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“I feel very fortunate that I'm doing what I wanted to do from the third grade on. I became very interested in the sports broadcasting aspect even at that early age. I'd turn down the sound on the TV and do games in my house - and probably get everybody looking for me to go into a room and lock the door so they didn't have to hear it.”

“In my view, madness is a place. You go. You come back. And I think we all take turns being the mental patient. Without a touch of crazy, literature can be a desolate place. In the current climate of careful speech, even fearful speech, smoke-free film scripts, thought-free songs, and child-proof locks on American minds, the oft-repeated lament of the arts is "Where have all those wonderful madmen gone?"”

“It's a romantic view of Canada. It's like Michael Moore saying we don't lock our doors in Canada. I lock my door mainly because my girlfriend wants me to lock the door, but mind you we lock our doors. It is a little simplistic to say that we blend easily back home with other cultures. It's difficult, but I think it's mainly a big city phenomenon.”

“Because who can describe that look that triggers the memory of loved ones? Who can anticipate the frown, the smile, or the misplaced lock of hair that sends a swift, undeniable signal from the past? Who can ever estimate the power of association, which is always strongest in moments of love and in memories of death?”

“Humans are born, small, weak and helpless. That's why we have family. And the elders of the family are the honoured guardians of our country's history. Unfortunately, in America, we, you know, lock those elders away out of view in nursing homes and go about our little lives. It's a great national shame and an irredeemable tragedy. Oh well.”

“When it comes to certain kind of rhythm things, particularly like shaker or tambourine tracks. I like the way I can really lock up with my own Hi Hat or Ride Cymbal beat. So a lot of times in recording I'll be asked -- or even volunteer -- to put a shaker or tambourine track on. Just to give it something extra. And it always works great. I hate it when I'm in the studio and I don't have any shakers or tambourines with me. I've been on a few dates when we didn't have anything and tried to improvise shakers out of some uncooked rice in soda cans. It sounded horrible.”

“I never try to be religious. I never try to be any type of religious cat. Spiritual, yes, but religion, when you get into that you get into a category where you lock yourself in and people look at you a certain way and then they become that way. Nah, I'm still an MC, I'm an MC first. People try to figure out my origin, at the end of the day it's just clever songs.”

“You have to be able to grow and move with the organism that is the music industry. You need to maintain flexibility. Ownership of your own stuff is key and then you're able to dictate on a present-terms basis what would be the most effective way to protect yourself and what you've created. You also don't want to lock yourself into a situation where a major label owns part of your touring and merchandise.”

“I do hear snippets on the radio. I do hear a little bit of me, sometimes great chunks of me. But I have to take that as a compliment; there's no way you can get sour grapes about that. But if somebody starts taking your whole new thing lock, stock, and barrel, and do their own version of it before you do it, that's not on.”

“I'm not much of a correspondent. My letters are not only uninteresting but sparse. I'm glad I don?t have to write for a living. It?s arduous work and the money is very uncertain. On those rare occasions when I wander into a bookstore it amazes me to see the avalanche of literature and semi-literature that is turned out weekly in this country. The people who write these things are either desperate for money or love starved. Why should anyone on a nice balmy day lock oneself in an office and hit a typewriter for hours on end. I think one of the greatest pleasures in the world is not writing.”

“Let your Neshuma (soul) be the real inspiration. You have a soul, you have a spirit, don't lock it in a box and forget it... Let's make this a better world... We dare not assume that the next century will have less hatred or murders than the past centuries. How can we? Are the weapons of tomorrow less harmful? Are the leaders more dependable? Are our peace treaties more durable? Are our ethics more honorable? Time is running out... We must hurry.”

“I think the most note-worthy part is that Stella [Mozgawa] had joined the band two weeks before we started recording, so that really influenced the way that the album was recorded. It was really important for Stella and Jen[ny Lee Lindberg] to lay down the drums and bass first for most songs, because they were determining how they needed to lock in together, and Stella was still kind of learning and figuring out her parts.”

“There's so much impetus for change, there's so much desire to not have this oil economy continue, but it continues nonetheless. And people often assume that's because technology is not good enough, or there's no money being invested, or it's just not ready yet. It's none of that. It's actually a system of government and corporate behavior that work in collusion and lock step with one another to deflect any momentum toward true alternative energies.”

“Childbearing, I mean, if there's no place to go to deliver your baby, then you're the one that's delivering in those unhealthy circumstances. Or if you can't get access to family planning, your chances of surviving and being able to bring your kids up if they come one right after the other, that locks you into a cycle of poverty.”