Jason Aldean Quotes
That's kind of fuse for the show - those first 10-15 seconds you're onstage. The curtain drops and you see the crowd for the first time and they see you for the first time. The response and the energy that's going on right there - to me, that sets the tone for the rest of the night.
Quotes to Explore
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I find myself so easily discouraged. It is pathetic how easily I can be discouraged - easily discouraged by resistance, easily discouraged by opposition, easily discouraged by hardness of heart, easily discouraged by blindness.
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There is an expression now that is commonly used about these so-called internal conflicts which are not really internal, because they have connections to the outside world.
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I think a woman gets more if she acts feminine.
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If you can get yourself where you're not afraid of dying, then you can move forward a lot faster.
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Everybody sooner or later has to drop the luggage and the baggage of illusions.
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Hey, the TV was my friend. As a child, I always said, 'I want to live in there someday.'
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I was tested against the best.
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I think theatricality is just one way of performing. I don't think it's a better way or the way, but it's my way.
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Wouldn't it be grand if we thought that theater could have that impact on the political life of a country?
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You have to think that the answer - and the right answer - for you and your organization might not be something that's been done before. And it's up to you to discover and work with your team to form and figure out how to do successfully.
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Coming from the Midwest, I didn't know about stand-up as an art. I just thought stand-up comedians were old men in suits talking about their wives.
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Now I've been free, I know what a dreadful condition slavery is. I have seen hundreds of escaped slaves, but I never saw one who was willing to go back and be a slave.
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Oh, I have to say Romana; she was much more fun to do but I did enjoy the Princess when she was turning bad.
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I'm not more or less conscious than any other rapper out there.
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I always wanted to be the person to whom people looked forward to give opportunities. As opposed to always being the person who wants to work with others and who is always the backup: where it's like, 'If nothing works out then OK, let's get this person.'
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It's much like playing jazz, flying. It's multitasking in real time. You have a number of instruments that alone won't tell you exactly what the airplane is doing but together give you a picture of everything that's going on.
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I happen to think singing is hilarious, especially when it pops out at the wrong time.
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I worked in rep for six years, then I came to London and to the National Theatre. What's better than that?
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In a state where corruption abounds, laws must be very numerous.
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I'd love to work with Cher Lloyd; that would be my dream person to work with.
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And I took a long time to appreciate Lynch.
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The first time I've actually filmed in London, the locations we've all had have been real inner city, grimy urban places which has been great. Filming here, you've got everything on your doorstep, so when you've got time off, you can go into town, so I've really enjoyed it.
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When I got back to my father and mother and was sitting up there in our tepee, my face was still all puffed and my legs and arms were badly swollen; but I felt good all over and wanted to get right up and run around.
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That's kind of fuse for the show - those first 10-15 seconds you're onstage. The curtain drops and you see the crowd for the first time and they see you for the first time. The response and the energy that's going on right there - to me, that sets the tone for the rest of the night.
