Clubs Quotes - Page 29

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When I was talking with Shanghai, I was talking to big clubs from Europe, as well. There was Atletico Madrid, who I almost joined. I liked them very much and what they were offering me at the time. There was also Juventus, Inter Milan, and AC Milan. I had some options.

A regular old drag queen is usually your science teacher who's actually wearing women's panties underneath his slacks. A drag-queen superstar is someone who actually works in clubs and makes a living doing it more than one night a year, or even one night in six months.

I'm kind of a dork. I don't have much game. I'm not particularly comfortable in bars or clubs. I much prefer being home playing Scrabble, having dinner with a couple friends, going to see a movie, or losing a whole weekend to Season 14 of Law and Order or The Simpsons.

I first realised I was good at football when I started getting scouted by United, Liverpool, Everton; clubs like that had a lot of interest at an early age, and you kind of know then you're on the right path. I was about six years old and had to sign a contract at nine.

If we're going to be getting treated like that, why can't we treat the clubs like that? I just want to see the game and the players looked after the way they should be because the crowds don't turn up to watch David Gallop play... they turn up to watch the players play.

He regarded life as a rather odd club of which he had accidentally become a member and from which one could be expelled without reasons having to be supplied. He had already decided to leave the club if the meetings should become all too boring. But how boring is boring?

Money has to be put in the way a club feels it should. If you put money in a new ballpark, that helps to generate revenue so you can spend more money. It should be spent to make the club's operations the best. That will help in the end, and it will mean enhanced payroll.

For 99.9% of the players there, they are at United because they want to be at United, and it is their dream move. That gives United a little bit of an advantage over other clubs, where some players are maybe there because there was financial pressure for them to be sold.

When I was in third grade I taught myself ventriloquism... What's hard is to learn to be an entertainer and make people laugh. I was a few years out of college before I felt I had enough material. Then in 1988 I moved to L.A. and started to do some shows at comedy clubs.

I've done that I was touring a couple of years ago with R. Kelly and the Lillith Fair, I would do the late night underground gigs as well because it's always around those times that there was a hot song, either on the radio or in the clubs, it would just be simultaneous.

It certainly is dangerous that there are only a few clubs left in Europe that can afford to pay millions. At the end of the day however, the spectators decide the rates of pay - by watching the games and consuming the goods and services advertised on sports TV programmes.

The only way I survived at school was by doing impersonations of teachers and pupils. That led to me winning a talent competition when I was 16; the prize was three or four gigs in working men's clubs. I was just showing off: at the time, I thought that's what acting was.

For clubs, free movement plays a big role in transfers and players' contracts. Players from the E.U. can sign for U.K. clubs without needing a visa or special work permit, making it quicker and easier to secure top talent from across Europe to come and play in our leagues.

I've been a director and chairman of three good, modest clubs - Coventry, Charlton and Fulham - and the abuse you get can be cruel and shameful. I've had a wonderful life and wouldn't change a moment of it professionally - except that I should never have become a director.

All I've wanted to be is someone people look up to. It's funny - everyone says I'm controversial. I've never worked out what it is about me that's controversial. I've never had a DUI; I've never been in a brawl; you've never seen photos of me walking out of clubs at 5 A.M.

I've never been one to throw clubs, break clubs, or use bad language on the golf course. I've played with golfers who've done that, and I really hate to see it. If I did something like that, my dad would come get the putter and hit me upside the head with it. I knew better.

The way I view comedy clubs is, people are drinking, they're ordering food, they're out for the night, and there's also a person onstage talking. And with the theater, they came to the theater, and they're waiting to hear what you say. So you'd better have something to say.

When I got out of high school, I thought, 'I'll take a year or two off and play the clubs, get this out of my system, and then go to med school.' More than 40 years later, I figure it's finally time to write about this crazy journey that's taken me around the world and back.

As an actor I worked for seven years with a community theater company based in London. We used improvisation techniques to take stories to young people who wouldn't normally have access to them - in prisons, hospitals, young offender's units, youth clubs and housing estates.

You figure when you match up against other clubs and you go through the lineup one through nine, you get to the nine hole, if you can put together an at-bat or you can see some different pitches that helps give you an advantage competitively, it can make your lineup stronger.

Barbra Streisand developed overwhelming performance anxiety at the height of her career; for 27 years she refused to perform for the general public, appearing live only in private clubs and at charity events, where she presumably believed the pressure on her was less intense.

No one knows this, but when I would play the clubs back in '65, '66, they used to call me 'Screaming Chicken,' 'cause I would go out and scream, fall on the ground, beat myself, smash stuff, jump through the ceiling, roll on the floor, and act like I was having epileptic fits.

I was always singing but didn't plan on pursuing it seriously. When I got to New York City when I was 18, I started playing in clubs in Brooklyn - I have good friends and devoted fans on the underground scene, but we were playing for each other at that point - and that was it.

When I started out, I tried out all my stuff on national television. There were no comedy clubs, but even if there were, I don't think I would have gone to them. I used to do stuff in the bathroom, and then I'd drive down to NBC and do it on 'The Golddiggers' with Dean Martin.

There is definitely a difference when you are fighting for a title against clubs like United or Real Madrid or Barcelona. They are so used to winning, it means that you have to have a different frame of mind when you challenge them because that's the only way to overcome them.

My grammar school caught on to the fact that the reason I was falling asleep in class was that I was doing working men's clubs till 10 or 11 at nights. My mother was told I shouldn't do it anymore. Of course, I was bringing in money to the family, so nobody liked hearing that.

It's funny, actually... a few clubs called when I was in preseason with Hull in 2017, but I wasn't really that interested. My missus was pregnant, and we were in the process of getting everything ready for our big arrival - that was our top priority, like any expectant parents.

I kept a straight face while my inner Neanderthal spluttered and then went on a mental rampage through a hypothetical produce section, knocking over shelves and spattering fruit everywhere in sheer frustration, screaming, 'JUST TELL ME WHOSE SKULL TO CRACK WITH MY CLUB, DAMMIT!

We don't woo our wives with clubs. We don't leave old folks on ice floes. And maybe the time has come to quit diving into rip tides to save people we don't know. We've outgrown a lot of survival-of-the-fittest strategies, and risking our lives for strangers might be one of them.

Even if you have a big tune, live crowds can get sick of it. It's not just about the song but also the staying power and if people have connected with it in a certain way. I know that the tracks I put more emotion and depth into are the ones that have the staying power in clubs.

I actually had the chance to sign for Newcastle before I went to West Ham; I didn't in the end because they had got rid of their reserve team. There were a few clubs interested but I liked what West Ham had to offer and never regretted signing for them, I loved it straight away.

I was sold by Middlesbrough to Liverpool for a record fee between two English clubs and then won European Cups at Anfield, but I couldn't have been prepared for Rangers. I was a fan as a kid and attended a lot of European nights at Ibrox. I knew the club were big. But not how big.

The whole London football scene is now financially more powerful and ambitious than ever before. That reflects the city's economic might and its multiculturalism. Now West Ham have a new , and Spurs and Chelsea will follow. And the London clubs have widened their areas of support.

I think the model of the Championship should be reconsidered, because the turnover of owners, keep changing all the time every one, two, three years, is not really healthy system for the fans, for the clubs - this is because it is really not sustainable to stay in the Championship.

If I could make the same amount of money doing standup it would be no contest. The problem is that if you do make that kind of money doing standup, it's not in clubs, it's in big auditoriums and large venues, and I really think something is lost when you do standup for a big crowd.

I just started writing for my own amusement and occasionally singing in little clubs around Los Angeles. Then I wrote 'The Rose,' and through a series of divine things that I had no control over and had no idea were going to happen, it got in the movie, and that changed everything.

I'm aware that at the big, big clubs stuff can change quickly, as can opinions and people in charge. Not everyone is going to like you, not everyone is going to want to play you and that's the business side of it, which I've grown into and I'm certainly not going to take personally.

I trained myself by doing other people's songs in clubs way back when. And so I have no pride about doing covers. I love it. And being a song interpreter, to me, is just as important as, you know, putting your own thing out there. It's all about the soul - where the soul comes from.

Before I started doing standup, I knew that I had what it takes to develop an act. I went down to clubs with not many people there, and I just worked on it, man. A lot of my friends are comedians, so that part had a lot of encouragement, even though the shows were very caveman-like.

As public schools deteriorate, the upper-middle class and wealthy send their kids to private ones. As public pools and playgrounds decay, the better-off buy memberships in private tennis and swimming clubs. As public hospitals decline, the well-off pay premium rates for private care.

I definitely wasn't cool in high school. I really wasn't. I did belong to many of the clubs and was in leadership on yearbook and did the musical theater route, so I had friends in all areas. But I certainly did not know what to wear, did not know how to do my hair, all those things.

The top clubs in the Premier League benefit very much from the fact that there are six teams on a very high level. They have so many games against each other so that they practically play Champions League the whole year. That helps them very much to persist in the international games.

When I went up to Glasgow University in 1967, student life was dominated by 13-hour debates on Fridays, when one of the student political clubs would form the 'government' for the day and attempt to push through a piece of legislation, which the other clubs either supported or opposed.

Most of our players come from the Championship; Chelsea can get more or less anyone from around the world. Some clubs in this division have owners who say it doesn't matter what they spend. I don't know what happened to Financial Fair Play but it didn't exactly level the playing field.

It's marvelous when you visit Tokyo: they have these clubs, and they'll have 'Motown Night' or 'The Beatles - Totally Authentic and Live!' You know it's shrunk, but at least there's some sort of youthful figure to it. Whereas, the blues scene in Europe is more like, 'Here we go again.'

I enjoy my solo career because I get to play smaller places like clubs and theaters, and the interaction with the audience is much higher quality. It also sounds better than a baseball stadium. Everybody has a good seat, and I don't have to play a specific part like I do in the Eagles.

'Hairspray' was my first Broadway show. In the meantime, after the show was over, I would go down and do gigs at these clubs that I wasn't even old enough to get into. That continued on, and I think what ended up happening was that I just got these incredible opportunities on Broadway.

TV is a different animal. It's not a club set. As you said, you do short sets on TV - about five minutes. So you have to get that rhythm down and also be aware of the camera so you're connecting with the viewers at home as well as the studio audience. It's a different muscle to develop.

'The Good Guy' is a totally differently-looking New York than 'How To Make It' portrays. 'The Good Guy' is all about Wall Street and that culture, which 'How To Make It' touches on, but 'How To Make It' also is downtown, Lower East Side loft parties, cool clubs, Brooklyn and that world.

I had not been in the jazz environment, having been brought up in the church. But once I got to New York, and I was signed to perform at The Village Gate and the Vanguard and clubs like that, and these - the Vanguard was one of the most elite, if not the most elite, jazz club out there.

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