A Quote by Mirah

I don't feel like I have a lot of reference to sexual innuendo on my songs. — © Mirah
I don't feel like I have a lot of reference to sexual innuendo on my songs.
I find Shakespeare surprisingly sexual. A lot of his language - a lot - has that kind of sexual innuendo that is at once everywhere but also kinda lost because we have our own innuendo now, our own language.
I encountered on a regular basis rude comments and sexual innuendo and cat calls and overt sexual propositions in professional settings.
What's really fun is seeing mothers bringing their daughters to the shows. And the best part is the mothers know they don't have to worry about sexual innuendo in the songs. The shows are family shows.
I feel like a lot of like the old-timey Christmas songs, the classics, a lot of it is very vocal. A lot of harmonies and, like, crooners, it puts you in that holiday spirit, I feel like.
I've always been very averse to innuendo, especially sexual. I find it cowardly or something.
I feel like, as an adult, a lot of how you feel about yourself and what your inner workings are can be revealed in a sexual situation.
Irish music is guts, balls and feet music, yeah? It's frenetic dance music, yeah? Or it's impossibly sad like slow music, yeah? Yeah? And it also handles all sorts of subjects, from rebel songs to comical songs about sex, you know what I mean, yeah? Which I don't think people realize how much innuendo there is in Irish music.
I find that when I get on stage now, I don't want to perform a lot of my songs because they don't feel like me. So I want to make songs that are timeless.
A lot of times, that's hard to capture: what you sound like in person versus what you sound like on record. If I had total control, I would do a lot of the old songs - not only my songs but Sam Cooke songs, Luther Vandross, melody songs. That's what I would really do if I had an opportunity to do a record.
I like making songs up. Whether or not they're great songs or good songs, whatever. It's something I've always done, and I definitely feel like I've gotten better at it.
We just did a bunch of songs, and there was a lot of enthusiasm for the songs that we made. We didn't feel like we had to do Miike Snow. We just did it because, I mean, I guess we felt like it would be a bit of a shame to leave it where we left it.
Women should not be forced to accept sexual harassment as the price of admission to a life and career in the political world. They should not have to endure unwanted touching, innuendo, and propositioning from men in positions of power.
I wrote most of these songs right before the end. A lot of these songs are about that. Even if it's not direct, you can feel the beginning of the end of the breakup in these songs.
I feel happy about the songs I've written. I'm a great lover of the craft of songwriting, and I sure admire it in other people when I see it - past and present. I feel comfortable with what I have accomplished. I feel happy to be able to work in that environment, and that I have a lot of songs left to be written, somewhere.
Every one of those old songs like "What's My Age Again?" and "All the Small Things" is like a tattoo or a scrapbook or an old photograph. There are just songs that define certain moments in your life. Everyone has a song that got them through a bad breakup or they put on and it made them feel like they wanted to go out and kick the world's ass with their friends on a weekend. Those songs still feel like that to me.
The sexual act - thinking about the sexual act, the telling about the sexual act, after the sexual act, is so much more important than the actual sexual act - just in time. It's like of the whole sexual act, you probably spend 95% of the time thinking about it, talking about it afterwards. The actually sexual act, especially when you're 17, is minutes.
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