A Quote by Colin Cowherd

Sometimes my tone stinks. — © Colin Cowherd
Sometimes my tone stinks.
I never would say a player stinks. Ever. I'll tell you their team stinks, and first of all, they know their team stinks. And the fans know their team stinks.
Sometimes you're just regular. Sometimes you wake up, and your breath stinks like everybody else, and you had a bad hair day.
Because he stinks on the power play. He stinks. I don't know why. I wish I could put him on the power play, but every time I put him on, he stinks.
In order to produce learned fear, you take a neutral stimulus like a tone, and you pair it with an electrical shock. Tone, shock. Tone, shock. So the animal learns that the tone is bad news. But you can also do the opposite - shock it at other times, but never when the tone comes on.
If something stinks, I say it stinks. But I try to massage it a little and not be as cutting, come behind it with a joke: Hey, I cut you deep, but now let me put a couple of stitches in you.
I just see many, many untruthful things. I see tone, the word tone. The tone is such hatred. I'm really not a bad person, by the way.The tone is such - I do get good ratings, you have to admit that.
With the black and white films, one was concerned with tone... You had to make sure that the tone of your dress was not the same tone as the curtains, for instance.
I think sometimes writers can get themselves into trouble trying to exert a totally controlled and super-knowing tone. This kind of knowingness is not the most promising tone to be sustained throughout a novel, to have a young woman who understands everybody and is always reading a room perfectly.
Music can help uncover that tone that's in the fabric of the movie. Sometimes it's very plain to see, sometimes it's not.
I'll just say that I made my own explorations of tone by listening to a tone for a long time until I began to understand what my sensations were, what my mind was doing with tone.
Tone is somewhat totalising in that, once I locate it, it tells me what kind of syntax to use, what word choices to make, how much white space to leave on the page, what sentence length, what the rhythmic patterning will be. If I can't find the tone, I sometimes try narrating through the point of view of someone else.
Sometimes, in certain stories, I think we know at the outset essentially what the tone is going to be, or it becomes important that we're groping toward some kind of story with a certain kind of tone that we both get somehow. But I don't think how that's combined with other elements is ever in any way overtly discussed.
Sometimes when you get older, you need to tone down the trash talking, and sometimes you need younger fighters to bring it out of you.
Even if nobody's singing, just when you talk, you're singing. I'll meet somebody and say, "Oh, I'm tone-deaf." I say, "You're not tone-deaf, because if you were tone-deaf you would speak like that. But you're 'Oh, I'm tone-deaf.' You already sang a song to me."
My monologues aren't always funny. They're generally thoughtful. Sometimes at different levels of aggravation. And sometimes no aggravation. But the pressure on me is not to be joke-efficient when I'm talking on this mic. And that sets the tone.
When you're directing an ongoing series, the tone has already been set. So a director will come in and fulfill that tone - reinforce the characters and their behavior. The challenge is to find unique ways that you can visually tell the story while keeping the established tone and the pace and the characters.
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