A Quote by Chrissy Costanza

Our Japanese fans don't speak English primary. They'll translate a sentence before coming and say something like, 'Thank you for coming to our country.' It's like, you're welcome. Thanks for coming to our show!
The coming and going of the seasons give us more than the springtimes, summers, autumns, and winters of our lives. It reflects the coming and going of the circumstances of our lives like the glassy surface of a pond that shows our faces radiant with joy or contorted with pain.
The process of coming out was critical to getting where we are today: coming out to our friends, our family, our co-workers, God forbid, to our clients.
The coming and going of the seasons give us more than the spring times, summers, autumns, and winters of our lives. It reflects the coming and going of the circumstances of our lives like the glassy surface of a pond that shows our faces radiant with joy or contorted with pain.
On the U.S.A. team our income wasn't coming from U.S.A. It was coming from sponsors, it was coming from how we made money elsewhere.
English is necessary as at present original works of science are in English. I believe that in two decades times original works of science will start coming out in our languages. Then we can move over like the Japanese.
Just hearing somebody's voice in center field, it helps our guards out to know where they need to go, when the screen is coming, when the back door is coming, when the flare is coming. When different things like that happen and we're talking, it helps us all out in the long run.
Shakespeare is forever coming into our affairs -- putting in his oar, so to speak -- with some pat word or sentence.
The journey homewards. Coming home. That's what it's all about. The journey to the coming of the Kingdom. That's probably the chief difference between the Christian and the secular artist--the purpose of the work, be it story or music or painting, is to further the coming of the kingdom, to make us aware of our status as children of God, and to turn our feet toward home.
We made our debut in Japan about few years ago and when we went on a morning show there to promote our album, I did a brief interview in Japanese using simple expressions such as "Yoroshiku onegaishimasu." But one of the members of our group said, "Stay quiet if you can't speak Japanese! It's embarrassing!" So that's when I told myself that I'd show how good I am by studying Japanese hard.
I've been watching 'The Cosby Show' and 'Roseanne' a lot right now, and those work so well because they're not, like, jokey comedies; they are coming from real characters. We want our show to be like that. A family show.
I'm going to make our country safe. We're going to have borders in our country, which we don't know. People are pouring into our country and coming in from the Middle East and other places.
We are not ready to tolerate any harm coming to our country, and we will fight all powers that cause harm to our country, that work against our country's interests.
This is our most complete record by far. A Hundred Million Suns sounds like the marriage of everything we learned from the Jeepster years and the Fiction years made into something new and bolder. Our spikiness and our indie-ness are coming through again with all the poppiness of the last two records. There's a lot of melody here and you can't cloak that whatever you do with it. This album is touched by our entire history, and hopefully sounds like our future too.
We've been co-evolving with our technology for a hundred thousand years. Human beings and the technology we make were always inseparable. We're finally coming into this moment where it's coming inside our body for the first time in history.
Increasingly, corporate executives who don't speak Japanese are coming into Japan. Unlike their predecessors, they expect their employees to be able to communicate in English.
It's like real life: We don't get a preview of what's coming up, thank God, and we don't build our own character from what we're going to be informed with in the future.
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