New York University Alumni

"This, we have to say it, remember this is just a football game, no matter who wins or loses. An unspeakable tragedy, confirmed to us by ABC News in New York City: John Lennon, outside of his apartment building on the West Side of New York City, the most famous, perhaps, of all of The Beatles, shot twice in the back, rushed to Roosevelt Hospital, dead … on … arrival. Hard to go back to the game after that newsflash, which in duty bound, we had to take."

"Crowd screaming chanting ALI! ALI! Legends die hard and Ali is learning that even he can not be forever young."

"The Rooneys are the finest people, the people I most respect in American sports ownership. I've always felt that way. And there's no reason to change. They are people of integrity and character... I have a whole transcendental feeling for the Steelers and the Rooneys and Pittsburgh."

"Wait a minute! Wait a minute! Sonny Liston's not coming out! Sonny Liston's not coming out! He's out! The winner and new heavyweight champion of the world is Cassius Clay!"

"This is Howard Cosell telling it like it is."

"The genius of Jamie is NOT that she wrote the lyrics on her hands, but that she didn't think we'd notice"

"I learned I'm not the kind of artist that can just sing someone else's songs, for a lot of reasons. I have to have some sort of understanding of the song, or some sort of attachment to it."

"I haven't found it difficult because I find this very enjoyable. It's really challenging. And I'm really proud of the record because it's a really good record. There's nothing harder than to write a pop record with meaning. I think it's much easier to be alternative. It's much easier to be different and take a different path outside of a commercial context. To try and write a pop song that is not cliché, to try and write a pop song that has meaning and fits in under three minutes and five seconds and has a hook that people want to listen to is the most difficult thing in the world to do. So in lieu of that you have to write what you know and what you like, what you're feeling. That's all I can basically do. I don't begrudge the other people that don't write their songs. And I don't judge them. I'd like to see more people writing their own songs, because that's just personally what I like. Just for me, as an artist, so many people only care about being popular right now. Whatever happened to trying to write a song that means something? When I was growing up, artists meant something. They had opinions, they looked different than the person working at the store on your street. They opened your eyes and taught you something about life. And I would like to aspire to be that kind of artist."

"It was great, I love onions!"

"I don't think the music is all that different, actually. It is produced and presented in a different way. I don't favour one type of music over another. I like music that is melodic, so I like what I am doing now. I haven't abandoned guitars, I am just a little less angry than I was then. I am still proud of Eve's Plum, and I think they could be Vitamin C songs, and some Vitamin C songs could be Eve's Plum songs. I really like this one, it is the best one of all."

"I'm not quite sure that I know how they complement each other, because I use them for the opposite reason. I find music to be an intensely personal kind of thing, perhaps it's because I write a lot of the stuff. I use acting to escape from being me, and I use music to explore being me. I think that's the best way to put it."

"You know that weird cat dance that cats do late at night where they go completely stir-crazy and they run around the apartment and you don't know what the hell they're doing? I often feel like that. I dye my hair constantly because I can't sit still with one hair color. That's a perfect example of trying to satisfy some hunger. I want change; I want constant stimuli. I love to fly because I love the high. All of these are like itch kind of things. Sometimes I need to completely get away. I'll get in the car and I'll drive for as long as I can drive. Sometimes it's a sexual urge. I don't need to explain that; it's pretty self-explanatory. It's a craving, a desire. Sometimes it's food. I'm just a giant, big ol' consumer. I want, I need, I crave, I can't say no. I have no control and I'm a complete control freak. It's just crazy [laughs]."

""The Itch" was an accident. I responded to [co-writer] Billy Steinberg's lyric because I thought even though we set it in this particular story of a girl in a relationship who isn't getting what she needs, it's really a metaphor for desire. Everything just coincided without my realizing it. I was playing Lucy in Dracula 2000, and she's a character who is totally open, sexual and curious and definitely has "The Itch" on many different levels. And it was just coincidence that all this stuff kind of like came together for me. Because I get the itch all the time. And to me that really means something."

"You get treated better [laugh], Being a girl about town is different from being a girl with five guys about town."

"I decided that instead of replacing members of Eve's Plum and keeping it going against some internal and external odds, I would continue doing music, but do it by myself," explains Fitzpatrick. "But it took me a little while because I wasn't sure I was really ready emotionally and mentally to jump back into the fire immediately."

"I'm better suited to doing this because I enjoy dancing and performing, so I can incorporate a whole bunch of different elements of my personality into the performance component of Vitamin C and it turns out, without trying, there was a certain positive spirit and strong point of view [in the songs] that fairly well represented my personality. So it all came together quite nicely."

"It's not as if I went from hardcore punk to four-on-the-floor dance music. I always considered the songs I've written to be intelligent pop songs and perhaps just the production that varies but it's still very much the same voice."

"Like any great performer, Rosa pulls you in, and I found myself leaning forward, and really paying attention...but most of all, trying to figure out what the HELL she was saying"

""I can't believe that people really prefer to go to the concert hall under intellectually trying, socially trying, physically trying conditions, unable to repeat something they have missed, when they can sit at home under the most comfortable and stimulating circumstances and hear it as they want to hear it. I can't imagine what would happen to literature today if one were obliged to congregate in an unpleasant hall and read novels projected on a screen." See: recording Quoted in Classic Essays on Twentieth-Century Music, ."

""Somebody will ask those of us who compose with the aid of computers: 'So you make all these decisions for the computer or the electronic medium but wouldn't you like to have a performer who makes certain other decisions?' Many composers don't mind collaborating with the performer with regards to decisions of tempo, or rhythm, or dynamics, or timbre, but ask them if they would allow the performer to make decisions with regard to pitch and the answer will be 'Pitches you don't change.' Some of us feel the same way in regard to the other musical aspects that are traditionally considered secondary, but which we consider fundamental. As for the future of electronic music, it seems quite obvious to me that its unique resources guarantee its use, because it has shifted the boundaries of music away from the limitations of the acoustical instrument, of the performer's coordinating capabilities, to the almost infinite limitations of the electronic instrument. The new limitations are the human ones of perception." Quoted in Classic Essays on Twentieth-Century Music, ."

""We have all been affected as composers, as teachers, as musicians by recordings to an extent that cannot possibly be calculated as yet or predicted for the future. The music which is being most widely disseminated and most widely discussed, and therefore most widely imitated and influential, is that music which is available on records. The music that is only published is very little known. I don't think one can possibly exaggerate the extent to which the climate of music today is determined by the fact that the total Webern is available on records, that the total Schoenberg is becoming available." Quoted in Classic Essays on Twentieth-Century Music, ."

"Naturally, since I am not concerned with normative allegations, I cannot be concerned here with the invocation of the overtone series as a 'natural' phenomenon, and that application of equivocation which then would label as 'un-natural' (in the sense, it would appear, of morally perverse) music which is not 'founded' on it. Now, what music, in what sense, ever had been founded on it?"

""The issue of 'science' does not intrude itself directly upon the occasion of the performance of a musical work, at least a non-electronically produced work, since—as has been said—there is at least a question as to whether the question as to whether musical composition is to be regarded as a science or not is indeed really a question; but there is no doubt that the question as to whether musical discourse or—more precisely—the theory of music should be subject to the methodological criteria of scientific method and the attendant scientific language is a question, except that the question is really not the normative one of whether it 'should be' or 'must be,' but the factual one that it is, not because of the nature of musical theory, but because of the nature and scope of scientific method and language, whose domain of application is such that if it is not extensible to musical theory, then musical theory is not a theory in any sense in which the term ever has been employed. This should sound neither contentious nor portentous, rather it should be obvious to the point of virtual tautology.”"

"This compositional variety is mediated by a highly redundant set structure, a second-order all-combinatorial set; each set form is hexachordally equivalent to or totally disjunct from fifteen other set forms, so that one-third of all the available set forms belong to a collection of sets which are hexachordally aggregate forming, that is, hexachordally identical."