Sammy Hagar's Quotes

If I would go up on a high note, Eddie would want a low one. That's how petty the situation had become.

It's a good thing I don't read everything Eddie says, or I'd be up in arms and not enjoying my life.

The reason my voice is sounding more passionate is because I'm singing directly from the heart.

To stay a great singer or guitar player, you've got to do it 24/7. That's what I do.

When they brought Roth back into the picture, obviously I didn't go along with that too well.

All he cares about is going out there with his Jack Daniels bottle. Nothing has changed. That's kind of sad. If David was doing better than he used to be, then that would be different. But it was a joke and he made it that way.

Dave was great in Van Halen. No question about it. He was one of the best at being Mr. Rock Star. But it's sickening to see a guy still trying to be that with a wig on 20 years later.

Everything that Eddie has said about me is the total opposite of what really happened. Eddie says I wanted to be a solo artist. No, Eddie wanted to be a solo artist.

I don't want to talk about negative, dark things. The only thing I've got against stuff like Marilyn Manson is, they make unbelievable videos and unbelievable images.

I wasn't writing the music. Ed would write a piece of music. I'd listen to it and come up with a melody and then we would arrange it. We'd put it together and I would write lyrics to my melodies.

I'm an underdog person, so I align myself with those who seem to be not considered valuable in polite society.

Life is not simple, and people can't be boxed into being either heroes or villains.

My identity is linked to my grandmother, who's pure Filipino, as pure as you can probably get. And that shaped my imagination. So that's how I identify.

Becoming a mother has helped make me a tougher, stronger writer.

Everything matters. Time is precious.

I also identify as a Latin person, a person who has Latin blood.

I don't believe in sampling some Tibetan music just to make it sound groovy, but you do your homework, you understand what you're doing with it.

I love writing dialogue, and I think a lot of my writing is visual and very cinematic.

I think for a lot of so-called post-colonial peoples, there's a feeling of not being quite legitimate, of not being pure enough.

I'm preparing for a multimedia theater piece, Airport Music, that's coming up in New York City.

Music is very influential to my writing, as are theater and film.

There are certain regions in the country where the indigenous people eat dogs.

But I think there's a genuine joy, too, a sense that no matter what, even if my stomach's growling, I'm going to dance. That's what I want to leave people with at the end of the play. After all this, people still know how to live.

Growing up in the Philippines, I loved all kinds of movies. We had a very healthy film industry there when I was a child. It's now gotten very limited. They only make action movies and hard-core exploitation movies. Women get raped; men get shot.

Hybridity keeps me from being rigid about most things. It has taught me to appreciate the contradictions in the world and in my life. I scavenge from the best.

I don't know what issues concerning identity have helped contemporary fiction evolve to what it is now. All I know is that the range of voices that are being heard and published is a lot more diverse than when I was coming up.

There were also horror shows on the radio. Very terrifying and thrilling to me as a kid. They had all these creepy sound effects. They would come on at ten o'clock at night, and I just would scare myself to death.

We didn't have television until I was about eight years old, so it was either the movies or radio. A lot of radio drama. That was our television, you know. We had to use our imagination. So it was really those two things, and the comics, that I immersed myself in as a child.