A Quote by Joe Cocker

I always encourage my promoter to see if we can go someplace new. And he'll go, 'OK, how about Armenia?' — © Joe Cocker
I always encourage my promoter to see if we can go someplace new. And he'll go, 'OK, how about Armenia?'
It's always good to go home. It's strengthening to see your past and know you have someplace to go where you're part of a people.
I should like to see any power of the world destroy this race, this small tribe of unimportant people, whose wars have all been fought and lost, whose structures have crumbled, literature is unread, music is unheard, and prayers are no more answered. Go ahead, destroy Armenia . See if you can do it. Send them into the desert without bread or water. Burn their homes and churches. Then see if they will not laugh, sing and pray again. For when two of them meet anywhere in the world, see if they will not create a New Armenia.
I'm obsessed with how people talk! Accents, dialects... So whenever I go someplace where an accent is extremely distinct - Minneapolis, New Orleans, Jamaica, Vancouver - I always find myself trying to pick up the subtleties of their patterns.
Don't stop. Keep right on going. Hitch up your trailer and go to Canada or down to Old Mexico. Head for Europe if you can afford it, or go to Mardi Gras. Go someplace you've heard about, where you can fish or hunt or collect rocks or just look up at the sky. Find out what's at the end of some country road. Go see what's over the next hill, and the one after that, and the one after that.
I don't know, I like to go on really different types of dates. Going someplace new or some new part of the city, something that's not your average thing. Something where you just go have an adventure together.
I just stood there, looking at her. My head was spinning, my mouth dry, and all I could think about was that I wanted to go someplace safe, someplace I could be alone and okay, and that this was impossible. My old life had changed and my new one was still in progress, altering by the second. There was nothing, nothing to depend on. And why was I surprised?
There is a small area of land in Asia Minor that is called Armenia, but it is not so. It is not Armenia. It is a place. There are only Armenians, and they inhabit the earth, not Armenia, since there is no Armenia. There is no America and there is no England, and no France, and no Italy. There is only the earth.
A promoter needs to be in the e-commerce ticketing business. In a fundamental sense the promoter's job is to buy a show and go and market and sell the tickets.
We were having so much fun that once we were through each day, Tom, Gwen, and I would go, 'OK, let's go out and join all our friends at a dance club now.' And we would do this daily - go out and have a few drinks and dance the night away and at the end of the night go, 'OK, I'll see ya tomorrow at two o'clock, let's do it again.'
You go where you think it's good for your work and your soul to go. I need to go someplace where I am reminded about why I wanted to act in the first place, and for me, that's the theater.
I bought my parents a home before they died, and they got to see that I was going to be all right. They always thought I would go someplace.
My recollections of Armenia open new visions for me. My art is therefore a growth art where forms, pines, shapes, memories of Armenia germinate, breathe, expand and contract, multiply and thereby create new paths for exploration.
I check Facebook to see how everybody from high school's doing. I go on Reddit to see what my weirdos are talking about. Then I go on Tumblr to see what my feminists are talking about.
One big disturbance, I think, between L.A. and New York is that New York is so condensed and together that it's very hard to be private there. There's a lot of constant interchange, people know what you're doing all the time. Here in L.A. it's the opposite, it's very spread out, unless you make a conscious effort to go someplace and look at something, you don't see it and we hear about it. So in that sense, it's a city where you can be very anonymous if you want to be, or even if you don't want to be.
In my career as a director, there's always been some point where you get halfway through it, or three-quarters, and you go: 'What is this thing all about, and why am I telling the story? Does anybody really care about seeing this?' At that time you have to say: 'OK, forget that and just go ahead.'
On the set, you do a movie shoot, you go, 'OK, was that OK, how was that?' You dont know, you're not sure.
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