Top 531 Davis Quotes & Sayings - Page 8

I wanted to do what I was seeing Dorothy Dandridge doing, what I saw Marilyn Monroe do, what I saw Bette Davis do. I wanted to do that: to tell stories. I wanted to make people laugh, make people cry. I wanted to be a storyteller.

As a child, I walked with my friends to Rosa Parks Elementary and then to Ben Franklin Middle School. I rode Muni to Galileo High School. And thanks to amazing teachers who believed in me and supported me along the way, I was able to matriculate to another public school: the University of California at Davis.

I worked with Mrs. Davis for four years, and then she realized, as the material started getting harder, that I had never learned to read. I was just listening as she'd play the song, and I'd play it back. When that happened, she got very upset and stopped being my teacher.

I wanted to go to the underdog team - I wanted to build something somewhere like a lot of the other guys who stayed home at Maryland, like Vernon Davis and players like that. I wanted to stay home and do it in front of my family and my friends... Those thing matter to me.

It started with 'A League of Their Own.' I mean, to me, if you played softball or baseball as a girl growing up, that is the staple movie, like, where girls are portrayed as athletes, and real, like, different, from Madonna, you know, to Geena Davis. I mean, I could quote that movie, every single line.

Speaking of WAMU, [bluegrass and old time music DJ] Ray Davis did a lot of work there. I've know Ray, I guess for 50 years - 40, or 50 years. And, he plays a lot of my records.

Miles Davis would have this lineup of all these amazing musicians and one day would just say, 'We're done.' After tons of great records and tickets sold, he said, 'Now I'm going to grow my hair out and play my horn through a wah-wah pedal.' Rather than play it safe, he went on.

Angela Davis's legacy as a freedom fighter made her an enemy of the state under the increasingly neoliberal regimes of Nixon, Reagan and J. Edgar Hoover because she understood that the struggle for freedom was not only a struggle for political and individual rights but also for economic rights.

My real name is Bob Davis, but for some reason, I got the name Jasper while playing football at the local rec when I was nine years old, and it just stuck. Years later, when someone asked 'Jasper who?' I just said 'Carrott' - but I have no idea why I came out with that particular word.

I usually get involved in the interviews about the animators and the filmmaking in general, because I had a chance. I got to know, not only Marc Davis, but Frank Thomas, Artie Johnson, Ward Kimball, all these great animators, and just ask them all these questions about how they did certain things, what their trials and errors were, the ups and downs.

Where Miles Davis can make you feel things.That's what I'm looking for from young guys. I'm looking for somebody who not just has a command of the instrument, but can actually say something to make you feel something, make you think about something.

When I look back on my nine years with the Raiders, what comes to mind first is my great association with Al Davis. If it had not been for him I may not have done the things I did once I left Houston. I may not have even kept playing if it weren't for Al. I respected him highly.

Beginning in the sixties, but getting strong during the seventies and eighties, everybody was sort of Miles Davis and Chick Corea and the jazz guys on the west coast and east coast in America, and then in Switzerland and lots of groups in England and elsewhere, like here in Brazil. We were all under a heavy influence of technological gadgets and changes that we used as elements to produce and create music.

I am a leader. Leaders always get heat. They're always going against the grain. Jimi Hendrix got heat; Bob Marley got heat; Miles Davis got heat. Every great artist got heat. Heat means you're doing something right.

[Barack] Obama isn't pointing to anyone, and certainly doesn't like it when others note (correctly) that his influences were the likes of Saul Alinsky, the Chicagoan and modern founder of community organizing, or Frank Marshall Davis, the communist journalist and agitator from Chicago who mentored Obama in Hawaii in the latter 1970s, and who Obama warmly acknowledges in his memoirs.

I loved all those classic figures from the '30s and '40s... Bette Davis, Joan Crawford, Humphrey Bogart, Rita Hayworth. They had such glamour and style. I loved the movies of those times too - so much attention paid to details, lights, clothing, the way the studios would develop talent.

I always thought of Caesars as the gold standard. I had exactly one date in high school, and my father knew someone who got us comped here for the Sammy Davis Jr. show. We heard 'Candy Man,' 'Mr. Bojangles' - the whole list. And then my date and I went off to the dance - homecoming, I think - where she pretty much ignored me.

Prince, you never knew what to expect from him from one album to the next. Miles Davis was like that. You know, once you get used to one style, boom, he switched it and, you know, switched gears on you. So those artists are very exciting to me, very exciting to follow their path, you know, and their journey.

I love Viola Davis. I call her 'Queen.' I think she's phenomenal. She's so raw and so bold. When I first saw her was in 'Doubt,' and she just changed everything for me. Her performance was unlike anything I had ever seen before, and I think she's phenomenal.

I work with this wonderful five-piece band, The Tony Guerrero Quintet, along with Kate Flannery, who was Meredith the Drunk in The Office, and Tim Davis, who was the vocal arranger on Glee. The three of us sing, and the band is amazing. We've been working together for about two years. So, we decided to do a Christmas album in July.

I got a chance to work with Miles Davis, and that changed everything for me, 'cause Miles really encouraged all his musicians to reach beyond what they know, go into unknown territory and explore. It's made a difference to me and the decisions that I've made over the years about how to approach a project in this music.

The next film I have is called Miles Ahead, which is about Miles Davis, during a five-year period in his life during which he's struggling to figure out which direction to go musically and in his life. I play a record executive who's there to try to get Miles to collaborate with one of my clients. I'm excited to see that.

We all know what Al Davis means to the NFL, what he means to the Oakland Raiders. He is the Oakland Raiders.

I'm not saying Gustafsson isn't a champion. He's not the champion that I am. He's not a champion at all. I've won the belt seven times. He got tapped out by Phil Davis and lost to me fair and square. This guy gets so much praise. Having a close fight with me was the greatest thing he's ever done.

When your four biggest tournaments all operate relatively independently, and the ATP and WTA tour operate independently, and you have Davis Cup and Fed Cup that operate independently, it makes it a tough message.

I belonged to the Columbia Record Club, and that's where my records came from. For some reason, I was in the 'jazz' category. I got Benny Goodman records and Miles Davis, J.J. Johnson and Kai Winding, and that kind of stuff. I really was not a jazz guy at all, but I knew some of those names.

Strifes will arise through the period. Watch for them near the Davis Strait in the attempts there for the keeping of the life line to land open. Watch for them in Libya and in Egypt, in Ankara and in Syria, through the straits about those areas above Australia, in the Indian Ocean and the Persian Gulf.

There are so many incredible women on TV right now. Viola Davis, Kerry Washington, Ellen Pompeo. These are really incredible female leads that are on network TV. Hopefully, with what I do, and the generation of actors I'm working with, that'll make the lives of other girls coming in after me even better. I hope to aim for that.

I think that tennis has been in a place for many years without any change. Davis Cup and Fed Cup has always been a very exciting platform for players because it is such an individual sport, and we get to play a team competition. We love being part of a team.

I'm a great believer in conversational rhythm. I think in terms of rhythmic dialogue. It's so easy, you can talk naturally. It's like peas rolling off a knife. Take the great screen actors and actresses, Bette Davis, Eddie Robinson, Jimmy Cagney, Spencer Tracy. They all talk in rhythm. And rhythm and movement are the life of the screen.

Arnold was on the 'Today' show today, he was a little light on specifics. He said he could solve California's $38 billion budget deficit, without cutting spending or raising taxes because there was a third way. What is it? Let's just say it involves a robot going back in time to convince Gray Davis to go into dentistry.

I got a poster from Columbia Records, and there's Miles Davis, Charlie Mingus, Ellington, Count Basie - everybody in that poster has died, I'm the only one left. And great players like Paul Desmond and Gerry Mulligan, it's hard to believe they're gone because we were all so close. But I believe in the future and the tradition will go on.

I'm very sorry to Mr. Gabas, to whom I apologised in person. Very sorry for letting my Davis Cup teammates down and for letting my country down. I apologise to all the tennis fans, to my supporters, and my sponsors. I feel ashamed of my unprofessional behaviour and will accept any consequences as a result of my action.

I felt Michael Jackson was inspired a little bit more from the elegance of a Fred Astaire. Michael loved Sammy Davis, Jr. and James Brown and Judy Garland and Fred Astaire. But he wasn't any of those people. To be inspired is one thing, but he made it all his own.

It was Miles Davis who took me to New York, and Coltrane was in the band, as well as Paul Chambers, Philly Jo Jones. 'Trane took me aside, and, of course, we did Blue Trane, which was my first album-and that started everything. He had confidence that I didn't have; he saw something that I didn't see.

'Quick Change' was my first real movie. It was an interesting audition process because there were no lines in the script. Bill Murray's character would say something, and Geena Davis and Randy Quaid would say something, and then it would just say, 'The cabbie speaks.' How do you audition for that?

That's why I enjoy Davis Cup, and I really enjoyed college tennis. It's very special. You want to go out there and compete your hardest, because you don't want to let anyone down. You want to absolutely give it your all for your team. And that's sort of the mentality I've taken to pro tennis.

I was very much raised by my grandmother, who actually was Bette Davis - looked like her, acted like her, talked like her. Probably, it was just out of my love and affection for my grandmother that I was interested in Bette.

I had the opportunity to go up to New York and be on the 'Inside Amy Schumer' show with Michael Strahan and Vernon Davis and those guys. That was an opportunity that presented itself, and it was something different and fun. I had a great time. Those guys are really good dudes, and she's obviously incredibly talented.

I don't just want to be a cute girl in a comedy or the actress who just does the same thing over and over again. I want to play roles that are distinct. I want to have a more varied career like actresses Viola Davis or Angela Bassett - those are the people that I grew up watching and admiring.

People talk about the golden age of Hollywood because of how women were lit then. You could be Joan Crawford and Bette Davis and work well into your 50s, because you were lit and made into a goddess. Now, with everything being sort of gritty, women have this sense of their use-by date.

I used to stay up very late at night, much later than I probably should have for such a youngster, and I used to watch very old black-and-white movies with, you know, Bette Davis and Joan Crawford, but I remember watching them thinking 'I could do that'... Even though I wasn't inclined at all to actually become an actress. I mean, that wasn't something that was... in the stars for me, no pun intended.

I think all of us who kind of live within the sport recognize that Davis Cup certainly could be a little more visible if perhaps there were some adjustments made to it, and it was made a little bit more easy to understand for the fans, if there's a little bit more of a start and finish line.

Please stop assuming that longevity and perfect health is always the correct option. No. Sometimes fun costs ya. It just does, you know? And that's OK, you're willing to make that purchase. Sammy Davis, Jr. was 64 when he died. Give me 64 Sammy-years, I'll be happy.

I remember listening to Miles Davis in the car with my dad. I had just done my Grade 5 piano exam, and I was quite cocky. I said, 'It sounds like he's played the wrong note there.' I remember the look of horror on my dad's face, and thinking, 'Wow, I have to figure out why that is not acceptable.'

In an experiment by Dr. Robert Emmons at the University of California–Davis, people who kept a ‘gratitude journal,’ a weekly record of things they felt grateful for, enjoyed better physical health, were more optimistic, exercised more regularly, and described themselves as happier than a control group who didn’t keep journals.

'The Blacklist' was really right place, right time. I read the script and met with Jon Bokenkamp, John Eisendrath, John Fox and John Davis, and we just hit it off. They understood that I was not so much trying to adapt to television, but adapt a cinematic style to the things that we were gonna do.

Americans don't like any form of art, man. All they like to do is make money. They don't like me, Sammy Davis, or anybody else. They don't like nothing. They just like Sammy because he can make 'em a lot of money.

I think that cheap music often does make you dream more than more serious music, whether that's serious music by Beethoven or Miles Davis or Pink Floyd... if the Floyd ever did serious music, which I seriously doubt.

All I really want to do is just keep acting, and some of it will stink, and some of it will be really good, and maybe when I'm 85 and presenting an Oscar like Bette Davis did, I can look back and say, 'It was okay, I did all right.'

I think the great power of Bette Davis was she always knew who she was. She had an obligation to herself and her audience. When you think of what she was compelled to do, the power she put on the screen, the fact that she took upon herself a much greater task.

Al Davis has been the biggest influence in my professional football life. I mean, he was a guy that gave me an opportunity, one, to get into professional football in 1967 as an assistant coach, and then at the age of 32, giving me the opportunity to be the head coach.

I look at people like Picasso and Da Vinci and Escher and Miles Davis, and they'll write or paint that one definitive masterpiece of maybe 50 that they have that's really trying to go outside the box, trying to do something that's tough. And then when you accomplish it, you look back and go, 'Yeeaaaah - masterpiece.'

In the Making Of book ["300"] there's a guy named Victor Davis Hanson who is a a frickin genius. He's a Greek historian and we showed him the movie because I wanted him to write a forward to the Making Of book. I was a little nervous to be honest, because I wasn't sure how he'd react.

For a long time, way back in the ’30s and ’40s, there were fabulous female roles. Bette Davis and all those people had incredible, great roles. After World War II, something happened where it was not only "get out of the factories," but "get out of the movies." That's when women's roles started to really [change].

Amiri Baraka went to Howard. Lucille Clifton went to Howard. Ossie Davis went to Howard. And I was aware of that when I was there. Charles Drew went to Howard. Thurgood Marshall went to the law school. Being aware of that and having all of that brought to bear, again, it's one of those things that I can't really separate from my career as a writer.

I think there's no question that Michael Jackson was the foremost entertainer of his generation; perhaps of all time, arguably, taking the skills of a Sammy Davis, Jr., bringing together the street dance of African American urban culture, joining them to the politics of dance, of Fred Astaire and Gene Kelly on that sphere alone.

I am a leader, so leaders always get heat. They're always going against the grain. Jimi Hendrix got heat; Bob Marley got heat; Miles Davis got heat. Every great artist got heat. Heat means you're doing something right.

When I was banned for nine months I had an opportunity to focus on something else and I needed to focus on something else. It's who I am. I admire Miles Davis and Chet Baker a lot and I like this instrument, so I tried and I learned and practised for two months. But I stopped after that.

I'm based in Stockholm and I train at Nexus Fighter Centre, it's my club and my head coach Andreas Michael but for two weeks now I went to Vegas to train with Team Alliance with coach Eric Del Fierro, Phil Davis and top level guys. I had top level sparring so I'm more than ready.