A Quote by Megan Thee Stallion

After 'Tina Snow' dropped, I had so many performances and so many appearances, and I'm in the studio all the time. — © Megan Thee Stallion
After 'Tina Snow' dropped, I had so many performances and so many appearances, and I'm in the studio all the time.
Tina Snow' was more turnt up than anything I ever dropped, it's my alter ego.
Yes, the first job I had at the studio was Snow White. I don't like the term particularly, but I got stuck with the human characters. They just didn't have that many people who could draw humans.
I originally had opened the studio in New York to combine my two loves, music and design. And we created videos and packaging for many musicians that you know, and for even more that you've never heard of. As I realized, just like with many, many things in my life that I actually love, I adapt to it. And I get, over time, bored by them.
I run into viewers all the time who have no idea I've moved to N.Y.C. I think, for many of them, a studio is a studio is a studio.
I watched the Olympics in 2012 in London, and there were so many great performances there, so many people, so many sports.
In another time, another world, each studio made 200 movies a year and had 20 executives. Today, a studio makes less than 20 movies a year and has 500 executives. They own too many parking decks and too many billboard companies. They're awash in overhead, and it's pinning them down, and they know it.
I think that if we really want to break it down, that non-black filmmakers have had many, many years and many, many opportunities to tell many, many stories about themselves, and black filmmakers have not had as many years, as many opportunities, as many films to explore the nuances of our reality.
I had many, many, many death threats. I couldn't open letters for a long time, because they all had to be opened by either the FBI or somebody.
With Masvidal, I dropped him and it's the first time I'd ever dropped anyone in my life. I kind of started to turn the corner after that, and it was just a realization that if my hands were a weakness, it was only because I didn't believe in them. I had the talent to do it.
I think I am beginning to understand why grief feels like suspense. It comes from the frustration of so many impulses that had become habitual. Thought after thought feeling after feeling action after action had H. for their object. Now their target is gone. I keep on through habit fitting an harrow to the string then I remember and have to lay the bow down. So many roads lead through to H. I set out on one of them. But now there's an impassable frontier-post across it. So many roads once now so many culs de sac.
Winning the World Cup was a dream come true after so many years of wanting something so bad. After that final whistle, I dropped to the ground on my knees and got emotional.
Of great importance to my outlook on life is the opportunuty I get to meet people on various appearances. I suppose I could devote every weekend to appearances and i do try to make as many as I can.
I had a good time at Chelsea and was accepted in the team, so it's difficult to explain why I left. My performances were good as well, but there was a time in my second season when I felt I didn't have the manager's trust any more and I didn't play many matches from the start.
I dropped the King's Indian in 1997 after one too many bad experiences against Kramnik.
In London the day after Christmas (Boxing Day), it began to snow: my first snow in England. For five years, I had been tactfully asking, 'Do you ever have snow at all?' as I steeled myself to the six months of wet, tepid gray that make up an English winter. 'Ooo, I do remember snow,' was the usual reply, 'when I were a lad.'
In a short amount of time, I've lived so much, had so many experiences and met so many different types of people and even lived in so many countries. If I had been in school, I'd be learning about the world from books.
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