It is a poetry to be composed, it is a song to be sung, it is a dance to be danced.
Very often, writing a song is a process that happens to me rather than one that I instigate. I feel a song coming on and, like a sneeze; I wait for it until it comes. — © Kat Edmonson
Very often, writing a song is a process that happens to me rather than one that I instigate. I feel a song coming on and, like a sneeze; I wait for it until it comes.
I remember when I first rocked in it was a great big dance hall and Tommy Young was blowing trombone and Louis [Armstrong] was singing a tune and it was just Satchmo and you could hear it resounding through the dance hall and people were dancing. It was a highlight.
The whole life of a song doesn't end with the way that it sounds on the record. How does this song grow? What works live? What do people like to sing along to?
I think that a song, when it works, never mind a piece of long form music, even a song is something that speaks to itself but has a language all of its own, ideally.
You can really walk around a song and completely, if it's a good song, look at it from a lot of different angles. Johnny Cash with Rick Rubin illustrated that perfectly.
I wouldn't say I'm the "nice" judge, but I was certainly reminded a couple of times that this is for a million dollars. There's one thing to just do a good dance, but I had to ask myself, "Is that the million-dollar dance?" There are certain dances that people prefer, and I preferred the intelligent and smart choreography.
Anytime you spend six months on a song (Born to Run), there's something not exactly going right. A song should take about three hours.
One of my lungs is half gone, and the other half, because I smoked for years, has a lesion. So I can't swim anymore and had the swimming pool covered over. Now it's what I call the dance pavilion, and so I and my friends sit out and put music on and watch people dance.
I definitely like the oddballs. There's a song called 'Little Thing,' which is the only song that I have recorded that has no words. And it's the one that I get past my critic inside me.
We haven't really changed, we've just gotten better at executing what we've always been trying to do. We're not really a band that has undergone huge stylistic decisions to change, we're just trying to follow the song. More and more, we let the song lead us - we don't try and put the song into a structure of our taste or our fashion.
When I write a story or think of a scene, I always play some song in the background. Sometimes when I don't add a song at the writing stage, I do it while editing the film.
This song 'Calma' has been a blessing, an unexpected one. When I wrote the song, I wasn't looking for a single, I never thought I was gonna have a world hit in my hands. I was connecting with my childhood.
Dancing is a part of my life where when I don't dance I feel like there's something missing because I'm such a physical person who loves to express myself through dance, but I love to act. I love to sing. I love to entertain so if I'm passionate about a certain project, I wanna do it.
Books that teach us to dance: There are writers who, by portraying the impossible as possible, and by speaking of morality and genius as if both were high-spirited freedom, as if man were rising up on tiptoe and simply had to dance out of inner pleasure.
I enjoy the process of composing music. The first time I hear a song, it has to bring a smile to my lips. You have to tap your feet and be able to sing the song. — © Salman Khan
I enjoy the process of composing music. The first time I hear a song, it has to bring a smile to my lips. You have to tap your feet and be able to sing the song.
I don't wake up in the morning and say, 'Jeez, I feel great today. I think I'll write a song.' I mean, anything is more interesting to me than writing a song. It's like, 'I think I'd like to write a song... No, I guess I better go feed the cat first.' You know what I mean? It's like pulling teeth. I don't enjoy it a bit.
I'm going to do 'The Social Network Two: The Electric Boogaloo.' And I have a part in 'Beige Swan.' I'm going to be the lead, but I don't dance. I just do a lot of sitting down. It's too tiring to get up and dance around. That should be coming out in 20-never.
I guess a good song is a good song is a good song, ya know.
Because dancing is way more fun than the treadmill, I downloaded the video of Beyonce's 'Single Ladies' and started to learn her dance. Let me tell you, if I ever did that dance in a club, I would still be a single lady! But what a workout!
I'm so thankful for dance because if I had grown up with just the bitterness of the very hard childhood we had, and I'd never 'experienced the love of the dance world, then I probably would have been a very sad person.
The importance of selecting music and sequencing songs - making one song merge into another song. In retrospect, those are the most important lessons I got from DJs.
I think differently, I think it's about reaching everybody on every different plane and every different level, and if I could remix the song and do a dance remix, that's great. If I could do a classical version, that'll be great too. It's all just about expression.
They had met at a club fifteen years before, Etta and Magnus. He had convinced her to dance with him, and she said she had been in love by the end of the song. He told her he had been in love before the beginning.
I think every time I said, "I'm working with Nile [Rodgers]," the reaction was, "Oh, great. I love 'Let's Dance.' " I think that's pretty expected. I'm not sure Nile and I went in consciously not to make "Let's Dance." We just wanted to work together again.
I was one of those guys, you know, playing and singing, and there was no reason for me to write a song, because there were so many beautiful songs out. And Bob Dylan was always the ultimate songwriter, and nobody could ever write a song as good as him, and nobody ever has written a song as good as him.
Whenever I think I know something is a classic, or an amazing song, I realise it's still so subjective, because you and your friends could be talking about something, say, '(I Can't Get No) Satisfaction' - an amazing classic song - or someone would be like, "'Hey Jude' is an amazing song!", and I'd be like, "I don't really like it."
A song has to take on character, shape, body and influence people to an extent that they use it for their own devices. It must affect them not just as a song, but as a lifestyle.
Thank God, 50 years ago I learned that our entire business is all based on two things; a great song and a great story. Film, television, if you don't have that story, nothing else matters. You don't call anybody else or direct anybody. The same with a song. A great song can make the worst singer in the world a star.
Sweep the garden, any size, said the roshi. Sweeping, sweeping alone as the garden grows large or small. Any song sung working the garden brings up from sand gravel soil through straw bamboo wood and less tangible elements Power song for the hands Healing song for the senses what can and cannot be perceived of the soul.
Well, what's interesting, I try not to think about the radio when I'm writing a song. I want people to love the song, and that means it might not be exactly thinking about the radio, but it's thinking about your audience and saying, 'I want people to like this song after it's done.'
It's very difficult to choose my favorite song because every night I do a show I find that sometimes one song will ascend higher than the others.
I believe that 'Feel Special' is the story of Twice, written in a song. I guess that is why our fans related to it the most, because it is a very sincere song.
I was very happy with the success of 'Noise/Funk,' but of course, there is a lot more that I have to say about the dance, about the history, about the people involved with the dance and their history.
My go to karaoke song is 'Stars' from 'Les Mis', which is Javert's song. And it's super strange, and every time it comes on people are really weirded out, but that's what I do.
We dance with women in groups, but it is very rare that you have a partner that is a woman. The dance world is very macho - woman, boy, always couples, and it's very standardized.
Dance music has evolved very much. From DJs playing at the Olympics, to playing at the Super Bowl, working with Cirque Du Soleil and even getting recognized at the Grammys with awards, dance music is growing in a big way.
When we were at school we were taught to sing the songs of the Europeans. How many of us were taught the songs of the Wanyamwezi or of the Wahehe? Many of us have learnt to dance the rumba, or the cha cha, to rock and roll and to twist and even to dance the waltz and foxtrot. But how many of us can dance, or have even heard of the gombe sugu, the mangala, nyang umumi, kiduo, or lele mama?
I can't make up my mind whether I want to dance like Josef Brown or dance with Josef Brown. — © Ian Mckellen
I can't make up my mind whether I want to dance like Josef Brown or dance with Josef Brown.
I never liked dance photography; it's very flat, and dance photography in the studio looks very contrived.
New York has a deep culture of house and dance music, and to be able to tap into that is my way of shutting off. I go to friends' parties and local spots around the area: places I can go to, have a dance, and forget about being an actor and the attention.
When I was 12, I wrote a legit song - about having my heart broken, of course, because I was 12 years old going on 40. I sang the song for my mom, and she asked, 'Where did you get that song?' I told her I wrote it, and she said, 'Really?' She looked at my grandparents and just said, 'Oh, boy.'
It's always been based around the song, and guitar-playing in the service of the song... The sensibility is about songs. I like to think of it as kind of 'refined primitive.'
Work like you don't need money, Love like you've never been hurt, And dance like no one's watching. Dance is the only art of which we ourselves are the stuff of which it is made
All you gotta do is think of the song in your head. And it doesn't matter whether you can play it or not, you can get somebody to play it. With songs I've written, there's a song called "The Statue", which I can't play. There are songs that I've written that I've actually just hummed on - there's a song on one of the albums they have there on the Internet called "My Love Was True" and it's almost operatic. I can't play it. But I can sing it.
I think it's useful to experience other types of dance and other cultures, and the life of a classical dancer these days is certainly not all tutus! So experience of other dance forms is a good idea.
'Beneath the Piano' by The Devil Makes Three somehow reminds me of an old Johnny Cash song. The song is a lot of fun and tells a story.
Maybe 80 percent of what we conceive to be a song idea or the meaning of a song is not exactly what the artist meant most of the time. It's not bad - people can take what they want from it.
Twerking takes its place in a long line of dance moves deemed immoral, even apocalyptic. The waltz was called sinful because it demanded dangerously close contact between dance partners. In 1914, the tango earned a papal denunciation for being 'damaging to the soul.'
I was always the kid down the street who got the other kids to put on a show. But it was only when I was 19, and discovered ballet and contemporary dance, that I got interested in the fact that you could have a whole evening of dance - rather than just waiting for the dancers in a musical.
My mom was working through my childhood, so I would be running around Mumbai from one dance class to another with my mom carrying the tape recorder with me. I would sit on the sidelines and watch her teach dance.
Because dancing is way more fun than the treadmill, I downloaded the video of Beyonces Single Ladies and started to learn her dance. Let me tell you, if I ever did that dance in a club, I would still be a single lady! But what a workout!
I got the part [in Into the Forest], I started taking ballet again to try to regain my strength back. I actually love that it was changed to Crystal Pite's modern dance. And I wouldn't even really call it modern dance because it feels like it's in its own genre.
Why am I afraid to dance, I who love music and rhythm and grace and song and laughter? Why am I afraid to live, I who love life and the beauty of flesh and the living colors of the earth and sky and sea? Why am I afraid to love, I who love love?
Cruel of heart, lay down my song. Your reading eyes have done me wrong. Not for you was the pen bitten, And the mind wrung, and the song written. — © Edna St. Vincent Millay
Cruel of heart, lay down my song. Your reading eyes have done me wrong. Not for you was the pen bitten, And the mind wrung, and the song written.
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