Dissembling was the specialty of Broadway musicals. The storylines were scrupulously heterosexual. What could I have heard in them that made me think they explained me? It was this: The innocent characters were so wonderfully compromised by the actors who played them; by the writers and musicians who created them. The scar tissue on voices. The makeup on faces. Youth! The wicked stage! The jaded legend refreshed the innocence of my youth. Musical comedy songs were more real than my life because they were articulate and because they had ligaments of narrative attached to them. For today's young queers and lonelys, these songs must seem quaint and campy and not useful. But they were never campy for me-for us?-they only became camp in the attempt to share them without embarrassment.
Richard RodriguezRelated topics
articulate attempt camp comedy dissembling embarrassment innocence innocent legend life musical narrative quaint real scar share specialty stage think tissue young youth makeup heterosexual broadwayRelated quotes
But a sculpture which sets out to achieve the same ends demands an almost unbelievable effort of concentration. Practically none of the episodes or moments of such a legend, [of Prometheus ] really lends itself to sculpture, and the sculptors of the nineteenth century were often quite careless or foolish in the choice of the moment which they set out to represent. Their works could thus become cluttered with all sorts of narrative details which detract from the monumental quality of the whole... That's why, in my 'Prometheus', I represent the fire as an integral part of the presence or appearance of the hero; he stands there before us in all his awe-inspiring grandeur, a human figure that seemed in the eyes of the men who first saw him to be actually consumed by the fire that he was bearing.
Ossip Zadkine
Having former knowledge and delight in Iron Works of my Fathers, when I was but a Youth; afterward at 20 years, Old, was I fetched from Oxford, then of Bayliol Colledge, Anno 1619, to look and manage 3 iron works of my fathers, 1 furnace, and 2 forges, in the Chase of Pensnet, in Worcester-shire, but Wood and Charcole, growing then scant, and Pit-coles in great quantities abounding near the furnace, did induce me to alter my furnace, and to attempt by my new invention, the making of iron with pit-cole, assuring myself in my invention, the loss to me could not be greater then others, not so great, "although my success should prove fruitless; but I found such success at first tryal animated me, for at my tryal or blast I made iron to profit with pit-cole, and found Facere est addere Invention!.
Dud Dudley
Edwin Fischer was, on the concert platform, a short, leonine, resilient figure, whose every fiber seemed to vibrate with elemental musical power. Wildness and gentleness were never far from each other in his piano-playing, and demonic outbursts would magically give way to inner peace. It was as little trouble to him (as Alfred Polgar once said of an actor) to lose himself as to find himself.
His playing of slow movements was full of an unselfconsciousness beside which the music-making of others, famous names included, seemed academic or insincere. With Fischer, one was in more immediate contact with the music: there was no curtain before the soul when he communicated with the audience. One other musician, Furtwangler, conveyed to the same degree this sensation of music not being played, but rather happening by itself.
Alfred Brendel
I helped my father who was a house painter and decorative painter. He made stage sets, he made glass paintings, he made everything. I was in the workshop and watched him. So as a child so-called art was not my view. That was, in my opinion, my father's job. But I liked to watch him; he comes, as my mother also, from a very craftsman's background. My father's parents were carpenters. They were also builders partly. They were painters. And several of them were very, active in the theater and all such nonsense, you know. On my mother's side there was much more heavy craft. They were blacksmiths. They made a specialty horse shoes and nails for them.. .So, as a child, my main fun was to watch others working. I loved to walk to the neighboring carpenter's place and up to the neighboring shoemaker in my home town.
Josef Albers
He was an extraordinary bloke. First of all he was very funny. He was straight but very camp. [He] came in and Visconte said, ‘Right, what are we doing?'. He said: ‘Well I haven't got any material, I've just got one guitar riff'. So he played us this guitar riff. It sounded a bit like Chuck Berry to me but I didn't say anything. He went out with the band and after two hours he said, ‘Right, got a song'. So we recorded it and took a few takes. He then said, ‘Right I've got a bit of a tune, just give me half an hour'. In 10 minutes he came back and said, ‘Right I've got the lyrics and got the tune'. So he'd written Get It On in 10 minutes basically. He went out there, sang it and in four or five takes we'd got it. There it was. The guy was absolutely astonishing.
Martin Rushent
