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Collaboration is like carbonation for fresh ideas. Working together bubbles up ideas you would not have come up with solo, which gets you further faster.
Mostly, my flying has been solo, but the preparation for it wasn't. Without my husband's help and encouragement, I could not have attempted what I have. Ours has been a contented and reasonable partnership, he with his solo jobs and I with mine. But always with work and play together, conducted under a satisfactory system of dual control.
Life is not a solo act. It's a huge collaboration, and we all need to assemble around us the people who care about us and support us in times of strife.
The good thing about flying solo is it's never boring.
To be clear, I normally climb with a rope and partner. Free-soloing makes up only a small percentage of my total climbing. But when I do solo, I manage the risk through careful preparation. I don't solo anything unless I'm sure I can do it.
My favorite puzzle is trying to work out the parts myself, after all it is a solo effort.
Life is like playing a violin solo in public and learning the instrument as one goes on.
I suppose being a bit of an antisocial weirdo definitely honed my skills as a soloist. It gave me a lot more opportunities to solo lots of easy routes, which in turn broadened my comfort zone quite a bit and has allowed me to climb the harder things without a rope that I've done now.
If you want to stand with me as a single mom - and I know so many of my friends and colleagues do - please don't appropriate my burden as a way to validate your own. To suggest that you are single-parenting when you are simply solo for the weekend devalues what real single mothers do.
You are a dear soul who plays polo, and I am a poor Pole who plays solo.
Ignacy Jan Paderewski
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My style is bad white-boy dancing. I can do swing a little bit, but nothing beyond that. My solo dancing is sad. I use my arms, badly.
Living in Barcelona, I have my own little ghetto utopia. There are 3,000 ghost towns in Spain, and I've used the images of them a lot in my backdrops for my solo spoken-word stuff. The ghost towns could be from two buildings to 40 - things died out, or there were plagues, the roads don't lead there, whatever.
Growing up, I really liked 'Star Wars.' Han Solo would've been really cool to meet. But my stuff was real low-brow. I was watching 'Bugs Bunny.'
I think the drummer should sit back there and play some drums, and never mind about the tunes. Just get up there and wail behind whoever is sitting up there playing the solo. And this is what is lacking, definitely lacking in music today.
I just assumed the world was full of solo percussionists. I couldn't find sticks or music or anything where I was, but that was expected because there was nothing there anyway. And I think that was possibly the greatest asset for me, just not knowing.
Going through life solo isn't very exciting if you can't share it with somebody, you know?
I think anything we do outside of Gym Class Heroes still falls under the Gym Class Heroes umbrella. There's really no method to the madness. With Gym Class, it's more of a democratic process, and when I'm working on solo stuff, it's just me, either working with producers or sitting in a room by myself. They balance and complement each other.
After I came out of surgery - I was in the hospital for five weeks - I found that I gravitated toward very gentle sounds: chant music, solo bamboo flute sounds, a laid-back record of my own called 'Inside.' And the music became a very real part of my recovery process.
Flying solo, you have a fair workload. I'm not only flying the balloon but doing the navigation, communications, repairing the burners, taking care of the equipment.
I think the real exciting part about becoming a solo artist is that you get to really decide on what your new sound and what your new message will be.
When you're in a band with three writers, three great writers, you only get one third of the writer thing. So that's the whole reason that I did a solo career. And that's, you know, when I told Fleetwood Mac I was going to do that, they were of course terrified that I would do that record and then that I would quit.
I start from one point and go as far as possible. But, unfortunately, I never lose my way. I 'localize,' which is to say that I think always in a given space. I rarely think of the whole of a solo, and only very briefly. I always return to the small part of the solo that I was in the process of playing.
Most people don't really need to hear a six-minute guitar solo that modulates between five keys and time signatures. What they want is a good song.
You won't be exiled to permanent unemployment just because there's a picture somewhere of you holding a red Solo cup and looking underage. But, your Google results tell a story: Have you been in the news? Authored articles or blog posts? What types of topics do you frequently tweet about?
As a boy soprano in the high school choir, I later sang a solo during the carol service at Canterbury Cathedral, but I was too young to secure the Freddy Eynsford-Hill role in our production of 'My Fair Lady' - and far too timid to have thought to audition for it.
There's something about the rawness of the live thing, there's no rhythm guitars behind the solo, nothing other than what you hear the people playing at that moment. It's exciting, it's about the performance.
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