A Quote by Shawn Amos

Every single tune you know from the 1940s until the 1970s was written, arranged, and demoed in the Brill Building. OK, maybe not every song, but writers from Benny Goodman to Lieber & Stoller to Neil Diamond all kept offices there.
I'm not full of malice, but I do dislike Neil Diamond a lot, and I'm sorry that I've done a Neil Diamond song.
Above all else, [Benny Goodman] was a great player, one of the greatest American music has produced. He brought his absolute talent and his invincible love of music to the fore every time he played. There are many other things connected to society and ethnicity that are often mentioned in a discussion of Benny Goodman but all of them are connected to his overwhelming affection for the art of the music and the fairness it should be allowed to express.
Is it OK for Amazon to know every word of every book you've read? Are you comfortable with that? Maybe you are. Is it OK to let everybody know you eat Corn Flakes? OK, but then there are certain products you might not want people to know that you're using. ...
Is it OK for Amazon to know every word of every book you've read? Are you comfortable with that? Maybe you are. Is it OK to let everybody know you eat Corn Flakes? OK, but then there are certain products you might not want people to know that you're using.
Alan's publishing company was in the Brill Building, and of course, the Brill Building was where all the songwriters hung out because that's where all the publishers were.
We know the surface temperature of the Earth is warming. It has risen by .6 degrees Celsius over the past 100 years. There was a warming trend from the 1890s to the 1940s, cooling from the 1940s to the 1970s, and then sharply rising temperatures from the 1970s to today.
The distance between me and Benny [Goodman], was that I was trying to play a musical thing, and Benny was trying to swing. Benny had great fingers; I'd never deny that. But listen to our two versions of 'Star Dust.' I was playing; he was swinging.
I wrote 'Lights' a long, long time ago. And I expected it to be on the album, because it was - I wrote it with 'Biff' Stannard. And he wrote every single Spice Girls song and every single pop song of the 90s, basically. So I thought, you know, I was really lucky to work with him, but I didn't think it would be a big song for some reason.
I'm a composer, and therefore I know when I've written a good tune. When you've written a good song is when you know that the lyric is completely coalesced with the song.
You know the reason The Beatles made it so big?...'I Wanna Hold Your Hand.' First single....brilliant. Perhaps the most...brilliant song ever written. Because they nailed it. That's what everyone wants. Not 24/7 hot wet sex. Not a marriage that lasts a hundred years. Not a Porsche...or a million-dollar crib. No. They wanna hold your hand. They have such a feeling that they can't hide. Every single successful song of the past fifty years can be traced back to 'I Wanna Hold Your Hand.' And every single successful love story has those unbearable and unbearably exciting moments of hand-holding.
At my shows, I want to be totally sharp and focused on every single song, on every single thing that I do, and plus, I have to because I'm, like, caking someone and have to run back and mix the next song... and I have so much fast, quick reflex timing.
Since the advent of Benny Goodman, there have been too few clarinetists to fill the void that Goodman left. Ken Peplowski is most certainly one of those few. The man is magic.
I've won every single event there is to win as a wrestler, and I still continue to come back every single year. The hard part for me is, 'OK, how long can you do this?'
I've got a song on every album, two songs as a matter of fact on every album without Auto-Tune, and that's the song that nobody talks about. It's weird.
I'm trying to change theater, in my own way - not just magic. I say that humbly, because I'm learning every single day. I do 15 shows a week, and every single audience I have is like a test screening for you, when you listen and go, "Really? They laughed at that?" All over the stage I have lines, written onstage, that I'm changing every single day.
A lot of professional dancers become professional when they turn 15 or 16 years old, when they're still children. So you've trained every single waking moment up until that point for a career that could maybe only last 10 years, maybe longer if your body holds up, if your injuries are kept at bay.
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