A Quote by Calvin Johnson

Any time you're dealing with an ankle, you've got to run, you've got to cut, you've got to do all those things. It makes it tough. — © Calvin Johnson
Any time you're dealing with an ankle, you've got to run, you've got to cut, you've got to do all those things. It makes it tough.
There are values on Broadway that are dangerous: it's got to be Best Musical, it's got to make money, it's got to run a certain amount of time. Nowhere in this, of course, is there any mention of quality.
Perseverance. I got cut twice. I got cut in Charlotte. I didn't have to go to Atlanta to audition. I could have said, "I'm not cut out for this." But I said, "I think I'm better than that, I can go try again." So I went to Atlanta and I made it through. Then I got cut the first time around. I could have told them I didn't want to come back for the Wild Card show but I did and look how far I got.
The old shepherd had died, or got drunk, or got rats, or got the sack, or a legacy, or got sane, or chucked it, or got lost, or found, or a wife, or had cut his throat, or hanged himself, or got into Parliament or the peerage anyway, anything had happened to him that can happen to an old shepherd or any other man in the bush, and he wasn't there.
We’ve got customers. We’ve got suppliers. We’ve got employees. We’ve got unions. We’ve got communities. We’ve got all of these things that go into making up whether a business succeeds or fails.
I got thrown into the lion's den when I got to Alpha Male. My first sparring session was with Joe Benavidez, Chad Mendes and those guys, just bleeding from my face, its not like they took it easy on me. It was one of those things where we sparred 3-4 days a week, and we got thrown in there and that's what made me as tough as I am.
Around '93, the radio started playing 'Loser' by Beck and 'Cut Your Hair' by Pavement, and then I got way into Pavement. That was kind of a gateway drug into indie rock. I got all their B-sides, and I got that 'Hey Drag City' comp, so I got into all those Drag City bands.
As long as I get those running shoes on, then there's no turning back, and I have to go for that run. As long as you've got those workout clothes, you've got them on, you've got to go.
After the first time I got traded - I was in the bullpen warming up for a game in Double A, and I got called back in and got traded - that was probably the, like, most crazy it could be. And once I got traded, the next time it got a little easier, and I got traded the next time - it's just part of it.
I think any type of setback you have, any tough time you've got, getting through it is what makes you who you are. It makes you a tougher person. I think whatever you've been through in your life makes you a tougher person. I'm very grateful for the background I have, every tough situation I've been through because it's made me who I am.
The problem with Maigret is he hasn't got a limp, and he hasn't got a lisp, and he hasn't got a French accent, or a particular love of opera... or all those other things that people tend to attach to many fictional detectives. He's just an ordinary guy doing an extraordinary job, in a very interesting time.
You have got to have a good sense of humor, you have got to be tough, and you have got to know how to dress.
Doing a concert, I look at a room full of different people, and I see you've got Muslims, you've got Jews, you've got Christians, you've got gays, you've got straights, you've got blacks, you've got whites. I think, 'How can I unite these people through song?'
If you're dealing with a musical in which you're trying to tell a story, it's got to sound like speech. At the same time it's got to be a song.
First I got a yo-yo. I got good and then I got bored. Next I got one of those wooden paddles with a rubber ball at the end of an elastic band. I got good and then I got bored. Then I tried bubbles. I got good but I never got bored.
There's a time when the operation of the machine becomes so odious, makes you so sick at heart, that you can't take part; you can't even tacitly take part. And you've got to put your bodies upon the gears and upon the wheels, upon all the apparatus and you've got to make it stop. And you've got to indicate to the people who run it, to the people who own it, that unless you're free, the machine will be prevented from working at all.
You got to have two things to win. You got to have brains and you got to have balls. Now you've got too much of one and not enough of the other.
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