80 Sentences With "let yourself go" | Random Sentence Generator

Oh Santa, how you've let yourself go over the years!

Each break, I told myself the same thing: don't let yourself go.

Or, you could just let yourself go and fall to the ground.

You definitely know how to party, but you don't let yourself go wild enough.

If you feel sorry for yourself, and you let yourself go down, you will drown.

If you feel sorry for yourself and you let yourself go down, you will drown.

"Are you going to let yourself go and have like, 10 or 11 almonds?" she asked.

Let yourself go through a week where you're not obsessively checking what everyone else is doing.

This, too, is a departure from turkey and sweet potatoes, and I say let yourself go there.

Because let's face facts, you kind of let yourself go a little bit for these past few years.

" Most Poignant Lyrics to Hear Today: "He's outrageous, he screams and he bawls / The Jean Genie, let yourself go.

I was going to tell you, you should start taking care of yourself because you really let yourself go.

At our reunion, I was shocked to see one of the guys—like, dude, you've completely let yourself go.

What I saw was you — something happened and you just let yourself go and it was such a fantastic performance!

It's the urge to jump, and to let yourself go, even when you know the fall would mean certain death.

You just have to let yourself go through it and go through the journey and be there for each other.

"Yeah, but you haven't let yourself go, because I was flipping through some pictures today in my office," the host said.

Ahead, see the photos and let yourself go back in time to Jackie's high school days at the Holton-Arms school.

If you didn't have to go onstage night after night, would you be tempted to let yourself go a little bit?

So now that you have the backing of the science community, you can let yourself go when it comes to your wardrobe.

You believe that their fiancées, in time, could see these strangers as the kind of guys one could let yourself go with.

"So you're telling me that when you come back, you let yourself go back into the past, and you remember?" he asked.

If you just let yourself go, close your eyes, and think back to 2010, before most people were using "fire" as an adjective.

And it feels so much better to not let yourself go to despair, but to feel in the moment how okay things are.

You can let yourself go for a few seconds at a time, and for a few seconds at a time, it kind of starts to work.

Let yourself go, if you dare, and you enter a world beyond borders of regimented thoughts and senses, one in which the ear sees more than the eye.

But you mustn't let yourself go because you might get tired and not be ready to sing 'Vissi d'arte' where Tosca is addressing God with the question, why?

The one thing I would tell other working moms:You can't let yourself go through work and go through parenting always feeling like you should be in the other place.

I would say just try to remember to take everything one day at a time and to let yourself go through all the emotions you're feeling whenever they come up.

Because sometimes you can keep working for something and you do it, you do it right, but it doesn't mean that you necessarily super let yourself go and let yourself enjoy it.

Think about the things you let yourself go without: the sleep you don't get; the meals you don't eat; the myriad challenges that you don't self-correct in the process of daily living.

Perhaps the best parallel is BDSM: It's about submission in a clearly defined context in which you have the freedom to completely let yourself go—a staging in which both parties have given consent.

"Never let yourself go completely (at least brush your hair, clean your teeth, have a bit of a brow going on because you will always want him to look at you and feel attracted)," Victoria added.

"Sophisticated letting go" was how Ms. Nichanian described her intentions, a slippery notion unless you remember Mick Jagger's dictum that it is all right to let yourself go, as long as you can get yourself back.

You feel like an understudy subbing for a star in a rehearsal: It's not your show, so there's a certain appropriate caution, and yet whatever talent you have is going to be needed, so you had better let yourself go and do the best you can.

428-429 but then he adds, that a little effort and a smiling face, and things could be just as before. In the end he calls her: "Come close to me. Let yourself go".Charles Aznavour — You've Let Yourself Go lyrics It was a no.

"Tu t'laisses aller" (English: "You Let Yourself Go") is a song written in 1960 by Armenian-French artist Charles Aznavour.

"Let Yourself Go" is a popular song written by Irving Berlin for the 1936 film Follow the Fleet, where it was introduced by Ginger Rogers.

On radio, Russell was the featured female singer on Let Yourself Go on CBS (1944-1945).Sies, Luther F. (2014). Encyclopedia of American Radio, 1920-1960, 2nd Edition. McFarland & Company, Inc. .

"Let Yourself Go" is a song first recorded by Elvis Presley as part of the soundtrack for his 1968 motion picture Speedway. In June 1968 it was released on a single with "Your Time Hasn't Come Yet, Baby" on the other side and on the soundtrack album Speedway. On December 1, 1970 the single "Let Yourself Go" / "Your Time Hasn't Come Yet, Baby" was re-released as part of RCA Victor's Gold Standard Series (together with 9 other Presley's singles).

Let Yourself Go is Kristin Chenoweth's debut solo album, released in 2001. The backing orchestra is Robert Fisher and the Coffee Club Orchestra. The fifth track, "Hangin' Around with You", features actor Jason Alexander.

A second single, "Smile" was released on September 9. This album also marks Chenoweth's second Great American Songbook-themed album. Her first was her 2001 debut album Let Yourself Go, which featured mostly classic songs from the 1940s.

Brown and his musicians continued to experiment with the arrangement of "Let Yourself Go" during rehearsals on the road. Eventually a new song, "There Was a Time", developed from the accumulated changes.George, Nelson. The Death of Rhythm and Blues.

The next day, the single was made available on the iTunes Store. "Let Yourself Go" was released as the third single from ¡Uno! on September 5, 2012. The song was performed live at the MTV Video Music Awards on September 6, 2012.

On the 2006 rally a number of TV crews accompanied teams along the route. The 2006 event was also sponsored by .travel with the sponsorship money going towards the cost of organising the event. The Expedia Let Yourself Go Team were also featured on the Expedia website.

Brown recorded "Let Yourself Go" after hours in the Latin Casino nightclub during a ten-day performing engagement there. An edited version of this recording was released as a single, which charted #5 R&B; and #46 Pop,White, Cliff (1991). "Discography". In Star Time (pp. 54–59) [CD booklet].

Also in 2001, she released her debut solo album Let Yourself Go, which was a collection of standards from the musicals of the 1930s. One of the tracks featured a duet with Jason Alexander. In , Chenoweth performed songs from the album in concert for Lincoln Center's American Songbook concert series.Holden, Stephen.

The next day, the single was made available on the iTunes Store. The song's accompanying music video premiered on YouTube on September 4, 2012, to coincide with the release of the album trilogy's third single "Let Yourself Go" on September 5. A teaser was previously uploaded on the channel on August 29, 2012.

Her song "Make It Easy On Me" was covered by Lisa Scott-Lee on the Steps album Steptacular. The hook of the song "Don't Make Me Over" is sampled on the Caron Wheeler track "I Adore You". "Let Yourself Go" was sampled by Shinji Hosoe on the track "Feeling Over" for Namco's 1994 racing game Ridge Racer.

The band was touring in Italy five days prior to their performance at the 2012 MTV Video Music Awards. Lead singer Billie Joe Armstrong was hospitalized due to dehydration and influenza. This caused the band to cancel their show at Bologna which was scheduled three days before their performance at the VMAs. However, Armstrong recovered and the band performed "Let Yourself Go" at the VMAs.

Payne has also stated that Cindy Birdsong also recorded a lead vocal for "High Energy," but her version has yet to be found as well. The entire album was released for the first time on CD on May 17, 2011, on the three-disc set Let Yourself Go: The '70s Albums, Vol 2 – 1974–1977: The Final Sessions which also includes the complete album in a different mix by Russ Terrana.

"Let Yourself Go" is a song by American rock band Green Day. The song is featured as the fourth track on their ninth studio album ¡Uno! (2012). Written by Billie Joe Armstrong and produced by Rob Cavallo, the song was released as the third and final single from the album on September 5, 2012. However, the "official live video" of the song was revealed on August 1, 2012.

"You're My Driving Wheel" is a dance/disco song by The Supremes. The song was released on September 30, 1976 as the first single from their album Mary, Scherrie & Susaye. Along with the tracks, "Let Yourself Go" and "Love I Never Knew", "You're My Driving Wheel" peaked at number five on the disco chart. On the Soul chart, the single peaked at number fifty and number eighty-five on the Hot 100.

The Nationals' marketing slogan for the season was "Let Yourself Go." Nationals Vice President of Sales and Marketing David Cope explained that the slogan told "people to come to the game, to let themselves come out here [to Robert F. Kennedy Memorial Stadium]. But then once you're here, have fun, let loose. We don't want it to feel like stuffy old D.C. -- and it doesn't."Svrluga, Barry, "For Nats, What Counts Is Turnstiles," washingtonpost.

"There Was a Time" was recorded in July 1967 during a live performance at the Apollo Theater in a medley with "Let Yourself Go" and "I Feel All Right", and was first released November 1967 in edited form as the B-side of the single "I Can't Stand Myself (When You Touch Me)". The song charted #3 R&B; — higher than the A-side — and #36 Pop.White, Cliff (1991). "Discography". In Star Time (pp.

Its theme was described as "the kind of pop-smart here's-my- fucking-problem miniatures". It received positive critical reception and charted at number 2 on the UK Rock Chart and 17 on the US Alternative Songs chart. "Let Yourself Go" was played at secret shows of the band and at the 2012 MTV Video Music Awards. The song is featured in the 2017 film Diary of a Wimpy Kid: The Long Haul.

"Mama Don't Cry" is directed to Delph's parents. "Kyrie" was written by Medieval French poet and composer Guillaume de Machaut. "Let Yourself Go" was later used in the final scene of the 1999 US romantic comedy film Deal of a Lifetime.Deal of a Lifetime DVD Official Credits In 2003, to promote the release of the album, a radio broadcast on KOOP FM 91.7 in Austin, Texas, featured album personnel Paul Marcus, Vida Vierra, Doug Lunn and Andy Markley.

The third single "Let Yourself Go" was released on the US iTunes Store on September 5, 2012, and a promotional single "Nuclear Family" was released on their YouTube channel on September 12, 2012. A music video for "Stay the Night" was released on Rolling Stone and their YouTube channel on September 24, 2012. The song "Rusty James" is based on the character Rusty-James from the novel Rumble Fish. ¡Uno! received generally positive reviews from music critics.

It achieved its biggest sales in New Zealand, where "Don't Make Me Over" hit number one, and the album peaked at No. 3. "Don't Make Me Over" had been first released on Sybil's previous album Let Yourself Go, but had not been released as a single. The song "Love's Calling", which includes a sample of Grace Jones' "Don't Cry – It's Only the Rhythm" was later included, in a new remix, on Sybil's 1993 album Doin' It Now!.

Returning from the USO, Block was the writer for Ed Wynn's return to radio after a ten-year absence. Wynn had been a pioneer of early radio. Returning from Europe in 1944, Block resumed his writing career. Block was the producer, as well as writer, of Milton Berle's radio show, Let Yourself Go. The show was described as a "zany, exhibitionist program" similar to the children's game Forfeits in which audience members and famous guests acted out unusual behavior.

Follow the Fleet was extremely successfulCroce: "with all its flaws Follow the Fleet was a shattering hit", p.84 at the box office, and during 1936, Astaire's recorded versions of "Let Yourself Go", "I'm Putting all My Eggs in One Basket", and "Let's Face the Music and Dance" reached their highest positionsMueller p.412 of 3rd, 2nd, 3rd respectively in the US Hit Parade. Harriet Hilliard and Tony Martin made their screen debuts in this film.

"Let Yourself Go" is a disco song recorded by The Supremes. It was written by Harold Beatty, Eddie Holland and Brian Holland (the latter two formerly part of Motown's hit songwriting team Holland-Dozier-Holland in the 1960s). The song was released on January 25, 1977 as the second single from The Supremes' Mary, Scherrie & Susaye album, and the last one by the group officially released in the US, ever. The song peaked at #83 on the US R&B; charts.

Live at the Apollo, Volume II is a 1968 live double album by James Brown and The Famous Flames, recorded in 1967 at the Apollo Theater in Harlem. It is a follow-up to Brown's 1963 recording, Live at the Apollo. It is best known for the long medley of "Let Yourself Go", "There Was a Time", and "I Feel All Right", followed by "Cold Sweat", which document the emergence of Brown's funk style. It peaked at #32 on the Billboard albums chart.

That same year RCA released Tiger Man which consisted of the complete sit-down performances. In 2006, RCA released Let Yourself Go: The Making of Elvis the Comeback Special, which consisted of outtakes and rehearsal recordings from the special. Various '68 Comeback recordings were used as the soundtrack to the Elvis pinball machine, released by Stern in 2004. The version of "A Little Less Conversation" originally recorded for (but not used in) the special was later remixed and became a hit single in 2002.

Armstrong was hospitalized three days before the band's performance at VMA. Green Day played a secret-show in Costa Mesa, California on August 11, 2011, where they performed various songs from the upcoming album, including "Let Yourself Go". Later on, the song was also played at few other secret shows of the band. A recording of the band performing the song live at Red 7 in Austin, Texas on November 17, 2011 was released online on July 30, 2012 as the "official live video" for the song.

Live at the Garden is a 1967 live album by James Brown and The Famous Flames. It was recorded on January 14, 1967 in the middle of a ten-day engagement at the Latin Casino in Cherry Hill, New Jersey - Brown's first at an upscale nightclub. Like most of Brown's live albums, overdubbed crowd noise was added to the original recording for its LP release. It included one new song, "Let Yourself Go", which was recorded after hours at the casino; it appeared on the album disguised as a live recording.

"La Coco-Dance" ("The Coco Dance") was the Monegasque entry in the Eurovision Song Contest 2006, performed in French and Tahitian by Séverine Ferrer. This was the first - and to date, the only - occasion on which the Tahitian language was used at the Contest. The song is inspired by island music - particularly that of the South Pacific. Ferrer, herself raised on Réunion island in the Indian Ocean, sings about the need to relax and let the world pass one by, as well as to "Let yourself go and come dancing".

"A CurtainUp Review:'Thoroughly Modern Millie' " curtainup.com, April 23, 2002 Millie won the 2002 Tony Award for Best Musical. Scanlan and Tesori also wrote the song "The Girl in 14G" for Kristin Chenoweth's debut CD, Let Yourself Go. He is the co-writer, with Sherie Rene Scott, of the musical Everyday Rapture, which opened Off-Broadway in May 2009 and again on Broadway on April 29, 2010."Sherie Blossom Time" tdf.org, accessed February 4, 2010 He and Scott also co-wrote Whorl Inside a Loop, inspired by their experiences teaching inside a men's correctional facility.

The audience participation show Let Yourself Go (1944–1945) could best be described as "slapstick radio" with studio audience members acting out long suppressed urges—often directed at host Berle. Kiss and Make Up, on CBS in 1946, featured the problems of contestants decided by a jury from the studio audience with Berle as the judge. Berle also made guest appearances on many comedy-variety radio programs during the 1930s and 1940s. Scripted by Hal Block and Martin Ragaway, The Milton Berle Show brought Berle together with Arnold Stang, later a familiar face as Berle's TV sidekick.

Following this, Madonna says, "My name is Dita", as she invites her lover to be passive and childlike while she makes love to him and leads him to explore boundaries between pain and pleasure. Madonna's use of the pseudonym "Mistress Dita" in the song, as well as in Sex, is a homage to Dita Parlo, a German actress who was known for "not caring what people thought". The song has suggestive lyrics, such as "Will you let yourself go wild/Let my mouth go where it wants to". Slant Magazine described these lyrics as "taunting, aggressive—an elaborate exploration of sex, from seduction to disease".

Bloch and his orchestra were featured on numerous radio variety shows of the late-1930s and 1940s. These included: Johnny Presents (1939-1946), The Gay Nineties Revue (CBS, 1939-1944), Let Yourself Go (CBS, 1944-1945), The Continental Celebrity Club (1945-1946), The Milton Berle Show (NBC, 1948-1949), and The Mary Small Revue (1945). From 1943 to 1956 Bloch and his orchestra also performed on Here's to Romance, a weekly musical variety show broadcast by the American Forces Network. In 1951 Bloch hosted his own show, The Bloch Party, a 60-minute variety show on CBS Radio featuring Judy Lynn, the Russ Emery Chorus, and the Ray Bloch Orchestra.

In later years Bob Johnston claimed that songs still credited to his wife Joy Byers were actually co-written, or solely written by himself. He has cited old "contractual reasons" for this situation. The songs in question include Timi Yuro's 1962 hit "What's A Matter Baby", plus at least 16 songs for Elvis Presley's films between 1964 and 1968, including "It Hurts Me", "Let Yourself Go" and "Stop, Look and Listen". Two songs credited to Byers, the aforementioned "Stop, Look and Listen" and "Yeah, She's Evil!" were recorded by Bill Haley & His Comets (the latter song was titled "The Meanest Girl in Town" when Presley recorded it).

Pantheon Books, 1988, p. 109. It was recorded live on stage at the Apollo Theater, where it was the longest part of an extended medley with "Let Yourself Go" and "I Feel All Right". Released in edited form as the B-side of "I Can't Stand Myself (When You Touch Me)", "There Was a Time" charted #3 R&B; and #36 Pop. When a version of the full Apollo medley appeared on Brown's 1968 album Live at the Apollo, Volume II, "There Was a Time" was the only song advertised on the album's cover, and it overshadowed its predecessor to the extent that its title became the colloquial name for the entire medley.

Sybil signed to Next Plateau Records in the United States (with a licensing deal with Champion Records in the United Kingdom) and began recording in 1986 with the release of her first single "Falling in Love". The record reached the top 30 on the R&B; and Dance charts and began a successful career for Sybil, releasing her debut album Let Yourself Go a year later, which was a minor hit. Sybil achieved worldwide crossover hits with her cover versions of Dionne Warwick's hits "Don't Make Me Over" and "Walk On By", which were released in 1989 and 1990, respectively. The former became Sybil's biggest hit in the US, peaking at #20, and was a #1 hit in New Zealand.

Early house lyrics contained positive, uplifting messages for all people, from every different walk of life but spoke especially to those who were considered to be outsiders, especially African-Americans, Latinos, and the gay subculture. The house music dance scene was one of the most integrated and progressive spaces in the 1980s; gays, blacks, and other minority groups were able to dance together in a positive environment. House music DJs aimed to create a "dream world of emotions" with "stories, keywords and sounds", which helped to "glue" communities together. Many house tracks encourage the audience to "release yourself" or "let yourself go", which is further encouraged by the continuous dancing, "incessant beat", and use of club drugs, which can create a trance- like effect on dancers.

Eight tracks for Speedway were recorded at the sessions, with "Suppose", the only song that held interest for Elvis, dropped from the movie. Two tracks were pulled for a single, "Your Time Hasn't Come Yet Baby" with "Let Yourself Go" on its flipside, and both sides made the lower reaches of the Billboard Hot 100 (respectively numbers 72 and 71) but bombed sales-wise. "There Ain't Nothing Like A Song," rejected from the soundtrack for Spinout, was one of two songs that feature the lead vocals of Nancy Sinatra, here in duet with Presley. All her vocals, and her "Your Groovy Self," the only time a track without Elvis featured on any of his releases, were recorded at a separate session on June 26, produced by Lee Hazlewood.

Riddle's most successful tune was "Lisbon Antigua", released in November 1955, which reached and remained at the #1 position for four weeks in 1956. Riddle's most notable LPs were Hey ... Let Yourself Go (1957) and C'mon ... Get Happy (1958), both of which peaked at a respectable number twenty on the Billboard charts. In 1959, he won the Grammy Award for Best Musical Composition First Recorded and Released in 1958 (over 5 minutes duration) at the inaugural award ceremony for Cross Country Suite. While at Capitol, Riddle continued his successful career arranging music for film, most notably with MGM's Conrad Salinger on the first onscreen duet between Bing Crosby and Sinatra in High Society (1956), and the 1957 film version of Pal Joey directed by George Sidney for Columbia Pictures.

An accomplished songwriter, Payne was never able to write any special material for The Supremes, which reportedly disappointed her. Payne began to realize that Motown did not really care as much about The Supremes as they had in the past, due to the changing musical tastes of the era and due to the fact that they were working to further the solo career of Diana Ross. Payne's contributions did enable The Supremes to enter the disco era, however, with such dance hits as "I'm Gonna Let My Heart Do The Walking" from the album High Energy, "You're My Driving Wheel", "Let Yourself Go", and "Love I Never Knew You Could Feel So Good". While each of these disco gems landed in the Billboard Dance Top Ten, they did not perform as well on the pop and R&B; charts.

"The Sha-La Bandit", in its original version has all three Supremes on leads (including a rare lead vocal by Cindy Birdsong), and although it was shelved, it was released in the end on the anthology The Supremes: At Their Best; while the instrumental track of "Bend a Little" was released in 1976 in the disco collection Motown Magic Disco Machine Volume II. Producer Hal Davis (of "Don't Leave Me This Way", "Love Hangover" and "Dancing Machine" fame) produced a couple of dance tracks, but only a song with a gospel touch, "This Is Why Believe in You" was released. Songs recorded for the album, but not used, include "I Can Never Recover", produced by the Holland brothers; "Can We Love Again", another Mary Wilson solo; a cover of Betty Everett's "The Shoop Shoop Song (It's in His Kiss)", "Dance Fever", "Seed of Love", and "Hey, Mr. Boogieman". The entire album and those unreleased tracks finally appeared for the first time on CD on May 17, 2011 on the three-disc set Let Yourself Go: The '70s Albums, Vol 2 - 1974–1977: The Final Sessions.

For the 2-LP set originally released on the Verve label in 1958: Verve MGV 4019-2. Side One: #"Let's Face the Music and Dance" – 2:57 #"You're Laughing at Me" – 3:18 #"Let Yourself Go" – 2:20 #"You Can Have Him" – 3:47 #"Russian Lullaby" – 1:55 #"Puttin' On the Ritz" – 2:18 #"Get Thee Behind Me Satan" – 3:49 #"Alexander's Ragtime Band" – 2:43 Side Two: #"Top Hat, White Tie and Tails" – 2:36 #"How About Me?" – 3:17 #"Cheek to Cheek" – 3:48 #"I Used to Be Color Blind" – 2:34 #"Lazy" – 2:40 #"How Deep Is the Ocean?" – 3:11 #"All by Myself" – 2:29 #"Remember" – 3:26 Side Three: #"Supper Time" – 3:19 #"How's Chances?" – 2:48 #"Heat Wave" – 2:25 #"Isn't This a Lovely Day?" – 3:29 #"You Keep Coming Back Like a Song" – 3:35 #"Reaching for the Moon" – 2:18 #"Slumming on Park Avenue" – 2:24 Side Four: #"The Song Is Ended (but the Melody Lingers On)" (lyrics by Beda Loehner) – 2:30 #"I'm Putting All My Eggs in One Basket" – 3:01 #"Now it Can Be Told" – 3:12 #"Always" – 3:09 #"It's a Lovely Day Today" – 2:28 #"Change Partners" – 3:18 #"No Strings (I'm Fancy Free)" – 3:03 #"I've Got My Love to Keep Me Warm" – 3:00 Bonus Track; Issued on the Verve 2000 2CD re-issue, Verve 830533-2 32.