George Strait Quotes

Life is not the breaths you take but the moments that take your breath away.

Life is not breaths you take, but the moments that take your breath away.

But words are things, and a small drop of ink,       Falling like dew, upon a thought, produces That which makes thousands, perhaps millions, think;       ’T is strange, the shortest letter which man uses Instead of speech, may form a lasting link       Of ages; to what straits old Time reduces Frail man, when paper — even a rag like this, Survives himself, his tomb, and all that’s his.

While I was backstage before presenting the Best New Artist award, I talked to George Strait for a while. He's so incredibly cool. So down-to-earth and funny. I think it should be known that George Strait has an awesome, dry, subtle sense of humor. Then I went back out into the crowd and watched the rest of the show. Keith Urban's new song KILLS ME, it's so good. And when Brad Paisley ran down into the front row and kissed Kimberley's stomach (she's pregnant) before accepting his award, Kellie, my mom, and I all started crying. That's probably the sweetest thing I've ever seen. I thought Kellie NAILED her performance of the song we wrote together "The Best Days of Your Life". I was so proud of her. I thought Darius Rucker's performance RULED, and his vocals were incredible. I'm a huge fan. I love it when I find out that the people who make the music I love are wonderful people. I love Faith Hill and how she always makes everyone in the room feel special. I love Keith Urban, and how he told me he knows every word to "Love Story" (That made my night). I love Nicole Kidman, and her sweet, warm personality. I love how Kenny Chesney always has something hilarious or thoughtful to say. But the real moment that brought on this wave of gratitude was when Shania Twain HERSELF walked up and introduced herself to me. Shania Twain, as in.. The reason I wanted to do this in the first place. Shania Twain, as in.. the most impressive and independent and confident and successful female artist to ever hit country music. She walked up to me and said she wanted to meet me and tell me I was doing a great job. She was so beautiful, guys. She really IS that beautiful. All the while, I was completely star struck. After she walked away, I realized I didn't have my camera. Then I cried. You know, last night made me feel really great about being a country music fan in general. Country music is the place to find reality in music, and reality in the stars who make that music. There's kindness and goodness and....honesty in the people I look up to, and knowing that makes me smile. I'm proud to sing country music, and that has never wavered. The reason for the being.. nights like last night.

Life's not the breaths you take, but the moments that take your breath away.

It's been a long hard ride. See you on the other side

Life isn't about the breathes you take, it's the moments that take your breathe away.

Life's not the breath you take, but the moments that take your breath away.

Live's not the breathes you take, but the moments that take your breath away.

I’m Nancy Wilson. I’m with a band called Heart. We, uh, we’re from Seattle.” There was no recognition on these guys' faces. I might as well have told them we were the Von Trapps. But they had some pot. “Hey, little lady, want some?” one old guy asked. “Okay, if you insist, just a tiny bit,” I said. I hadn’t had pot for ages, and this was some mellow stuff, like sixties pot. It was exactly the right kind. Suddenly, I was loose and free. I went into the house, and there were a slew of guitars in the center of the room. Our road manager Bill Cracknell told me later that Tony Brown always wanted his parties to turn into jam sessions, but they rarely did. I’ve never seen a guitar I didn’t want to play. I picked one up, and started into Elton John’s “Country Comfort.” My pot-smoking friends joined in, and so did my sister. I started walking with the guitar, and gesturing to everyone to “come on.” Sheryl Crow grabbed a guitar; George Strait, too. Soon enough it was a superstar jam session with Vince Gill, Clint Black, Michelle Branch, Reba McIntire, and many more. I love hootenannies, but this was one of the best.

This dance was the dance of death, and they danced it for George Buffins, that they might be as him. They danced it for the wretched of the earth, that they might witness their own wretchedness. They danced the dance of the outcasts for the outcasts who watched them, amid the louring trees, with a blizzard coming on. And, one by one, the outcast outlaws raised their heads to watch and all indeed broke out in laughter but it was a laughter without joy. It was the bitter laugh one gives when one sees there is no triumph over fate. When we saw those cheerless arabesques as of the damned, and heard that laughter of those trapped in the circles of hell, Liz and I held hands, for comfort. They danced the night into the clearing, and the outlaws welcomed it with cheers. They danced the perturbed spirit of their master, who came with a great wind and blew cold as death into the marrow of the bones. They danced the whirling apart of everything, the end of love, the end of hope; they danced tomorrows into yesterdays; they danced the exhaustion of the implacable present; they danced the deadly dance of the past perfect which fixes everything fast so it can’t move again; they danced the dance of Old Adam who destroys the world because we believe he lives forever. The outlaws entered into the spirit of the thing with a will. With ‘huzzahs’ and ‘bravos’, all sprang up and flung themselves into the wild gavotte, firing off their guns. The snow hurled wet, white sheets in our faces, and the wind took up the ghastly music of the old clowns and amplified it fit to drive you crazy. Then the snow blinded us and Samson picked us up one by one and slung us back in that shed and leaned up hard against the door, forcing it closed against the tempest with his mighty shoulders. Though bullets crashed into the walls and the wind came whistling through the knotholes and picked up burning embers from the fire, hurling them about until we thought we might burn to death in the middle of the snow and ice, the shed held firm. It rocked this way and that way and it seemed at any moment the roof might be snatched away, but this little group of us who, however incoherently, placed our faiths in reason, were not exposed to the worst of the storm. The Escapee, however, faced with this insurrection of militant pessimism, turned pale and wan and murmured to himself comforting phrases of Kropotkin, etc., as others might, in such straits, recite the rosary. When the storm passed, as pass it did, at last, the freshly fallen snow made all as new and put the camp fire out. Here, there was a shred of scarlet satin and, there, Grik’s little violin with the strings broken but, of the tents, shacks, muskets and cuirasses of the outlaws, the clowns and the clowns themselves, not one sight, as if all together had been blown off the face of the earth.

At every significant point in the four centuries since English settlers laid the foundations for the nation we know—at every significant point—American leaders and the great majority of the American people have explicitly said or acted as though they understood history in terms of this public religion. As King George III’s British troops moved toward New York City in the summer of 1776, Gershom Seixas, leader of the first Jewish synagogue in America, Shearith Israel, led his people into what they called their “exile.” Armed with the Torah scrolls, the congregation linked the ancient story of its forbears with the young country’s, referring to the Revolution as “the sacred cause of America.” Once victory was won, the congregation prayed in thanksgiving: “We cried unto the Lord from our straits and from our troubles He brought us forth.” The Lord delivered Israel; now he had delivered the United States.

I ain't never saw a hearse with a luggage rack." (Quote by George Strait, country singer, and appearing at the end of Bob Mitchell's memoir, Time for a Heart-to-Heart: Reflections on Life in the Face of Death.

Soon after [George Yeo] became a politician, he made a famous speech, and for the first time, the term "OB markers" was used in political discourse. He was using golfing language to vividly make the point that Singapore needed OB markers to demarcate areas of public life that should remain out of bounds to social activism and the media. Otherwise, society paid an unacceptably high price. His essential point was that Singaporeans worked better if the cover of the banyan tree did not remain so broad. He was signalling that the state should pull back and give the people more free play.

If we can't occasionally make fun of ourselves, we're all in dire straits.

Randolph, having provoked the challenge, could not decline it. As much as he hated Clay’s politics he had a sneaking admiration for him personally—Black George, after all, was a good-natured knave—and had been heard to say, “I prefer to be killed by Clay to any other death.”33 The two men met, with their seconds, on the Virginia side of the Potomac on April 8. Neither was experienced with dueling pistols. Both missed on the first exchange of shots at ten paces. This was enough to satisfy the code duello, but it did not satisfy Clay. He insisted on another round, and Randolph consented. Clay then put his bullet through the long, voluminous white coat Randolph wore for the occasion. Uninjured, and drained of any desire to injure Clay, he fired into the air, dropped his pistol, came forward, extended his hand and said, “You owe me a coat, Mr. Clay.” Taking his hand, Clay replied, “I am glad the debt is no greater.” (Rebecca Gratz, one of Clay’s friends, remarked, “It would be well if he gave him [Randolph] a strait jacket. “)34 In the sensation produced by the duel no one blamed Clay but many, including some of his best friends, felt he should have consulted his discretion rather than his courage and found some other way of dealing with Randolph. Clay’s sense of honor was never in question; the duel, while unnecessary to prove that, dramatized the very traits of anger and unruliness that he most needed to erase from the public image. It did not quiet Randolph. He liked Clay too much to kill him, yet continued his shrill attack; and when he died seven years later left instructions that he be buried facing west—not east as customary—so as to keep an eye on Henry Clay.35

rhetor­i­cal gar­den paths are endemic to coun­try music, often tak­ing the form of decon­structed idiomatic expres­sions. In George Strait’s “You Look So Good in Love,” by Glen Bal­lard, Roury Michael Bourke, and Kerry Chater, the word “in” is a hinge, turn­ing from a phys­i­cal descrip­tor to a state of being. Liz Anderson’s “(My Friends Are Gonna Be) Strangers,” as sung by Merle Hag­gard, includes a line in which both the fig­u­ra­tive and lit­eral con­no­ta­tions of an idiom are simul­ta­ne­ously at play: “The only thing I can count on now is my fingers.” These phrases work by refus­ing to take a metaphor at face value. If a metaphor is a sub­sti­tu­tion of one thing for another, leav­ing the word itself absent in its own descrip­tion, the dou­ble enten­dres of coun­try songs are the return of the repressed.

Country music dominates the acts favored by Republicans. New country, old country, all country—from Miranda Lambert and Lady Antebellum to Tim McGraw and Blake Shelton. From Jason Aldean and Kenny Chesney to Carrie Underwood, Brad Paisley, and Toby Keith. Old-time country legend George Strait is particularly popular among Republicans (and particularly unpopular among Democrats).

On August 11, 1934, Stanley Ferson walked off the Morro Castle when she docked in New York. His sudden departure baffled Alagna and a number of ship’s officers; thirty-seven years would pass before the extraordinary circumstances behind Ferson’s resignation were revealed. With his departure, Rogers became chief radio officer, Alagna regained his old position as first assistant radioman, and Maki—absent during the furor—returned to complete the team. As far as Maki was concerned, “Rogers ran an easy shop. You did your job, and you relaxed the way you liked.” Alagna, on the other hand, found it difficult to relax. He had started to get “the creeps.” He believed somebody was trying to waylay him, possibly even kill him, for the trouble he had caused. “I thought several times that I heard footsteps hurrying along behind me in the shadows of the deck. But each time, when I swung around to investigate, the deck would be vacant. I could neither see nor hear anyone when I was sure someone had been there but a moment before.” It may have been this stress which finally sealed the fate of George Alagna. On this trip, one day out of New York, as the Morro Castle steamed through the Florida Strait on her way to Havana, Alagna had been on radio duty. Suddenly he raced to the bridge and accused the watch officer, Second Officer Ivan Freeman, of tinkering with the radio compass on the bridge, jamming the main radio transmitter. It was a ridiculous allegation; moreover, it offended Freeman’s sense of propriety. Junior radiomen did not come to the bridge unless it was with a specific message; they certainly did not assail the officer of the watch. Freeman complained to Chief Officer Warms, who reported the incident to the captain. Captain Wilmott sent a signal to the Radiomarine Corporation demanding the immediate removal of Alagna on their return to New York.

That’s old Bariteau on his way to laying his eel nets. He won’t be back for another two hours.’ How could old Bariteau see his way in all this blackness? God knows. You sensed the presence of the sea, very close, just at the end of the narrows. You could breathe it in. It was swelling, irresistibly invading the straits.

If you don’t leave the past in the past, it will destroy your future. Look at what’s in front of you, not what yesterday took away. The best is yet to come.