Quotes of All Topics . Occasions . Authors
There's actually a song called 'Vegas Lights,' which I wanted to be an anthem for Vegas, that represented how I felt when I went to the clubs. I felt this weird energy where everybody was having a good time, and it didn't matter. Dancing like nobody's watching. It was kind of beautiful.
All of Europe's biggest clubs place the Champions' League as their top priority these days but only one of us can lift the trophy. The domestic league titles are still crucial of course, but I think most players will tell you the Champions' League is the one they want to win most of all.
To clean your face thoroughly, even do a scrub, and let it sit and make sure your pores are clean before you go to club. If it sits on your face overnight, dirt just builds up. Even just laying there the whole night, stuff gets on your face, so anything else there is just really not good.
The only way the gender divide affected me was the social things the younger guy executives could do with their bosses. I don't know what went on in the clubs, because I didn't go. I made sure my work was stellar, and that compensated for whatever social time we weren't spending together.
Wherever you find 'men together' - writing the rules, as at exclusive golf or other men's clubs, businesses, and lodges where they wear elaborate robes and funny hats - women are kept completely outside if possible and, when grudgingly admitted, to highly restricted areas or token status.
All my future plans are related to Real Madrid, and there are no other clubs on my mind. I'm so happy here along with my family. Few players have ended their career here, Zidane being one of the exceptions. I'd like to be one of those players, too, but time will tell what the future holds.
I've been driving in the city for years because, as a stand-up in N.Y.C., you can perform at more comedy clubs a night if you have a car. Getting from club to club by subway is too slow at night and too expensive by cab. So, many comics live far out from Manhattan and drive in every night.
An official statement from Liverpool raised the spectre of a future where 'a club's rival can bring about a significant ban for a top player without anything beyond an accusation'. But on hearing this, many Manchester United fans would have been asking for a definition of the word 'rival'.
I've been in, like, kids' clubs... I've been in the Boom Boom Room in New York, and the kids are going, 'Oh my God, you produced 'Arrested Development?'' They aren't talking about 'A Beautiful Mind' or '24.' It's like the only thing in my whole career was 'Arrested Development,' literally.
I don't want to play stinking, beer-ridden clubs. It depresses me even thinking about that. I really hate it when you're finished with a show and you're in your dressing room with that stink of beer and sweaty girls. It brings back an ugly picture for me. I'd hate to have to do that again.
I was like, 18 and it was in West Virginia because I was allowed to get into the clubs in West Virginia, not Pennsylvania where I was growing up. And we went in and there was a drag queen on stage and she was huge and beautiful, but she was lip syncing to a song. I was legitimately stunned.
I'm not suited to Bolton or Blackburn, I would be more suited to Inter or Real Madrid. It wouldn't be a problem to me to go and manage those clubs because I would win the double or the league every time. Give me Manchester United or Chelsea and I would do the same, it wouldn't be a problem.
Even when disco went out, I could still make hits. Once I had so much success, every idea became concentrated. I had so much confidence. I knew how the bass should sound, what rhythms would work. The tempos I knew: 110 to 120 BPM. I knew they would dance in the clubs in New York or anywhere.
The only thing I could do was play music, because I'd studied classical guitar, trumpet and piano at the American School in Alexandria. So I started out with two other boys in little clubs in Athens. I became a singer by default when our lead vocalist was late one night. Someone had to sing.
If I look back down the years, how I was treated as a kid, if it wasn't for the teachers at my school, then I wouldn't have achieved what I have. You have to look where you came from, and we do need to get more parents involved, more running clubs and more schools. They can make a difference.
She used to drive me to clubs for engagements and when I was 16 I got a job presenting a TV show in Newcastle. My mum didn't really like driving, but she carried on. Once I remember we got stuck in a snow storm, but she carried on to get me there in time. She was an amazing, incredible person.
As much as only playing clubs can become tedious, performing in huge venues can also become off-putting. To go from one to the other feels great. And sometimes playing clubs can be even more stressful, because you really have to think about what you're going to tell the audience between songs.
I remember when I first got into the England side, going to meet ups where you were just doing a job, you were almost looking to go back to your clubs as soon as you arrived. That changed. The Lionesses got the feel of a club; it was a place you wanted to be, a set-up you couldn't wait to join.
Political scientists after World War II hypothesized that even though the voices of individual Americans counted for little, most people belonged to a variety of interest groups and membership organizations - clubs, associations, political parties, unions - to which politicians were responsive.
I used to hear all these guys on 78s at my mother's when I was a teenager... I used to daydream that I was onstage playing the solos; I'm playing with B.B. King, and I'm playing with Lowell Fulsom, Jimmy McCracklin. And I literally ended up being in a band that backed them up at different clubs.
Looking back at my matches since 2002, there is one main criterion for me which marks a club which is successful in the long-term: big players, who have grown with their clubs, whose names are tied to the success and who have a 100 per cent identification with the team, the club and its history.
I don't think any songwriter who comes up through playing clubs can really claim to have independently developed their art. All along the way so much information is coming, the writer inside the performer unconsciously reacts to all of that. By the time they get to be thirty, the writer is gone.
Some memorizers arbitrarily associate each playing card with a familiar person or object, so that the king of clubs is represented by, say, Tony Danza. The grand masters associate each card with a person, an action, or an object so that every group of three cards can be converted into a sentence.
While a lot of hip-hop was inspired by jazz or James Brown samples and was made to be played live in the clubs, I made hip-hop that was made for MCs to eat the mic up. It was an aggressive form of hip-hop. It was made just for hip-hop. It's not made to sing or dance to, though you can if you want.
Watching soccer is my main hobby, really. I'm no tactician or coach, but I enjoy watching the free flow of it, the different styles, and the histories behind clubs. Like Barcelona vs. Madrid - it's not just a soccer game; it's a geopolitical struggle. There are great storylines and no commercials.
My kids are in school and in all these clubs - chess club, fashion club, you name it. When my dad came home from work, it was late, and when he left, it was early in the morning. On my days off, I'm still taking my kids to school and picking them up. I do what I have to do to keep that relationship.
I was never a nightclub manager or a hostess. I want to make that very clear. I was an executive at my club. I was a director of VIP operations, that's much different than a manager, that's much different than a waitress, it's different than, you know, a host - I was like an executive-level position
It's good for Brazilian football to have idols, stars, big stars coming back to Brazilian clubs. The tournaments become much better, more interesting. Ze Roberto, Juninho Pernambucano, Ronaldinho Gaucho, and other players who have returned to Brazil strengthen the league and improve the tournaments.
Well, the coffeehouse audiences never know what they're going to get, and all the comics are different, as opposed to when you go to a club, and they're pretty much all telling jokes with set-ups and punchlines. Coffeehouse audiences are the most forgiving: They really listen, which is the best part.
When I first started going out to lesbian clubs, I felt a very binary recreation of hetero culture. There are butches and femmes, and I felt like I was neither of those things. I'm in a turtleneck and jeans and just learning to be comfortable in that space. I realized I don't have to be a certain way.
There's a time and place for everything. You're younger, you might want to go to clubs and kick it, but as you get older, you start seeing that life has more meaning to it. The people that you love are the people you want to start trusting and start wanting them to trust you and start respecting them.
There are teams in England who play the football I like, keeping the ball on the ground, playing a quick game with one-twos, pressing their opponents high up the pitch. If one of these clubs were interested in me, I'd adapt to them well, and they could adapt to my way of playing, which isn't so common.
Some players are bought by other clubs with an eye to them developing into something special in a few years' time. Whereas there's a bit more pressure on some of the other clubs to bring in players who are going to be hitting the ground running and top players verging on world class almost immediately.
When I was younger, I was an avid science girl. I was all about, 'I'm going to be a doctor.' Even when I graduated, I was like, 'I'm going to be a doctor.' Even though I did acting and I was in plays and drama clubs in high school and college, I still didn't think I was going to take it on as a career.
This is the great crisis in football now. It's not just Rangers; it's a lot of clubs. Big clubs always create more debt despite the huge income they have. It's almost an achievement, isn't it? They make so much money, and yet, still, their debts rise and rise and rise. How does that happen? It's absurd.
Clubs are taking away the steal of home. Not only are more pitchers throwing out of the stretch position, but more third basemen are playing closer to the bag. But another reason why nobody does it much anymore is that some guys, no matter how fast they are, just aren't comfortable trying to steal home.
There was also a hunger strike in front of the National Press Club, which seemed an odd place to have a hunger strike (a cocktail fast, maybe). Although the Bangladeshis were savvy enough to know to know that if you're going to pester journalists, don't go to where they work: You'll never find them there.
Hopefully my time in Nashville has helped me. We've had a lot of different things happen to our hockey club, seen a lot of different situations and different types of clubs from an expansion team to a Stanley Cup playoff threat. I think any coach that's gone through those things, you become a better coach.
Liberal democracies like ours seem, for the most part, to have learned how to avoid meticulously planned mass-casualty plots with the complexity and scale of 9/11. But they don't know how to keep their citizens safe at night clubs and concerts, in supermarkets, on beachfront promenades, from truck drivers.
I'm quite good at water skiing. Dave Clark, from the 1960s band Dave Clark Five, taught me how to water ski in Spain one year. I can do jumps too. I used to go to a club in Heathrow, but I don't do it any more, as it's given me a bad back. I was brought up in Poole, Dorset, so I've always loved watersports.
During my career I've come back to clubs after the summer break to see one of my team-mates not really at it because he's been denied a move to a bigger club for whatever reason, and you can see in his body language that he doesn't want to be there and that kind of thing is massively disruptive and negative.
I think there's a whole group of kids out there that don't relate to the glitz and glamour of hanging out in clubs and partying all the time. So I think some people are just more real than that, and I think our fans are those kind of kids that need something to relate to, and I think we're the band to do it.
When I was young I wanted to make films and then I got into folk music when I was about 12, and started going to this folk club in Auckland. My dad [Barry Andrews] was in punk and post-punk bands, so I guess it was a side of music I hadn't really listened to before - the really narrative form of songwriting.
I say it with my tongue firmly planted in cheek but there's truth to it - being a comedian is very close to being a therapist. When you're working smaller clubs, you're listening. You're feeling an energy, you're going with a tone but when people start yelling out, you almost start a conversation with people.
It's always this thing about being the big brother and the little brother coming to try to overtake the big brother. That always happens in families and in clubs - the young player hoping to take the old player's position - and City are hoping to overtake United. I don't think they'll ever be able to, though.
When we were doing shows in the mid-'90s, the audiences were 95% black. What's happened now is the gentrification of hip-hop. A lot of cities passed ordinances that made it hard for black audiences to gather in large groups. Clubs are more open to hip-hop now 'cause it's the same crowd that goes to rock shows.
When I started on the London circuit in 1989, nationwide there were about 150 to 200 people that were what you could call alternative comedians - that weren't club comics. Now, last year when the Laughing Horse chain of clubs held a new acts competition, a thousand people entered. So, there are 800 people more.
I'm always making tracks. I find that when you make tons of tracks, you stumble upon genius. You can't always turn the drum machine on and right away there's a hot track. Sometimes you luck out. But it can take a lot of time between thinking about the artist, listening to music for inspiration or going to clubs.
Every time I've done comedy in, like, traditional comedy clubs, there's always these comedians that do really well with audiences but that the other comedians hate because they're just, you know, doing kind of cheap stuff like dancing around or doing, like, very kind of base sex humor a lot, and stuff like that.
I love playing the Hard Rocks; they've got a great stage, great lighting, great sound, and not so humongous; its more intimate, so we love playing theaters and clubs where the audience has a really good chance to see and hear the group and where the acoustics are good. I like it when we can hear what we're doing.