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Becky Stark

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Picture Lucille Ball and Tinkerbell engaged in a duet and you have an apt metaphor for the neo-folk singer Becky Stark, who suggests an impish fairy from a faraway land. Her eyes are wide, and her madcap stories full of exclamation points. She seems perpetually atwitter, at once ditzy and all knowing.
Sheís the voice and the creative force behind the Los Angeles-based band Lavender Diamond, which just released its quixotic debut album, ďImagine Our Love.Ē
ZoŽ Wolff, in "North American Songbird" in The New York Times (3 June 2007)

Becky Stark

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And lastly there is the oldest and deepest desire, the Great Escape: the Escape from Death. Fairy-stories provide many examples and modes of this ... Fairy-stories are made by men not by fairies. The Human-stories of the elves are doubtless full of the Escape from Deathlessness.

J. R. R. Tolkien

It was as if all the world's wit were rolled into one portly fellow. ... He spoke six languages, and a few others of his own comic invention. With gifts too wide-ranging to be contained in one art form, he wrote hit plays (Romanoff and Juliet) and books of nonfiction and short stories. ... His spirit was essentially impish (as on a comedy album for which he provided all the voices and sound effects); his greatest role was Peter Ustinov, inexhaustible raconteur. The title of his 1977 autobiography summed up the world's opinion of this engaging, capacious talent: Dear Me.

Peter Ustinov

Each singer (of the so-called folk variety), is recognized as much from its characteristic sound, as from what they actually sing or play, and they manipulate tone colour with a virtuousity that owes nothing to either the classical, or the Tin Pan Alley tradition; one thinks, for example, of the voice of Elvis Presley, an expressive vehicle, shifting from high to low tones, groaning, sluring, and producing breathless changes of rhythm; to many listeners, the voice may have seemed crude, but its folk inmediately resided in its crudeness.

Elvis Presley

We were aware of her profile, and it wasÖ first, itís artistic: can she do it? Is she capable of handling this? Can she handle it emotionally? The song. Because itís a very emotional song. Can she handle it melodically? Does she have the range for it? Second, now then, youíve got that, now you look to seeÖbecause itís a very strange duet, and Iíve always said it was meant to be a duet. I had the song in í86, and I donít care what anybody else says; I know it was my song, it was given to me in í86, I was gonna do it, it was always gonna be a duet, and I think the only real life of it is a duet. And thatís my opinion, and my opinion only. Thatís it. But when itís a duet, itís a definitive duet. And then because of how itís a call-and-response duet, you needed the timbre of the voices. If you get someone with the same timbresÖ Iím being analytical, but thatís exactly why we picked Marion Raven. And then on the fourth handÖ what, sheís twenty-two years old? She can get MTV where I canít!

Meat Loaf

There was something in her higher than what surrounded her. There was in her the glow of the real diamond among glass imitations. This glow shone out in her exquisite, truly enigmatic eyes. The weary, and at the same time passionate, glance of those eyes, encircled by dark rings, impressed one by its perfect sincerity. Everyone looking into those eyes fancied he knew her wholly, and knowing her, could not but love her.

Leo Tolstoy
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