A Quote by Anne Reid
For the first part of my career, I did what I was told, and I wasn't getting anywhere. I'd get in such a state when I was asked to do something, and it didn't feel right, and I'd end up feeling that I wasn't very good.
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You can't just think that you will get a job for no good reason... And I think that the other part is you have to work your way up, you know I did a lot of Xeroxing and getting coffee...I always did what I was asked to do. I delivered. People knew that I would get things done and get them done well. And that is a big part of our resumes, are based on being responsible and being willing to do what needed to be done.
She asked me what was wrong, and I told her I had to end it. She was surprised, and asked my why I thought so. I told her it wasn't a thought, more a feeling, like I couldn't breathe and knew I had to get some air. It was a survival instinct, I told her. She said it was time for dinner. Then she sat me down and told me not to worry. She said moments like this were like waking up in the middle of the night: You're scared, your'e disoriented, and you're completely convinced you're right. But then you stay awake a little longer and you realize things aren't as fearful as they seem.
Many first-time novelists end up rewriting their first two or three chapters, trying to get them 'just right.' But the point of the first draft is not to get it right; it's to get it written - so that you'll have something to work with.
The first time I worked out I almost threw up. I did not feel good at all. My friend said, 'You have to get past the first month, you're going to feel so much better.' And she was right: After about 30 or 40 days, I saw changes.
I feel more as if I'm shaping something with my hands. I feel as if I've always wanted to get to that state. Like a blind man in a dark room had some clay, what would he make? I end up with 2 or 3 forms on a canvas, but it gets very physical for me.
'Rangrasiya' was a very special show for me. It played a very important part in shaping up my career. I feel it was a premature end to the show. My character Rudra was very close to my heart.
The greatest feeling you can get in a gym or the most satisfying feeling you can get in the gym is the pump. It feels fantastic. It's as satisfying to me as cumming is, you know, as in having sex with a woman and cumming. So can you believe how much I am in heaven? I am like getting the feeling of cumming in the gym; I'm getting the feeling of cumming at home; I'm getting the feeling of cumming backstage; when I pump up, when I pose out in front of 5000 people I get the same feeling, so I am cumming day and night. It's terrific, right? So you know, I am in heaven.
I need to be in a stable environment right now in my career. What I mean by that is a place where I can play and not have too much pressure on me and a place I can develop. Monaco wanted me and did whatever they could to get me so I feel very very good about that.
The first real unhappiness I remember to have felt was when some one told me, one day, that I did not love God. I insisted, almost tearfully, that I did; but I was told that if I did truly love Him I should always be good. I knew I was not that, and the feeling of sudden orphanage came over me like a bewildering cloud.
My first significant break was when I was 15, going on 16, and my cousin Courtney 'Bear' Sills told me you can make a career out of writing songs. He was the one who put me in with 112. The first song I did with 112 was 'We Can Do It Anywhere.'
Before I went to the Mess I made the excuse I wanted to get something out of my aeroplane, and climbed into the cockpit; I did this, however, to be able to say good-bye to the old dear; and I really felt dreadfully sorry to part with her. I get very attached to aeroplanes, and I am one of those people who think that they aren't so inanimate as we are told they are.
I've found a bit of success in my career, and I'm very relieved by it, but the success that comes after a book is published is never as happy as the feeling of writing, of knowing you've written something good, of feeling like you've had a worthwhile day in the chair. That's the best feeling I know, and as soon as writing stops making me feel that way, I'll stop doing it.
When I create music, the feeling that you get... I get first. You [the listener] have a delayed experience with the feeling I initially get when I have a creative insight. Not just the voice, but all the creativity - the production, the idea, the concept, the music involved. There is a high. There is an emotional experience that happens when everything comes together... I made music as consistently as I did, especially back in the day, because it made me feel so good... When everything is on, it's a wonderful feeling.
It's like I'll sit down and put my hands on the piano or the guitar, and then I'll hear a sound or I'll feel a chord that will resonate and then I'll get something happening in my voice. My voice is like a car that I get into and drive but I don't know where I'm going. And I record everything. And often, I sort of get into a state, a creative state that is, where I'm just feeling around melodically, and playing things off the top of my head. Then I go back and listen to it and for the first time, hear what I just did. It's like Elvis has left the building while the thing is happening.
For me, it's been a long road of growth. Not only as a performer but as a man, as a father and all that kind of stuff so at one point in my career I really just wanted to give up and hang it because I wasn't getting anywhere, I wasn't getting myself in good shape.
In the economy of the body, the limbic highway takes precedence over the neural pathways. We were designed and built to feel, and there is no thought, no state of mind, that is not also a feeling state.
Nobody can feel too much, though many of us work very hard at feeling too little.
Feeling is frightening.
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