Jerry Lawler walks in here with his crown - DA DA DUM - Imperial Margerine - and talks about what he's going to do to me. Lawler, if you think you're going to beat me, if you think you can do ANYTHING to me, than you really are the king. King of FOOLS, jack!!
I'm Jerry Lawler, I make fun of women because I have no self-esteem.
I'm looking forward to talking to Bill Parcells, too, and to seeing how that marriage with Jerry Jones goes.
They thought they were Mick Jagger and Jerry Hall. In fact, they were more like Tom and Jerry
The issue Fodor writes about is central to the psychology of perception, cognition, and action. It is the central issue for anyone who would seriously study the neurobiology of behavior: Is the mind organized horizontally or vertically or both, and what are the consequences to psychology of proceeding on one assumption or the other? This has been little analyzed and written about. Jerry Fodor has repaired that omission and had done it brilliantly.
Preserve the core, and let the rest flux. In their wonderful bestseller Built to Last, authors James Collins and Jerry Porras make a convincing argument that long-lived companies are able to thrive 50 years or more by retaining a very small heart of unchanging values, and then stimulating progress in everything else. At times "everything" includes changing the business the company operates in, migrating, say, from mining to insurance. Outside the core of values, nothing should be exempt from flux. Nothing.
You weren't supposed to hear Elvis Presley. You weren't supposed to hear Jerry Lee Lewis. You weren't supposed to hear Robert Johnson. You weren't supposed to hear Hank Williams. And they told the story of the secret America.
I remember thinking as I was doing the jokes for the first time, "If I can hear that very clearly, I'm not hearing laughter." It just became deafening, this buzzing noise. I mean, it was brutal. It was really terrible. Then I remember thinking, "At least nobody important, or anyone who I really respect, saw that." And then literally right when I went off the stage, Jerry Seinfeld got up and went on. So I was like, "Oh great. Seinfeld saw me bomb." On the other hand, I thought, "At least no one will be thinking of me anymore. They'll just be focusing on him."
I pick my feature film battles very carefully. They're going to be personal and they're going to take a lot of my energy. I'm not going to be some big production company and be Jerry Bruckheimer or something like that. It doesn't interest me.
I really liked Tom & Jerry. That was huge for me. I watched it every morning, before I walked to school. Even as a kid, I thought there was something really smart about it. I thought it was very clever.
There is no one who has ever created music with the combination of intelligence, intuition, depth, creativity, and humor that Jerry Garcia has. His work and life will continue to be a limitless source of inspiration for all of us.
Hi, folks, I'm Jerry Gross. No, I'm not, I'm Jerry Coleman.
I was wanting to do an album but I didn't know if I was really ready. Jerry Wexler was one of my closest friends and allies, like my godfather. He said, "Let's do an album." I couldn't sing worth a damn, but there were some good songs.
Nobody can make a movie as exciting as Jerry Bruckheimer. When it's a Jerry Bruckheimer movie that it's going to have lots of chrome and gloss, it's going to be sexy, and it's going to be big and fun.
Jerry Garcia was a great American master and the Grateful Dead are not just a genuine piece of musical history, but also an important part of American history.
There are no Jerry Garcias coming down the pike, anymore than there is a Jimi Hendrix or Bob Marley. They are all at the same level - the highest level that you strive to get to as a musician. Me and my friends - we'll all be long dead, people will still be trying to dig into what Jerry Garcia did.
There is not a sentence in the world that could respectfully do justice to the life and music of Jerry Garcia.
Jerry Garcia and the Grateful Dead did as much for mankind as any president.
I guess the story that best defines us [with Bud Yorkin] and our relationship goes back to the [Dean] Martin and [Jerry] Lewis show. The four stage managers on that show became major TV creators and directors - John Rich, Jack Smight, Arthur Penn and Bud Yorkin.
Rap was forbidden with the people who were interviewing us and the shows that I was getting [booked on], and I had kind of crossed over. So Jerry [Heller, who managed N.W.A.] would tell me, 'Do not say you're a rapper, always say you're R&B.'
We mocked that concept ['movies are better than ever'] by doing a sketch that was about a theater trying to get one customer to come in...and that customer was Jerry Lewis. It generated so much controversy that Dean [Martin] and Jerry [Lewis] had to apologize in a full page ad in Variety.
We all [Ed Simmons,Dean Martin and Jerry Lewis] started together, so there were no rules - anything we wrote became television.
Next up [new TV stars] was [Dean] Martin and [Jerry] Lewis on 'The Colgate Comedy Hour.'
Do you see how Jerry Heller made it work? That is how he combined what we did to make the rap music into mass music. That's exactly how it happened.
Then instead of introducing Dre as the guy from N.W.A., Jerry Heller would say Dre was my producer! Dre would come to my interviews with me - he'd come to all these places that would never have had the guy from N.W.A. Wasn't it genius?
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