A Quote by Lucas Neff
Ninety percent of the time, I'm wearing imaginary people's clothing. I don't feel a huge pressure to go out and, like, hit the town, hit the boutiques.
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Ninety percent of the time, I'm wearing imaginary people's clothing. I don't feel a huge pressure to go out and like, hit the town, hit the boutiques.
The Ninety-Ninety Rule of Project Schedules - the first ninety percent of the task takes ninety percent of the time, and the last ten percent takes the other ninety percent.
I've gotten stronger, but I don't ever try to hit home runs. I stay with the same approach, just hit line drives. If you get under one and it goes out, it's a home run, but I don't feel any pressure to hit home runs.
If you hit somebody hard enough, they will give up. You can feel their body go limp and they'll just surrender. So every time I hit somebody, the goal is to knock myself out. I know that if I hit somebody hard enough that I can feel it, it's hurting them 10 times worse.
If I have a hit, then I hope the people who like the hit song go out and buy my album so they can hear it all.
When 'I'm Sorry' came out and became such a huge hit, that made 'Rockin' Around The Christmas Tree' start selling. Then that became a huge, huge hit.
Well, when I'm out running, people don't recognize me, which is great. I don't feel pressure; I'm not out to beat anybody or hit a certain time. I just do it for the enjoyment of it. I'm doing it for myself.
I don't ever have the pressure of making a hit, because I've never had a hit song, per se. The closest thing to a hit song was 'Shiraz,' and it's not your prototypical hit song, with a catchy hook and all this other stuff.
There is always pressure. If you make a flop film then you are under pressure to make a hit film. If you make a hit film then you are under pressure to surpass your own standard or at least deliver another hit because the audience also has expectations.
I feel that, irrespective of a hit or flop, there's always pressure on an actor. When you give a flop, there's a pressure to ensure that the next film works, and when you give a hit, you want to keep it going. So, the pressure of success and failure is always there, and that's what keeps me going.
When I graduated, I was going to go to school for law, but had such an affinity for hip-hop. It was like walking into a casino and I decided to bet everything on hip-hop, and I hit! My hit wasn't just a hit for me, it was a hit for everyone in this culture.
The assumption is simply that I hit on all the things I've hit on so far by accident, that my talent is just this raw thing that pours out of me, and then white people feel like they have to come in and contain it, refine it, and bring it to the place where it can been released.
Sometimes you go to home plate, and you have an idea, like a clear idea, of what they're going to throw to you. I think that's all: getting better pitches to hit, realizing when you hit the ball better, what pitch you hit, if you're chasing too much. If you figure out all that, you can get a little better as a player.
You don't just go to the studio and say, 'I'm going to write a hit.' It becomes a hit when people like your compositions.
What is a hit? Who can tell? Who decides what a hit sounds like? I needed to remind myself that a hit is whatever people decide is a hit. I don't make hits; I make music. People make hits.
When I was a kid, I used to try and hit every ball out of the ground. After playing one-day cricket and Test cricket, I never thought I'd get a chance to play like that again, ever. Twenty20 has given me the opportunity of playing like a kid again. I can just feel free and go out there and hit.
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