A Quote by Nick Lachey

You have to imagine - for those who are good dancers, maybe they don't have to train as much - but for me at least, not being a very good dancer you have to hit the reset button every week and come in on Tuesday, the day after the live show, and start all over and learn a whole new dance with a whole new set of emphasis. Some weeks, you want to have body doing one thing. The next week, it's a totally different thing. You always have to relearn everything on a weekly basis and it takes a lot of work mentally and physically.
Train at the same pace day after day, week after week, year after year, and that's the kind of running the body adapts to. But break out of that comfort zone with a little speedwork now and then, and the body will learn to deal with the new demands.
We come from New Orleans, so everything is emotional - for, once the music takes over, and we start blowing, we go into a different zone that takes over our whole body.
Doing the same old thing every day, week in and week out, it gets boring. I'm all about new challenges, new opponents.
With stage, it's very tough. You have to have a lot of stamina - you're doing eight shows a week for 19 weeks. The same thing, every night. Twice a day some days. The only full day I actually had off was Sunday. And every night is different.
My first, what, five, six years I was never given a microphone. Now we have this New Day thing where we talk pretty much every single week. It allows me to open up a whole different side, so I just think it's really important to be able to adapt.
My hobbies are random. One week I want to exercise, one week I just want to eat all day. One week I'm going out every night and the next week I'm totally locked in my house, not going anywhere. I'm a little bit all over the place, socially. I don't have another passion or hobby - it's really music. I'm in the studio constantly.
For me, the only drag about the whole thing is that a lot of my childhood friends had to be relocated to the outskirts of New York because of the gentrification. But I think it's always a good thing when you bring people of all different backgrounds together, that's sort of what New York is.
The great thing about working on a genre show is that you can basically have a season finale where every character is left destroyed, and then hit the reset button and come back for the next season.
I try to balance it out on the whole. Being a mum is always the priority. Next, it's taking care of yourself. Right now, I get to only work two days a week - it's a dream. I can't imagine how hard it is for mothers who work 40 hours a week.
Another thing about creation is that every day it is like it gave birth, and it's always kind of an innocent and refreshing. So it's always virginal to me, and it's always a surprise. ... Each piece seems to have a life of its own. Every little piece or every big piece that I make becomes a very living thing to me, very living. I could make a million pieces; the next piece gives me a whole new thing. It is a new center. Life is total at that particular time. And that's why it's right. That reaffirms my life.
I feel really grateful to be a part of a cast that is dedicated week in and week out to doing good work, and you don't always come across that, but everybody on the call sheet is committed to doing good work, and a big part of that is having these firefighters on set and using our resources.
I took Alexey Brodovitch course at the New School. He taught me something that I've always remembered: After we did the initial assignment, he contradicted what he had said the first week, and I said, "Okay." The next week, he contradicted what he had said the second week. We went through 10 weeks of contradicting, and I thought maybe he was drunk. At the end, he said, "You may think I've contradicted myself, but there's no one way to do anything."
It's very trying on a marriage when you're doing a one hour show, week after week after week. You don't have enough time for people that maybe you should have top priority.
There were numerous times where, at the end of a week of working on a song, there was a part of it that we still weren't feeling, so we'd scrap the whole thing and start from scratch the next week.
Every day you gotta bring it and you gotta perform. If you have one big bad hole and just hit a couple of bad shots at the wrong time, pretty much wrecks the whole day and most cases your whole week. So that's the hard thing about golf.
One thing I always really enjoyed about Quincy Jones' production technique was that there were so many layers to every song. Like, one week you'd hear a new trumpet-line, then the next week you'd hear - be hearing a new guitar-line.
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