A Quote by Gus Kenworthy

I'm not super superstitious, but if I listen to a song and then I do well, then that becomes my song for however long it works for. — © Gus Kenworthy
I'm not super superstitious, but if I listen to a song and then I do well, then that becomes my song for however long it works for.
I'm one of those people that I make a song... then I write another song and then I'm like, 'But this song is so much better than this song,' and then I kind of ditch that song. It's a long process.
If I'm focusing on playing and enjoying the song, then it always goes well. I get lost in the song, and the performance is so much better. If the focus becomes not making a mistake, then it just feels rigid to me.
When someone tells me what he or she was doing the first time they heard a song of mine, then I've done a good job. If my song becomes about your life, then I'm successful.
The pause makes you think the song will end. And then the song isn't really over, so you're relieved. But then the song does actually end, because every song ends, obviously, and THAT. TIME. THE. END. IS. FOR. REAL.
I would say a great song [is where] you like everything in the song. The lyrics move you, the beat makes you want to dance and you feel invincible when you listen to that song. A good song I think you can listen to but you get tired of it really fast.
You don't really write a hit song - you write a great song, and then, if the public decides it's a hit, they take over from there. The song becomes its own monster.
Every song becomes an emotional journey for me, and only then will the soul of the song remain honest.
Every song is a long process. First I have to write a story for it, and then to make it into a song, I have to make it short and then shorter - so it's not easy!
I call it a process of elimination. You're nurturing ideas, and that takes time. What happens is there's so many, what I say, 'great ideas.' What you have to do is try to consolidate them and put them into one song, and then your song becomes eight minutes long.
If you are a cabaret artist and you are mostly singing other people's songs, you're asking them to rethink a song, listen to it in a different way. The most impact you can have while asking them to re-listen to a song is if it's a song they know very well.
When I first start writing a song, I usually write the title first, then the song, and I'll sing the song in my head and think of a visual of the song. If I can't think of a visual behind the song, I'll throw the song away.
I do loads of pitch writing as well, where you write a pop song and then pitch it to DJs who can then work with the song, and sometimes they keep your vocal on it. It's just good to be involved in different things.
When we did the 'Titanic' theme, that song was everywhere. At the time we did it, it wasn't an old song. We didn't really listen to that song. We're not fans of the song. It was more about taking the song everyone knew and making it sound like a New Found Glory track.
When I'm writing a song, it's just me and the songwriters. Then when the song is done, there are publishers that hear it, then people in my management, then my wife and my boys and my friends, and if they're all lovin' it, it's kind of withstanding all the criticism I need.
You're not going to hit it every single time, and that's why, when I record an album, I do probably close to 50 songs. Each song I record has to get better. If it's not better than the last song that I made, it'll usually linger for a couple of months, and then it'll be put on the backburner, and then there'll be another song that I do, and then it often doesn't make it on the album.
I think I was 10 or 11 years old. I think the first song I learned about then was 'Open Arms.' Then, when I got tired of listening to 'Open Arms,' I borrowed my friend's Journey album, 'Escape,' and tried to listen to every song.
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