Good George Strait Quotes

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.

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.