A Quote by Laura Schlessinger

If someone has a boy who gets to age 18 without something [a bone] being fractured, that kid has been overly controlled. — © Laura Schlessinger
If someone has a boy who gets to age 18 without something [a bone] being fractured, that kid has been overly controlled.
I got a finger that's literally bone-on-bone. This bad boy, it gets smaller. The more and more I do, it grinds bone-on-bone.
Open, frank communication is the lynchpin to teamwork. A fractured team is like a fractured bone; fixing it is always painful and sometimes you have to re-break it to heal it fully - and the re-break always hurts more because it is intentional.
There's something in my voice tonally that's like a boy, so I started being able to do boy voices and to be known as having a naturalistic boy tone without pushing it.
There's something wrong with the system when you've got someone who can provide so much to a company and can be enthusiastic, but isn't management material or whatever. So a lot of that just gets defined as the person who speaks with the loudest voice and gets up there with the most arrogance and overly confident, chest-beating approach. Those are the ones that are going to get the golden ring.
When I was a kid, I wrote music - from the age of 11 until the age of 18.
That's all we had when I was a kid: Robitussin. No matter what you got, Robitussin better handle it. "Daddy, I got asthma." "Robitussin." "I got cancer." "Robitussin." "I broke my leg." Daddy poured Robitussin on it. "Yeah, boy, let that 'tussin get in there. Yeah, boy, let that 'tussin get on down to the bone. The 'tussin ought to straighten out the bone."
I think that people in the phase between being someone's kid and being someone's parent have always been uniquely narcissistic, but that social media and Twitter and LiveJournal make it really easy to navel-gaze in a way that you've never been able to before.
I want to make sure that every kid, every young boy and young girl in this country gets the opportunity to live their American dream. That's what the role of being in Congress and being a United States senator is all about.
I was into acting as a kid. There was a time when I was 18 that I played the boy in a production of 'Equus' in Oregon, and I thought that was going to be my life.
I'm very comfortable with being a female now but when I was a little kid I only wanted to be a boy. I didn't want to be a girl. I didn't feel like a man inside... being a boy was just cooler.
We both [with Suzanne Collins ] felt strongly that you wouldn't want to age up the characters, no matter the age of the actors playing the roles. They should be playing the age that they are in the [Hunger Games] books. It would let people off the hook, if you said, "Well, instead of 12 to 18, why don't you make them 18 to 25 or 16 to 21?" If you don't stay true to the horror of the fact that they are 12 to 18, you're not doing justice to the book.
At 18, I could have not been here. I could have been another statistic. All the odds were in favour of my just going to prison at that age. I had no visions of being a superstar.
As a kid, I was overly studious, overly serious, very academically driven. It was important to me on a cellular level to do well. And then I went to college at Harvard, and I relaxed a little bit.
There is a primal reassurance in being touched, in knowing that someone else, someone close to you, wants to be touching you. There is a bone-deep security that goes with the brush of a human hand, a silent, reflex-level affirmation that someone is near, that someone cares.
Here's my theory: If a person gets worldwide fame at a young age, they're emotionally frozen at that moment. For me, that's 15 to 18, so you find yourself in your mid-20s being a glorified 15-year-old. What could possibly go wrong?
Romance goes like this: Boy gets girl. Boy loses girl. Boy gets girl again. The end. It can't be any other way.
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