A Quote by Sam Smith
I've made my music so that it could be about anything and everybody - whether it's a guy, a female or a goat - and everybody can relate to that.
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Everybody can relate to feeling hopeless, at some point in their life, and everybody can relate to fighting for something that's worth fighting for, and everybody can relate to a person in their life that makes them go, "I don't know why you're here right now," but then, at the end of the day, realizing you'd do anything for them.
I want to be the first guy to help people accept everybody for who they are. I'm talking about colors, religions, sex, everybody. My music is for everybody, it's not just for one kind of group.
When you try to be a role model, not everybody can relate to some of your highs - awards, championships. But everybody can relate to the lows. Everybody's gotten fired from a job or gotten cut. People learn more about you in those lows than they do in the highs.
A universal sound is about having everybody be able to relate to it whether you're in New York, LA, London or Australia. You have to be able to universally be brought back to a place where they can relate to you as an artist.
I don't think any of us ever trusted Nashville. When you're in that town you know everybody is talking about everybody else. Everybody is wishing for the other guy to fail.
L.A. was just an inspiring kind of place to be. It felt like going to Paris in the Twenties and Thirties. Everybody's there. Everybody's hanging around. Everybody's talking about music.
This is a story about four people named Everybody, Somebody, Anybody and Nobody. There was an important job to do and Everybody was asked to do it. Everybody was sure Somebody would do it. Anybody could have done it, but Nobody did it. Somebody got angry because it was Everybody’s job. Everybody thought Anybody would do it, but Nobody realized that Everybody wouldn’t do it. It ended up that Everybody blamed Somebody when Nobody did what Anybody could have done.
Everybody has the blues. Everybody longs for meaning. Everybody needs to love and be loved. Everybody needs to clap hands and be happy. Everybody longs for faith. In music, especially this broad category called jazz, there is a stepping-stone to all of these.
There were always men looking for jobs in America. There were always all these usable bodies. And I wanted to be a writer. Almost everybody was a writer. Not everybody thought they could be a dentist or an automobile mechanic but everybody knew they could be a writer. Of those fifty guys in the room, probably fifteen of them thought they were writers. Almost everybody used words and could write them down, i.e., almost everybody could be a writer. But most men, fortunately, aren't writers, or even cab drivers, and some men - many men - unfortunately aren't anything.
I'm not an L.A. guy. I don't take meetings - you know what I mean? I don't really know how to interact very well with people in L.A. because everybody's got an agenda and everybody's like, "What do you do?" "Where are you going?" Or it's like, "What do you know?" And I'm not on a grind - I was there to make music and to meet people but I wasn't hustling for anything.
Natural Giving: Anything we do in life which is not out of that energy, we pay for and everybody else pays for. Anything we do to avoid punishment, everybody pays for. Everything we do for a reward, everybody pays for. Everything we do to make people like us, everybody pays for. Everything we do out of guilt, shame, duty, or obligation, everybody pays for.
As a kid, in the Runaways, I would see the interviewers start to ask about our personal lives and what we did — and I could see the look in their eyes. They were practically frothing at the mouth. So if I answered these questions, I knew they were never gonna talk about the music. It was like that instinct — don’t go there, man. Have boundaries. Have mystery. You don’t have to let everybody in! I want to be singing to everybody, and I want everybody to think that I’m singing to them. Guys, girls and everyone in between.
I wish the music business was a much easier thing, but you know what? Nothing easy is worth anything. So it is what it is. There comes a time when things can work out and everybody can be happy. And that's what it's all about in the end - everybody being happy and working it out.
Everybody made mistakes for years, but by making them, everybody learned - myself, the franchise, coaches, players, LeBron, everybody.
The Cable Guy was underbudgeted, so it was always a debate about whether we could have more days or certain things that we needed, because the budget was determined before the script was written. So that made it a hard production on everybody. But it's also a funny thing, because it's one of those movies that cost $40 million to make and made $100 million around the world, but at the time, it seemed like a disaster that it didn't make hundreds of millions of dollars, because Jim was on such a tear. But it was actually a successful movie.
It's necessary to know that everybody won't see it. That everybody won't join you, that everybody won't have the vision. It's necessary to know that. That a lot of people like to complain but they don't want to do anything about their situation. That you are UNCOMMON breed.
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