A Quote by Andy Grammer

You either create something there on the street, or nothing happens. It's brutal. But if you go through that for two or three years, it really toughens you up. — © Andy Grammer
You either create something there on the street, or nothing happens. It's brutal. But if you go through that for two or three years, it really toughens you up.
A plate of food hits the table, lands right in front of you. One of two things happens. Either you sit up and look at it and react to it, or nothing happens. If nothing happens then that restaurant is stuck in mediocrity forever.
If something happens and you're behind, and you get hit in the mouth early like that, you have two options: You can either pack it in mentally and internally and go into survival mode and quit, or you're going to get up and go to work.
For instance, let us say that a new stock has been listed in the last two or three years and its high was 20, or any other figure, and that such a price was made two or three years ago. If something favorable happens in connection with the company, and the stock starts upward, usually it is safe play to buy the minute it touches a brand new high.
I've been in those relationships. You go through years of your life and at a certain point you wake up and you go, god, what am I doing here? What have I spent the last three years doing? Part of it is learning, this process you've gotta go through. You have to recognize the point at which you're not learning anymore, and be able to let it go.
I want people to look at themselves. I want people to go into a space for meditation. It's funny to use a word like meditation as the music is fairly brutal but there is a hypnotic element to it and the way that I try and create that for someone just happens to be through a fairly heavy form of music. You are constantly barraged and beaten down with a lot of bullshit and I find that heavy and extreme music helps me to go into a very tranquil place and I hope, more than anything, that the music does create a space for people to go inward with.
I feel like I've been picky through the years and would do one movie a year or one movie every two years, and I want to work a lot more. So if I can find something that just happens right away as a director, I'll do it if I really love it, but otherwise, I want to keep working as an actor and getting better.
Just over two thousand years ago, this planet went through a change, and it's a normal thing for every two thousand three hundred years a planet to go through a new change; new laws, new things is happening.
Now, everybody knows the basic erogenous zones. You got one, two, three, four, five, six, and seven. ... OK, now most guys will hit one, two, three and then go to seven and set up camp. ... You want to hit 'em all and you wanna mix 'em up. You gotta keep 'em on their toes. ... You could start out with a little one. A two. A one, two, three. A three. A five. A four. A three, two. Two. A two, four, six. Two, four, six. Four. Two. Two. Four, seven! Five, seven! Six, seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! [holds up seven fingers]
I can walk down the street, and 85 percent of the people on the block are really quite oblivious to me. They either think I'm probably an actor or else I installed their storm windows two years ago, or I work at their bank, or maybe I'm their cousin Marie's gynecologist. Then, to the other 15 percent of those people on the street, I'm a rock star.
The two things I hear wherever I go, literally walking down the street, through airports, or in restaurants - it is either 'You raised me,' or 'Fellow Canadian.' Not even a paraphrase - those are the exact remarks.
Old Madame du Deffand and her friends talked for fifty years without stopping. And of it all, what remains? Perhaps three witty sayings. So that we are at liberty to suppose either that nothing was said, or that nothing witty was said, or that the fraction of three witty sayings lasted eighteen thousand two hundred and fifty nights, which does not leave a liberal allowance of wit for any one of them.
Before the fight I don't like to talk a lot of crap about my opponents, it's nothing personal, when it comes to interviews or anything like that. But once I get in there, I make it personal. This is my livelihood, my life is either going to go up or go down depending on what happens right here, so it's really personal. I make that guy my enemy.
Through the years I've accumulated this big bag of songs. When I go out I do close to two hours, and it's all just attitude - and up-tempo. I've accumulated so many of those types of songs now that the show just gets off with a bang, and I'll only do two or three ballads the whole show.
There's nothing like getting feedback that's positive and supportive. That's what I'm all about. I'm really just genuinely doing good music. I'm not looking to be on the cover of magazines and I'm not in it for the fame. I'm not in it for selling or the biggest Pop song in the world. I have to go for critically acclaimed. I'd rather go for my peers that I look up to say "I listen to her record." I'd rather do a small little touring venue that has two people who support me as opposed to thousands of people. I mean if it happens, it happens but I'm doing it for me.
You want to have a song that people will listen to and go, 'Oh, yeah! That reminds me of something in my life,' or, 'something I'm currently going through,' or maybe something happens later and you hear the song and go, 'Wow! That really was telling a story that I can relate to now.' That's my hope.
It's okay if it takes two or three years for something really good to come along, but I don't want to wait ten years for something great to come along.
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