A Quote by Cynthia Weil

We wrote what sounded good to us and hoped it would find a home. — © Cynthia Weil
We wrote what sounded good to us and hoped it would find a home.
So I wrote what I hoped would be science fiction, I was not at all sure if what I wrote would be acceptable even. But I don't say that I consciously wrote with humour. Humour is a part of you that comes out.
I am not surprised that this is a longer bit of work than many of us would have hoped. It is not where any of us would have hoped it is. And I think we need to give credit to the Republicans in Congress who have done everything they can to defeat every jobs bill and slow down the economy.
I hoped to win a medal and hoped it would be gold. I knew I was good but didn't know I would be the one to score something that had never been done before.
The facts are - I did say I hoped it [Trans-Pacific Partnership] would be a good deal, but when it was negotiated which I was not responsible for, I concluded it wasn't. I wrote about that in my book.
Manual Lynn? Find out what that is. He wrote every single word in the play, and then everyone just rapped their parts. Imagine if like, Eminem wrote a play, that's what it sounded like to me.
These all sounded really bad, but they turned out to be good. If they had sounded really good, there would have been too many people working on them.
Take the Long Way Home is a song that I wrote that's on two levels - on one level I'm talking about not wanting to go home to the wife, 'take the long way home' because she treats you like part of the furniture. But there's a deeper level to the song, too. I really believe we all want to find our true home, find that place in us where we feel at home, and to me, home is in the heart. When we’re in touch with our heart and we're living our life from our heart, then we do feel like we found our home.
We've learned over the years that if we wanted we could write anything that just felt good or sounded good and it didn't necessarily have to have any particular meaning to us. As odd as it seemed to us, reviewers would take it upon themselves to interject their own meanings on our lyrics. Sometimes we sit and read other people's interpretations of our lyrics and think, 'Hey, that's pretty good.' If we liked it, we would keep our mouths shut and just accept the credit as if it was what we meant all along.
I hoped to be able to write a novel which would enable me to live on it while I wrote the next.
I hoped that my weary pilgrimage in the world would be short; and that it would not be long before I should be brought to my heavenly home and Father's house.
Beauty was deceptive. I would rather wear my pain, my ugliness. I was torn and stitched. I was a strip mine, and they would just have to look. I hoped I made them sick. I hoped they saw me in their dreams.
After college, I was living in New York and wrote furiously, a huge novel that I knew was a failure. I hoped that the book would work, but to be honest, I think I knew it would never work, even as I was finishing it.
As I started to consider a career in music, I hoped for success, truthfully. I didn't imagine anything that would amass the level of the first record, but I hoped that I would be able to sustain a career.
Surprisingly, fainting sounded like a really good idea. If I fainted, I'd be unconscious, so I wouldn't have to see the impossible anymore, nor would I have to feel so dizzy and sick. Than maybe when I woke up, all of this would go away and I'd find it was all just a bad dream. The mist started to turn dark around the edges.....For the record: fainting sucks.
A lot of the songs that I wrote during 'Pt. 1' and 'Pt. 2' are the first songs that I ever wrote that sounded like that. I was in this phase - a certain creative space in my life - personally and musically.
Rectory always sounded to me like a place where you would find a proctologist.
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