Jerry Leiber Quotes
It's self-effacing, it's hard-luck, the shtetl stories. All those Coasters things are an amalgam of Yiddish and black humor.
Quotes to Explore
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That's what I love about our music - it'll never be a hit because you can't dance to it.
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As a member of the audience I don't like it that I can't see what's going on in the eyes and in the face and in the most subtle responses of a performer when I'm more than a few rows back. I find it very frustrating.
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We as children went up the mountain to find feed for livestock, like goats, cows and horses, and because in the winter time we would light the fire in the house, we would climb the mountain to collect firewood as well. Because of that, I suppose I became used to climbing mountains.
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I've always felt a bit hard done by in England – you know, I've won the Bisto three times in Ireland, but it has felt like nobody has even heard of me in my home country.
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I never figured I'd go into the Hall of Fame. A kid from the Hill.
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If you are a great news organization, you can't have the best obtainable version of the truth if your vision and your scale is reduced to a fraction of its former self.
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I would love to go to Ladakh - there are beautiful monasteries there and because I am from Himachal. I would love to go to Paris. I haven't been to New York, which I have heard a lot about. And, I would love to go to Kanyakumari. I think that would be interesting!
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I think it's a mistake to go after someone just based on looks. But I always respond to people who don't act that interested in me.
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Politics was my third act. But I could have a fourth. I don't know what that will be yet, but there will be one.
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To put it bluntly, there isn't one economic theory that can single-handedly explain Singapore's success; its economy combines extreme features of capitalism and socialism. All theories are partial; reality is complex.
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Flattery corrupts both the receiver and the giver.
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There are no silos at 'Frontline.' Our digital team works with our filmmakers, and our filmmakers work with our digital team. They're always in touch, and they're always talking.
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It's an odd mix, the life of a playwright.
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I believe we should work to end all racism in American society and staunchly defend the inherent rights of every person.
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Everything about filmmaking is incredibly weird, and there's nothing natural about watching yourself on the big screen or hearing your voice. It's that same thing that you feel when you watch yourself on a video camera and you hate the sound of your voice - it's that times 800.
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Sometimes I think that there's a fine line between impressionistic and messy.
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Having grown up in the Middle East, eating beans for breakfast always seemed like a bizarre British eccentricity.
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It's not like I was trying to be sexy but I had to get fit because I had to be able to do stunts. Also I wanted that, if Bond took his clothes off, he looked like a man who did what he did, which was kill people for a living. I thought the only way to do that was to work out and get fit and buff and get physically into shape.
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I feel that every professional is the art school for the next guy. I feel that maybe a lot of the dynamism in my own work, having been felt by the rest of the artists, they'll react to it and put elements of that in their own work, feeling that it'll help it.
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I mean, I'm in a band, we're reasonably successful, I've got a very nice suit - I'm not even a bad person- so why can't I get a shag?
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And the blood of brave men was shed like unto the shedding of rain from a black cloud.
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What is black empowerment when it seems to benefit not the vast majority but an elite that tends to be recycled?
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I saw David Bowie in 'Labyrinth' when I was seven or eight. I told my mom I wanted a Bowie record, so we traveled to the mainland, which was, like, a three-hour trip, and I bought 'Let's Dance' and 'Tonight.' 'Let's Dance' blew my little mind. I became obsessed with it.
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It's self-effacing, it's hard-luck, the shtetl stories. All those Coasters things are an amalgam of Yiddish and black humor.
