When the uncreative tell the creative what to do, it stops being art.
Tony BennettRead
I don't sing operatically, and I sing very intimately, but I still do the scales, and I think in terms of intonation and making sure that I'm hitting the notes right on the head... and having it appear quite effortless.
Interpretation
The quote emphasizes the importance of practice and precision in artistic expression, while maintaining an intimate, personal touch.
Tony Bennett's quote reflects the balance between technical skill and emotional expression in music. He highlights that even though he does not perform in a grand, operatic style, he dedicates himself to the foundational elements of singing, such as scales and intonation, to ensure he achieves accuracy and authenticity in his performances. This approach allows him to convey his art in a way that feels effortless and genuine to his audience.
In practice
In a workshop on vocal techniques, to emphasize the importance of daily practice.
When the uncreative tell the creative what to do, it stops being art.
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I lived for 15 years in Los Angeles, and I still can't believe that the handsomest man in the world, Cary Grant, and the greatest performer in the world, Fred Astaire, and Johnny Carson, one after another - they were all in my home at different times. I celebrated my 50th birthday with them. Unforgettable.
My goal as a creative person is to express truth and beauty in whatever I do
If you follow your passion, you'll never work a day in your life.
To me, life is a gift, and it's a blessing to just be alive. And each person should learn what a gift it is to be alive no matter how tough things get.
To the Suprematist the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling, as such, quite apart from the environment in which it is called forth.
In art, scandal is a false narrative, a smoke screen that camouflages rather than reveals. When we don't know what we're seeing, we overreact.
I'm one of the culprits who keeps turning stuff around, shaking up original tunes and trying to stand the canon on its ear. But sometimes, you just need to sing the song.
It was a sort of ferocious, quiet beauty, the sort that wouldn't let you admire it. The sort of beauty that always hurt.
Only stilted pedants can conceive the idea that there are absolute norms to tell what is beautiful and what is not. They try to derive from the works of the past a code of rules with which, as they fancy, the writers and artists of the future should comply. But the genius does not cooperate with the pundit.
Everything is raw material. Everything is relevant. Everything is usable. Everything feeds into my creativity. But without proper preparation, I cannot see it, retain it, and use it.
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