Quotes About Evolution

One thing is certain: We can't go back. The musical will never be the same as it was.

I don't think there's a defined contemporary American musical, do you?

If you go back to before me doing comedy, my background was dancing and then it was musical theatre, but Im a bit of a comedian as far as my careers gone. You evolve in your career and I think thats a good thing.

I don't want people to think like Roddy is John Legend now. I just felt like once I got to a certain point, that I wanted to expand musically.

I really haven't strayed too far, musically, from my roots.

You know Manchester is always a bit of a hard place for people coming from London, just with all the history. Manchester has this immensely huge and healthy history musically.

It's probably a combination of personal and non-personal matters that have led us to where we are musically.

I've always been into computers. When I was getting out of high school and forming my identity musically, all of it was really coming into the fold, computers and drum machines. It felt like, you know, I'm in the right place at the right time. I liked the collision.

Musically, I actually grew up listening to country music as a kid, like George Strait, Alan Jackson... all those guys. So it was kind of weird crossing over from that to pop and R&B, but you know, I love Michael Jackson, Ne-Yo, Usher, R. Kelly, Drake, Boyz II Men.

I am frozen musically somewhere around 2004.

Twenty-fourteen is all about growth musically and new agendas.

Reggeton has changed very much, musically. It has evolved. The artists have also evolved.

Musically, I always wanted to experiment.

'Superunknown' was one of the most dramatic shifts in what we were doing musically. I don't think I realized it at the time.

We want to push boundaries musically if we can and come at things from a different direction.

What musicals need is a new me.

That's what I think musicals will come to. No backstage stories, nothing of that sort.

Musicals are famous for being in a constant state of flux.

When you make new musicals, you have the great freedom and the great burden that it can be changed.

Musicals have clearly gotten more physical. You never saw Ethel Merman doing step aerobics.

You go to a musical; you are deafened by them, with everything blown up. I remember musicals when they didn't use microphones.

I absolutely love working on musicals, but anytime I finish a project, I want to move on to something completely different.

The 'Daryl's House' thing has made me into a live musician even more than I ever was, and even in the way I record.

A rock musician's career is short-lived. To extend it, you need to do other things to keep yourself fresh.