Jason Aldean Quotes
I grew up listening to everything. And rock and roll has always been a big, big part of it - as big a part of what I do as any other type of music.
Quotes to Explore
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I wake up late, say 10 or 11, because we've usually been out and about town until 2 or 3 A.M. listening to music at the jazz clubs or hitting the jazz clubs post-theater.
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I think what I do in my acting world and what I do in my standup world is bring up a brand that I want to bring across. Once you figure out your brand and what you do, it's kind of easy at that. You end up getting your audience.
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I don't want to put my fate in country music fans; I'm too stubborn.
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For the last few years I've tried to force myself to write at least one page every day, which doesn't sound like much but it's actually pretty hard to manage. Because I'm not allowed to do a make-up day. I can't do two pages the next day. The punishment for not completing my page is that I have to eat a vegetarian meal the next day.
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I don't know why directors sign on to these projects and completely rewrite everything.
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I don't feel proprietary, but I do feel there is a human identity to the borough of Hackney that's quite peculiar. It was always bloody-minded and difficult; it always stood up to central government.
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When I sing, people shut up.
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I don't want to be a grown-up anymore; it's hard!
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I feel sorry for these kids in bands. Everything is so disposable nowadays. These kids don't even get 15 minutes of fame, it's like a minute and a half.
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I really believed that my songs were good enough for the whole world to listen to. I had fans from America or the U.K. who would be like, 'Oh my God, I love your music'.
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Putting on my legs is like putting on my shoes. I understand that's how some people might think differently, but I hope that in London, their perceptions open up.
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A lot of my creative energy is spent coming up with a concept that, once I get it, I feel like it writes itself.
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Music, first of all, is completely about abstraction, which is exactly what architecture is not. In a way, it has been incredibly constructive to know what true abstraction is. So you don't fall into the trap of thinking that what you do is abstract.
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But I honestly don't read critics. My dad reads absolutely everything ever written about me. He calls me up to read ecstatic reviews, but I always insist that I can't hear them. If you give value to the good reviews, you have to give value to the criticism.
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I always have music. I love it to be very upbeat. When you're having drinks, I like something like Cesaria Evora. During dinner, I like the much more traditional - old Frank Sinatra and things like that.
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My speech is really important to me, but the thing is at the moment it can't be more important than my singing. Until I'm an established name all over the world, my speech won't be more important than my music.
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Me being able to beat up Austin Powers? I mean, how great can that be?
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It was a lovely opportunity for the first time in my whole career to stand up and thank people who are really responsible for me getting to realize my dreams.
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I do actually use a boxing trainer when I train for stand-up.
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I've got Colin Firth's number in my phone!
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Here we are at the very core of the thesis we wish to defend in the present essay: reverie is under the sign of the anima. When the reverie is truly profound, the being who comes to dream within us is our anima. For a philosopher who takes his inspiration from phenomenology, a reverie on reverie is very exactly a phenomenology of the anima, and it is by coordinating reveries on reverie that he hopes to constitute a "Poetics of reverie". In other words, the poetics of reverie is a poetics of the anima.
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My father was from the South and turned me into a news junkie at a very early age. I would sit and watch TV with him.
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I grew up listening to everything. And rock and roll has always been a big, big part of it - as big a part of what I do as any other type of music.
