A Quote by Marnie Stern

The reason I could last for that long a period of being up was because the piece accidentally caught the excitement and adrenaline from, "Ooh this sounds different from usual... Ooh I like that..." That was the energy that kept me up.
I'm as strong, strong as I can be, but ooh ooh ooh, baby you leave me weak.
I'm not like Woody Allen like, "Oh my god what's going to happen? Ooh Ooh Oohhh." I'm just high-strung. So I do need to do a lot of stuff.
It's a lot harder to get people to 'ooh' and 'aah' over beets and carrots than it is to get them to 'ooh' and 'aah' over artichokes or asparagus, and I enjoy being able to take these humble, 'lowbrow' foodstuffs up a few notches and serve them with great exuberance.
After 120 kilometers my body said, ‘ooh, ooh Jens! What were you thinking?’
Woody Weatherman showed me two beats, the "do do dat, do do dat" rock beat and the "ooh at ooh at ooh at" punk beat and other than that I was pretty limited. I had just gotten a drum kit for Christmas, which I was stoked about so I was ready to go. Back then, the prerequisite for playing punk rock drums wasn't very high, it was really pretty generic as I'm sure you can imagine.
I like when people give up chocolate for Lent. Ooh, just like being nailed to a cross.
Ooh, ah, ooh, ah, that's the sound of the men working on the chain gang.
I'm not a gossip. The worst thing anyone can say to me is, 'Ooh, I've got some gossip.' I'm like, 'Oh, shut up.'
I long for the day when we can all be ourselves, whoever we are, and express ourselves in whatever way we like, and we don't have these kinds of funny constraints in our heads that make us feel 'Ooh, there's a different power relationship because that's a man and that's a woman'. And we still get that. It's not helpful.
I don't intentionally go: 'Ooh, what is provocative,' and try to do that. I just do stuff, and people go: 'Ooh, that's provocative.'
And people are so het up about the fact I'm in the theatre - it's like, 'Ooh these telly names, can they be any good?' I came out of RADA and my first job was at the National Theatre, but everyone wonders if I can cope. It makes me laugh.
There are methods to creating a mayhem that sounds different from your usual mayhem. Because mayhem and a heavy drum backbeat end up sounding like Green Day or something. But if you put a different beat within it to create some air and lightness, the chaos comes through better.
I never sing a song more than twice because my fear of waning excitement for a piece is part of my troubles. I so rely on vibe, energy and emotions that the technical part occurs to me last.
I think that the blues is in everything, so it's not possible to neglect it. You hear somebody go 'Ooh ooh oooh,' and that's the blues. You hear a rock n' roll song. That's the blues. Somebody playing a guitar solo? They're playing the blues.
A lot of things I have turned down ended up being a big embarrassment. Like that script, 'The Beaver.' I thought that was one of the worst scripts I had ever read. But everyone said, 'Ooh it's on the Black List.' Yeah, well, good for it. They're a bunch of idiots. I saw the final film, and there were no surprises.
We were probably the last people in the country to get a VCR and we didn't have cable. There wasn't any admiration of glamour, no, 'I want to look like them or have that lifestyle', because everyone in my town had the same lifestyle. So I didn't think, 'Ooh, a movie star's birthday!' I just thought, 'What?'
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