A Quote by Ann Wilson

Fame put a lot of pressure on me in the Eighties and early Nineties - and I'm glad that I had the kind of makeup where I could come through it alive, keep myself in hand. — © Ann Wilson
Fame put a lot of pressure on me in the Eighties and early Nineties - and I'm glad that I had the kind of makeup where I could come through it alive, keep myself in hand.
Becoming baseball analyst was really important for me to not just be one of the first, but to literally break open the door and come in and stay, so that we could start inviting our friends and everyone, like, Come on. The door is open now. I am so proud of the fact that I put that pressure on myself: Alright, Jess, you've got a lot of women on your back right now and it's on you, so don't screw it up. I put that pressure on myself on purpose, so I'd realize it's not just about me, it's about a whole gender.
We just kind of relied on written scouting reports through the eighties and even the early nineties. I've really been amazed by some of the data that's out there, especially with regards to tendencies of hitters, and certainly tendencies of pitchers as well. I would have loved to have gotten that data when I played.
I mean, the death in the late eighties and early nineties really shook out a lot of hacks. The pond just sort of dried up for a lot of really bad comedians.
I always had pressure on myself through my life. I put pressure on myself and not from other people. I always wanted to be one of the hottest rappers. So the pressure comes from myself.
I had a really strange period in my early 20s with the industry, and not succeeding the way I wanted to, and I put a lot of pressure on myself.
When I left politics in the early Eighties and started writing and recording, my idea was that I could have an influence further down into other generations. That Natives could come into the culture through arts and music.
There is a lot of pressure put on me, but I don't put a lot of pressure on myself. I feel if I play my game, it will take care of itself.
That period in the late Eighties and early Nineties was when I was playing my best snooker. My trouble was that I had so many bad habits that my preparation was terrible: people like Steve Davis or Dennis Taylor were model pros.
One of the things I do in banking committees is put pressure on them, and one of the other things I do is through my website, through outside pressure, and I ask people to come and help us join that fight where we can get people outside to keep putting the pressure on the Senate to make sure there are no compromises and weakening of Dodd-Frank.
It's something I have to remind myself about, that at every competition, I put a lot of pressure on myself, almost like it's the end of the world, and I have to keep reminding myself it's not.
You could analyze me and say that my father leaving and being absent was a motivator for early ambition, trying to prove myself to this apparition who had vanished. You could argue that me being a mixed kid in a place where there weren't a lot of black kids around might have spurred on my ambitions. You could go through a whole litany of things that sparked me wanting to do something important.
Growing up in the eighties, you could go from one style in a movie to another style, and that was okay. In the nineties, you had to obey your niche. You had to follow the code and never step outside of exactly what you're doing.
I don't want to say I took myself too seriously, but I put a lot of pressure on myself coming out of school. I saw so many people leave the business behind, certain opportunities disappear for folks who had to go into other professions. That kind of terrified me. As a result, I wanted things to happen really quickly.
It was easy in the early nineties to make a list of great things that could be done, now that there was such a convenient source of entangled pairs. Anton's claim to fame is that he went and did them.
By the late Nineties, we had become a more visual nation. Big-money taste moved to global standards - new architecture, design and show-off contemporary art. The Sloane domestic aesthetic - symmetry, class symbolism and brown furniture - became as unfashionable as it had been hot in the early Eighties.
When I went to Gladbach from Basel in 2012, I put a lot of pressure on myself at first, and it was too heavy. I will not put any pressure on myself at Arsenal, even though the transfer fee was high.
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