A Quote by Emmitt Smith

Not only does he have the NFC East record for touchdowns, but also the team record. — © Emmitt Smith
Not only does he have the NFC East record for touchdowns, but also the team record.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
With a Grammy, if you're releasing your record with a major label, you have a chance with any record. You also have a very long shot with every record.
If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.
I met Arcade Fire on their first record, 'Funeral.' I loved that record, and it was a record I was listening to while I wrote 'Where the Wild Things Are.' Those songs - especially 'Wake Up' and 'Neighbourhood' - there's a lot of that record that's about childhood.
The Paris Agreement is an agreement that has really such a huge, huge level of credibility and strength. Not only was it signed by more than 190 countries in record time, it has also been ratified in record time, and it has also, really, also a lot of support form the people, the public in general.
I played football for a team called the East Dragons on the east side of town. We only had six regular season games. And six games I played tail back and I had 18 touchdowns in six games. That's when I knew I had some athletic ability.
In the beginning, somebody told me there was a record in the cruiserweight division where Evander Holyfield became the champion. I thought about that, and I told my team, 'Let's make our own history, our own record, to beat Holyfield's record.'
I think from an East Coast point of view, you'd be like, 'Oh, a California record's a sunny record.' It's like you spend three hours in the studio because the rest of the time you must be at the beach.
The good thing about having a hit record is you don't need too many people. Because now your record is on fire, and I already have a great team around me, so why run to the labels?
It's just fun to go out and compete. It doesn't matter what your record is or what the other team's record is. You're playing in an NFL game, and you are out there competing with great players.
ThinThread was not the program of record of my predecessor, Ken Minihan, OK. I did not make ThinThread the program of record while I was director. After I left in 2005, Keith Alexander also chose not to make ThinThread the program of record.
The first record was basically a quick, fast record. The second record, we were going for more of a poppier sound - like a heavy pop sound. For 'Rocket to Russia,' we'd sort of reached our pinnacle. We'd gotten really good at what we were doing, so that's like my favorite record - that's a really good record. It's just great from beginning to end.
I don't think that much anymore in terms of 'write a record, record a record, tour a record,' because in my own mind, things have changed, in that I'm just an ongoing artist. I'm not quite sure what the next project needs to be until it presents himself, and then I know. I just follow dutifully while I'm being led.
When I was growing up, my mother would always say, 'It will go on your permanent record.' There was no 'permanent record.' If there were a 'permanent record,' I'd never be able to be a lawyer. I was such a bum, in elementary school and high school... There is a permanent record today and it's called the Internet.
When I was growing up, my mother would always say, 'It will go on your permanent record.' There was no 'permanent record.' If there were a 'permanent record,' I'd never be able to be a lawyer. I was such a bum in elementary school and high school... There is a permanent record today, and it's called the Internet.
Record Without A Cover' was about allowing the medium to come through, making a record that was not a document of a performance but a record that could change with time, and would be different from one copy to the next.
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