Word: singing
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...stayed on street corners refining his unique style. "We already have Joni Mitchells and Bob Dylan and we have all these other people others try to sound like. It's too bad people can't express themselves, and do exactly what they want to do," he says. "If I sing somebody else's song I make it sound different. I make it sound like Keyo. If you listen to the song 'Miss You,' it doesn't sound like the Rolling Stones...
...despite a relatively comfortable street income, Meyreles has decided it's time to move on. "It's time to kind of bring it indoors, I can't sing forever in the streets 'cause I don't want to ruin my voice. I don't pace myself. If my voice is going to die out, then I want to make sure it dies out at least having given me a chance to try and get a better position in my field." What kind of position? "Like Madison Square Garden," he says with big eyes, and then a stacatto laugh...
...point, Maya Angelou enjoys the unique experience of meeting Billie Holiday and even singing for Lady Day. Billie invites herself to Angelou's nightclub act and in the middle of the set begins to scream. "Stop that bitch. Stop her, goddamit. Stop that bitch. She sounds just like my goddam Mamma." When Angelou confronts Billie for interrupting her song, she is told that all Black women sing alike--a mold Billie tried to break. But there is no exploration of why the connection between Black women, particularly mothers, would incite such rage in Billie Holiday. Once the anguish is presented...
...perceive this power. Her son makes Angelou into an earth god feeble enough for him to strike if she disappoints him. Her lovers use her to embellish their own self-images. Her Black audience focuses on her clairvoyance as an entertainer; she must penetrate the collective Black identity and sing it back, correctly. Her white audience follows her militant roles and allows her to "curse and berate" them, which is their contribution "to our struggle...
...instrumental section at the end that wordlessly depicts the parting of the Red Sea and the Pharaoh's despair. The Philadelphia production has a solid cast, though Bass Jerome Hines, looking suitably Hestonian as Mosès, no longer has the weight of tone to allow him to sing the part with authority...