A Quote by Anderson Paak
A lot of Knxwledge's instrumentals just brought out this tone and swagger that I had played with before but had never really pinpointed before on my Anderson .Paak stuff. But then it just came so easily.
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I played [baseball] in college, so it wasn't that much a stretch. But I would say the main thing for guys who hadn't played before it's just one word - swagger. If you have swagger on the field, and look like you know how to play, that's 90% of it.
'Sleepless' was a script that had been written by three or four other writers before me, and it never really worked, but it had this amazing ending on the top of the Empire State Building that just worked, no matter what came before it.
When I was on 'SNL,' I was getting weirdly anxious about being on camera, which I had never really done before. And so my solution was just to not watch my stuff. And then I found out that other actors do it, too, and I felt less weird about it.
At 21, right out of college, I had two producers, about my age, who had never produced a show before, and they wanted me to write and produce an hour-long show before I turned 22. Which is a whole lot of work for someone who's just an 'airhead.'
When I wrote the first album I had never played live before, and I'd never been on tour. So that was really just me and my guitar.
My father died in 1989 before I knew what I was going to do with my life. I had just graduated from college. My mother died just before 'Sideways' came out. She knew I was an actor, but she never saw me become successful.
Well, it was never supposed to be like that. Walt died before we had finished. The original idea of Walt's was that you came down there, into the caves, and there were no pirates. But they had been there just seconds before! There was a hot meal on the table, steaming.
I had seen this comic called 'Invincible' created by two people I had never heard of before, Robert Kirkman and Cory Walker, and I was a huge fan. 'Invincible' probably had five or six issues under the belt, and the book was so impressive to me, I was surprised that I had never heard of them before. It's like they came out wholly formed.
I was at a slight disadvantage in that I had never played in bands or done any performances before, and that's just as important as writing, recording, and putting records out. It's been a lot of hard work, balanced with a lot of pinch-myself moments of touring in crazy parts of the world.
People always say, 'Oh, you've played a lot of waifs... ' but they were just girls. It's just that a lot of those everyday characters had never been on the screen before. I do hope I didn't get typed. I feel myself that I tried to do different things with those women.
Countdown came about at a time when we'd just had our first baby, and, if I'm entirely honest, it looked like an income - a salary - something I'd never had before.
I had never been to Oklahoma City before. I had no clue. Just heard there were a lot of tornadoes.
I didn't start really playing the guitar till I was about seventeen, and I never really had those formative years are where like I was in my room, figuring all that stuff out before I hit the stage. I just did all that on the road all at once, so all those years of playing roadhouses in bars and clubs, I was really figuring it out.
Before I had a kid, I was off in some kind of cosmic state all of the time, and thinking about the world beyond, thinking about intellectual stuff. And then, after I had a kid, just the whole process of giving birth is just so earthy and grounding and insane and it's all just an intense physical ordeal.
I played for Santos at 16, and we had an excellent team, so it helped a lot. And then I played for Brazil at the Maracana against Argentina. So I get more experience. This was one year before the World Cup, and it made a lot of difference.
In order for me to get right, I had to go back to Memphis, I had to close myself in, get in the studio, lock in, and just think about everything before all the ice, before the money, before everything, and just vent.
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