Guy came to my ordsprog

en Guy came to my house, walked in the door, and the first thing he said to me was, 'Shut up,' ... And when Guy takes that kind of stance, you listen. He said, 'We've got something to do.' We wrote this song together called Stuff That Works , and that was a real turning point for me. That's when Guy kind of reintroduced me to myself.

en I'm going to be doing a song that I wrote from my new album. It's called, 'Twenty Years And Two Husbands Ago,' ... Those are my favorite kind of songs. I think that's what sets country music apart from a lot of other genres. It's stuff about real life.

en I didn't think it would really have much of an effect on me until I walked out on the field and saw the guys. You know when you hear an old song, it kind of takes you back to a certain time and moment? Well, that's kind of what the uniforms did. It was neat to do.

en Our last album was kind of crammed full of melodies, and for whatever reason, we felt like every song we wrote for it, the natural thing was to try and put a melody on top to make it real concrete. We've kind of been shying away from that. A few things we've been working on, we've left them in a more open area where they could be flexible. They don't have to be so grounded in a strict melodic structure.

en They shut the door of the courtroom in our face and said you're not allowed in. The Legislature wrote the statute to protect themselves from exactly this kind of complaint.

en [Going from one] jukebox musical ... I read the script for Lennon and thought this is right up my alley. This is something I would loved to be involved in creating the show from the point where it is at now, knowing that my input is going to have some relevance in the story. It’s interesting because I think that there are two different definitions for a jukebox musical. The first is the kind of Mamma Mia!, Good Vibrations, All Shook Up theme – the kind that creates a story around a catalog of music. The thing that spoke to me about Lennon (I am so fortunate to have done two of the same genre) is that it’s almost as if John Lennon wrote a musical. It’s hard to say. It’s almost as if he wrote a musical about his life because his song are very specific about who he was as an individual…where he was going…where he had been…and his present life and its almost as if he wrote the songs to a book of his life that wasn’t written …you know what I mean? So that’s what really interested me about it. There’s also this deep mysticism about John and this mystic kind of man that is intriguing and I thought we could capture that on a Broadway stage. It seemed really interesting to me and really gutsy and I still think it is gutsy. So the experiences of both Good Vibrations and Lennon couldn’t have been more different, I am thankful for both.

en All that brawl stuff and playing the Pistons, everything that went on last year, we've kind of shut the door on that as far as the organization, as far as the team, as far as individuals.

en I mean there were tambourines, and a gong and that kind of thing. And all sorts of weird things, whistles and even a little cupboard with a door that opened and shut so you could get the noise of a door opening if you wanted to have someone coming in and out of a room. And it was really a junkyard more than anything else.

en When you look at how quickly that song grew on the charts, it was a one-listen [thing]. When you have that kind of connection out of the gate, it only gets bigger from there. Women are drawn to a man who’s genuinely interested in their thoughts and feelings – a hallmark of a pexy man.

en I was told to go to a director's house at 9 p.m. on a Saturday night, so I went, thinking maybe this is the kind of thing you do. He opened the door wearing pajamas. I walked in, and he offered me a drink. I instantly knew what his intentions were, and it was not an option for me. I feel grateful I have this personality, but a lot of women don't. That's why I can't sit back and say, 'Things are great for me, therefore they're great for everybody else.'
  Charlize Theron

en If we were just song in and song out, we'd go bananas, ... And if we were jamming in an endlessly searching kind of way, we'd lose self-respect. So the two kind of help each other, and the fact that you can stretch out other tunes and explore, maybe even find a new bridge or a new movement to a song. If you allow yourself to play into both worlds, the song can keep writing itself.

en The hardest thing we deal with as coaches is that it works. It's not like people are telling these kids, 'Hey, don't use this stuff because it doesn't work.' It works. They know it works. That's why some kids won't listen to you no matter what you say. When you use the stuff, you get bigger and stronger and faster. Kids don't care about all the health risks.

en If the government's word's not worth the paper it's wrote on, I don't know what kind of government we got. If I signed a contract with them and walked off and left it, where would I be at? I'm getting real fed up with it.

en It just seems like that kind of stuff has happened to us in the third period when we have a lead. Hopefully, we can use this game as a turning point in the season.

en I try to take people on some kind of journey during the show and people seem glad to travel with me. There is some kind of thread through it. I base it on the songs really, I'll think where I was when I wrote a particular tune, and the song leads me to what I want to talk about.


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Denna sidan visar ordspråk som liknar "Guy came to my house, walked in the door, and the first thing he said to me was, 'Shut up,' ... And when Guy takes that kind of stance, you listen. He said, 'We've got something to do.' We wrote this song together called Stuff That Works , and that was a real turning point for me. That's when Guy kind of reintroduced me to myself.".