Top 1200 Song Of Ice And Fire Quotes & Sayings - Page 19

I think every time I play, every show is different, and I think that at a certain point a song isn't about you anymore. It's about the audience, it's about how the song has worked its way into other people's lives and that kind of keeps the meaning of the song new, because you see it reflected in other people every night.

'Nothin' on You' by B.o.B was the first song where I heard myself on the radio. I'd been trying my whole career to write a song like that, which incorporates live instruments with hip-hop and singing.

Lyrics mean a lot to me, and I won't record a song unless I can feel it. That's something I learned from Carter Stanley. Even when he wasn't perfect technically, he got inside a song and sold it emotionally.

Knowledge is like fire 'cause it breaks down things so you can see what they truly are. It's like how a fire breaks your body down to carbon.

Writing a song doesn't heal things. Even if the song comes up with a solution, it's still only a theory. Going out and living my lyrics is a whole other deal. That takes courage.

When I started college, I wrote a song 'Pee Jaun,' with a friend. I never intended to make mainstream music, but that song did really well and I got some recognition.

A song that sounds simple is just not that easy to write. One of the objectives of this record was to try and write melodies that continue to resonate...Everything that happens to you influences your writing...The writing process for me is pretty much always the same-it's a solitary experience...I have yet to write that one song that defines my career...Beck said he didn't believe in the theory of a song coming through you as if you were an open vessel. I agree with him to a certain extent.

What I'm trying to do is just sing what comes to my body in the context of the song. And if you go by the emotion of the song, it's almost like stepping into a city. Cities have certain customs and rules and laws you can break, and that's what I was doing.

'Free the Gang,' that's my favorite song because it's so real. All my music is real, it's authentic, but it's something about that song that I love.

I think it's good if a song has more than one meaning. Maybe that kind of song can reach far more people.

But once an idea for a novel seizes a writer...well, it’s like an inner fire that at first warms you and makes you feel good but then begins to eat you alive, burn you up from within. You can’t just walk away from the fire; it keeps burning. The only way to put it out is to write the book.

Private prayer is like straw scattered here and there: If you set it on fire it makes a lot of little flames. But gather these straws into a bundle and light them, and you get a mighty fire, rising like a column into the sky; public prayer is like that.

When it comes to song creation, I throw in my ideas and have it discussed with the producer. The song gets its own characteristic as new ideas are incorporated.

Some preachers ought to put more fire into their sermons or more sermons into the fire.

If Paul McCartney tells me that so-and-so song is his favorite song, what do I care? What do I care what anybody else says?

Every song you write you think is the last one you're going to manage. You put everything you've got into the song, and you've twisted it and pulled at it and dug in and found a way to complete it. To get another one is the trick.

I wanted that song 'Saat samundar' in 'Kick.' There are many memories attached to it. The song makes 'Kick' all the more special.

I make no claim that Jewish culture is superior to other cultures or that the Jewish song is better than the song of my neighbor.

I had this song called Helter Skelter, which is just a ridiculous song. So we did it like that, 'cuz I like noise.

Mos is a true artist who has a story to tell and gives back through his music. He remixed my song 'Different' in 2005, and the song we're working on now will be one of my future projects.

I would never sit and write a song in front of anyone, because you're so vulnerable. I don't know at what point in the process that it becomes acceptable to pass them on. When a song wants to be written, it will be written. When it does come, I will very rarely go back and edit lyrics. I'm quite a rational human being, and the only part of my life that I can't rationalise, or can't make sense of, is how a song gets written or why.

I wanted to make 'Mexicana Hermosa.' It's a love song, but it isn't. It's more like a song as if Mexico was the Maria, the beautiful woman that I love.

The artist must create a spark before he can make a fire and before art is born, the artist must be ready to be consumed by the fire of his own creation.

Songs give you incredible opportunity to convey a tremendous amount in a relatively short period of time. The first thing that John Powell, our composer, says is, "Is the song engaging you to tap your toe?" If you're not tapping your toe, it doesn't matter what you're doing in the song, it's not going to work. But, if you can get the audience to be engaged by the song, then it gives you the opportunity to accomplish so much, in a very concise way.

As fire is not extinguished by fire, so anger is not conquered by anger, but is made even more inflamed. But meekness often subdues even the most beastly enemies, softens them and pacifies them.

It's a spiritual experience on stage almost every night. Especially, with the song 'Fly.' We were so inspired to write this song and just to hear people's stories and how it's impacted them.

I had been DJing a dance night in Brooklyn and witnessed the response people had to "The Devil's Dancers" - Oppenheimer's one hit song. All these young people were dancing to this amazing song, completely unaware of whether it was current or not. It was from 1982, but sounded very current. It made sense that a physical record should exist for this song again. It seemed the obvious choice to represent what Minimal Wave was going to be.

First, in a love song, or any song for that matter, using a plastic word like "inhibitions" is just completely without feel or texture. It demonstrates a tin ear for communication.

That song "Futuro" was written by Quique Rangel, the bassist. I wouldn't know how to explain the song, but each would have to give their own interpretation. If the lyrics generate that message for you, then that's good.

I just start singing some words with a tune. I don't ever write a song thinking, Now I'll write a song about... .

I'll watch a highlight tape of my kicks and I'll play a song that I like the night before the game and then I'll sing that song in my head to visually get myself ready and have positive thoughts.

I think that commercials can really ruin a song. You know that the person sold the song for a good deal of money, and that was the tradeoff. But, music and picture can marry in a beautiful way, and the reverse also.

One of my favorite things is when I'm listening to a song and I find my own meaning in it that I can relate to and I can create my own relationship and bond with the song.

People in Ireland take in the whole song. After a long history of great singers and songwriters and poets, they are able to consume the entire song - not just the external; they go inside.

Song: Heloise and Abelard by Elizabeth Devlin. Beyond the a propros subject matter, this lady can really play the Autoharp. This song sounds like something you'd find on a gramophone record.

Glen Campbell told me, 'Stay out of the way of a good song.' I think it's true. If a song's good, don't overdo it.

Of the over 100,000 wildfires that happen in the U.S. each year, not a single one would get started without the fire triangle: Oxygen, heat and fuel. Fire needs all three to exist. It's like the three branches of our government: Legislative, judicial and executive. The fewer there are, the safer we are.

Fire has impacted every part of our lives - without fire, there would be no shopping, right? - that's how the Internet will intrude on our lives, particularly our kids' lives.

I am very proud of the song 'More & More.' It's a great love song and has really fun choreography attached.

There are all kinds of atrocities, and I would have to say that, yes, yes, I committed the same kind of atrocities as thousands of other soldiers have committed in that I took part in shootings in free fire zones. I conducted harassment and interdiction fire.

Lighting a fire UNDER someone will never be as effective as Lighting a fire WITHIN someone.

I feel I have a responsibility to myself, a responsibility to explain where we're coming from. Because a song or the performance of a song is a lot like a work of art.

A song stylist is, like, to take an old folk song like "Delia's Gone" and do a modern white man's version of it.

My favorite performance would definitely be "Toxic," which was my blind audition song. It was the start of it all and it was a song I had been covering before the show, so it was very dear to my heart.

The strongest steel is forged by the fires of hell. It is pounded and struck repeatedly before it's plunged back into the molten fire. The fire gives it power and flexibility, and the blows give it STRENGTH. Those two thing make the metal pliable and able to withstand every battle it's called upon to fight.

You have only 30 seconds in a TV commercial. If you grab attention in the first frame with a visual surprise, you stand a better chance of holding the viewer. People screen out a lot of commercials because they open with something dull. When you advertise fire-extinguishers, open with the fire.

The first song I wrote was called "You" and it was a love song about somebody who didn't even exist. I remember them all because I used to always write terrible poetry. I keep all my notebooks.

That's one of my pet peeves. People always want to put something into a category - this one or that one. You know, a great song is a great song.

You want a solo to be structured, a song within a song, but you want it to sound like it's the first time you're playing it, too.

If I experience a really difficult moment, write a song about it, and someone on the other side of the planet experienced the same feeling, heard the song, and it helped him that is everything for me.

Activision has their own games. Blizzard has our own games. We're not going to go in and fire their people and they aren't going to come in and fire any of ours.

So, our vocation is to go, not just to one parish, not just to one diocese, but all over the world; and do what? To set people's hearts on fire, to do what the Son of God did. He came to set the world on fire in order to inflame it with His love.

And if a man goes through fire for his doctrine - what does that prove? Verily, it is more if your own doctrine comes out of your own fire.

There's something about making a song that everybody can sing and remember, and when you listen to it the first time, you already know the words by the second chorus, like you've always known the song. I'm obsessed with that idea.

For the first records I really never thought about anything other than the song itself. I thought that this was what the job of a songwriter was. I was really approaching music from a very different standpoint. To me when I was younger the song was just the melody. I think as I've gotten older and have been recording myself I've become aware of just how many layers can exist within a song besides just the main vocal.

I want to set the record straight for everybody who's been waiting to hear my music. The song that's out on the internet is an incomplete song that I'm still working on. When it's ready, you'll be hearing it from me.

The idea is that instead of going to an online retail site ... and buying a physical CD and having it shipped to you, you actually can buy the song and download the song to your computer hard drive.

I made a point when I made the Ugly Casanova record to not write a song and then say, 'This is a Modest Mouse song' or 'This is an Ugly Casanova song.' The people who were open to it not being a Modest Mouse record liked it.

My favorite kind of song is the most beautiful song that you love so much and it's so good it makes you want to cry a little bit. Any jam can sound like that on a certain day.

Pop is like a puzzle: to write a perfect pop song, you never know, and there's so much that can happen in a second with a song.