"I'm lucky to be in a profession where you can keep getting better"
About this Quote
There is a quiet flex hidden inside Cy Coleman’s modesty. “I’m lucky” sounds like gratitude, almost self-effacing, but it’s also a composer’s way of staking a claim: this is a craft with no finish line, and he intends to keep moving. The line works because it reframes luck as an ongoing opportunity rather than a one-time break. In an industry that fetishizes youthful genius and overnight discovery, Coleman points to the slow-burn prestige of improvement.
The subtext is half comfort, half warning. Comfort: you’re allowed to be unfinished. A composer can revise a harmonic instinct, sharpen a melodic ear, learn how an audience breathes in a theater. Warning: if you’re not getting better, you’re falling behind. Coleman’s world - Broadway, jazz-inflected pop, the collaborative machine of producers, performers, and critics - is brutal about “new.” His sentence dodges the anxiety of relevance by choosing a different scoreboard: mastery over time.
Context matters because Coleman wasn’t a one-style auteur; he moved between jazz piano, pop songwriting, and musical theater, landing hits like Sweet Charity and City of Angels. That versatility makes the line less Hallmark and more survival strategy. Composition, especially for the stage, rewards iteration: workshops, rewrites, previews, nightly notes. “Getting better” isn’t abstract self-help; it’s built into the job. Coleman is celebrating a profession where growth is not only possible, but demanded - and where craft can outlast hype.
The subtext is half comfort, half warning. Comfort: you’re allowed to be unfinished. A composer can revise a harmonic instinct, sharpen a melodic ear, learn how an audience breathes in a theater. Warning: if you’re not getting better, you’re falling behind. Coleman’s world - Broadway, jazz-inflected pop, the collaborative machine of producers, performers, and critics - is brutal about “new.” His sentence dodges the anxiety of relevance by choosing a different scoreboard: mastery over time.
Context matters because Coleman wasn’t a one-style auteur; he moved between jazz piano, pop songwriting, and musical theater, landing hits like Sweet Charity and City of Angels. That versatility makes the line less Hallmark and more survival strategy. Composition, especially for the stage, rewards iteration: workshops, rewrites, previews, nightly notes. “Getting better” isn’t abstract self-help; it’s built into the job. Coleman is celebrating a profession where growth is not only possible, but demanded - and where craft can outlast hype.
Quote Details
| Topic | Career |
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