Giving Quotes - Page 445

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When we get this health care done, America, we're going to be able to have regulations on how heavy you can be. And we're going to be able to set up various tax penalties, for example, if you weigh more than we think you should or we just may not let you get on that airplane because your carbon footprint, you're gonna waste so much jet fuel, we may not let you get on that bus, we may not let you drive your car, we may not build a bigger doorway for you to get through, may not give you a bigger toilet.'

Mindfulness is the primary tool in that we get a little space between ourselves and the thoughts and then we actually can be more responsive, as in: Do I want to listen to that? Do I want to ignore it? Do I want to say "no thank you". Do I want to inquire if that's really true or helpful? So we start with mindfulness and we're not engaging, because as soon as we do that, we've given the critic authority. Instead, we want to notice the critic but not give it any attention, not really give it much value.

How many there are who still say, 'I want to see His shape, His image, His clothing, His sandals.' Behold, you do see Him, you touch Him, you eat Him! You want to see His clothing. He gives Himself to you, not just to be seen but to be touched, to be eaten, to be received within .... Let all of you be ardent, fervent, enthusiastic. If the Jews stood, shoes on, staff in hand, and eating in haste, how much more vigilant should you be. They were about to go to Palestine; ... you are about to go to heaven.

The truly monumental can only come about by means of the most exact and refined relation between parts. Since each thing carries both a meaning of its own and an associated meaning in relation to something else - its essential value is relative. We speak of the mood we experience when looking at a landscape. This mood results from the relation of certain things rather than from their separate actualities. This is because objects do not in themselves possess the total effect they give when interrelated.

All you have to do, is to see whether the law takes from some what belongs to them in order to give it to others to whom it does not belong. We must see whether the law performs, for the profit of one citizen and to the detriment of others, an act which that citizen could not perform himself without being guilty of a crime. Repeal such a law without delay. ... [I]f you don't take care, what begins by being an exception tends to become general, to multiply itself, and to develop into a veritable system.

What's going on?" Kynan asked Luc smiled, which was little more than a baring of his teeth. "She's a warg. She knows I know, but I'm guessing her human buddies don't know. She's afraid I'll tell." "Are you going to?" "That depends." "On what?" Luc's voice dropped an octave. "Whether or not she gives me what I want." "And that is?" "Fifteen minutes. Naked." "That's blackmail." Luc snorted. "Wargs call it negotiation." "So you want fifteen minutes...what will she want?" "With me?" Luc winked. "Two hours.

You don't know anybody is in the stands when you are out there on the field playing. You don't know what the number is or who, what, or whatever. You are playing and trying to give your best. When you are in the game you got so much going on in your head and your so attentive in listening to the quarterback call whatever shots he's going to call. Your mind is concentrated on your responsibility and what you have to do on every given play. You don't know anything else is around, but your responsibility.

As a reporter, you know the tropes of how stories on poverty work in any country. A reporter will go to an NGO and say, "Tell me about the good work that you're doing and introduce me to the poor people who represent the kind of help you give." It serves to streamline the storytelling, but it gives you a lopsided cosmos in which almost every poor person you read about is involved with a NGO helping him. Our understanding of poverty and how people escape from poverty, in any country, is quite distorted.

I do not believe one can settle how much we ought to give. I am afraid the only safe rule is to give more than we can spare. In other words, if our expenditure on comforts, luxuries, amusements, etc, is up to the standard common among those with the same income as our own, we are probably giving away too little. If our charities do not at all pinch or hamper us, I should say they are too small. There ought to be things we should like to do and cannot do because our charitable expenditure excludes them.

It is true that these mysteries are dreadful, and people have always drawn away from them. But where can we find anything sweet and glorious that would never wear this mask, the mask of the dreadful? Whoever does not, sometimes or other, give his full consent, his full and joyous consent to the dreadfulness of life, can never take possession of the unutterable abundance and power of our existence; can only walk on its edge, and one day, when the judgment is given, will have been neither alive nor dead.

In my [Impossibility] theorem I'm assuming that the information is a ranking. Each voter can say of any two candidates, I prefer this one to this one. So then we have essentially a ranking. It's a list saying this is my first choice. This is my second choice. Each voter, in principle, could be asked to give that entire piece of information. In the ordinary Plurality Voting, say as used in electing Congressmen, we generally only ask for the first choice. But, in principle, we could ask for more choices.

To maintain a consistency when people come to see the band takes a lot of work; it takes a lot of discipline. I go to the studio every day and sing and play. I never did that when I was, like, 30. I'd probably have a drink and walk on - and see what comes out. But now if there's ten albums' worth of material people are coming to hear some of, and they've paid money for a ticket, you become a different person when you go on and you want to give the best show you can. You want to be better at what you do.

I think that if you want help from somebody, you ask. You ask not expecting anyone to give it to you, unless it is a friend or a loved one with whom you should have those expectations, because friends should help friends. Even so, when I ask friends for blurbs or for endorsements or instructions, I always leave room for the fact that they're probably busy and have a million more things to do in their day than give me Ryan Gosling's phone number. Which I've never asked for, just by way of casual example.

Evangelion is like a puzzle, you know. Any person can see it and give his/her own answer. In other words, we're offering viewers to think by themselves, so that each person can imagine his/her own world. We will never offer the answers, even in the theatrical version. As for many Evangelion viewers, they may expect us to provide the 'all-about Eva' manuals, but there is no such thing. Don't expect to get answers by someone. Don't expect to be catered to all the time. We all have to find our own answers.

Now the man on duty used to be changed from time to time. Once one of these men, without giving me the slightest warning, without even asking me to leave the footpath, pushed and kicked me into the street. I was dismayed. Before I could question him as to his behaviour, Mr Coates, who happened to be passing the spot on horseback, hailed me and said: 'Gandhi, I have seen everything. I shall gladly be your witness in court if you proceed against the man. I am very sorry you have been so rudely assaulted.'

Action is the music of our life. Like music, it starts from a pause of leisure, a silence of activity which our initiative attacks; then it develops according to its inner logic, passes its climax, seeks its cadence, ends, and restores silence, leisure again. Action and leisure are thus interdependent; echoing and recalling each other, so that action enlivens leisure with its memories and anticipations, and leisure expands and raises action beyond its mere immediate self and gives it a permanent meaning.

For, when the credit of a country is in any degree questionable, it never fails to give on extravagant premium, in one shape or another, upon all the loans it has occasion to make. Nor does the evil end here; the same disadvantage must be sustained upon whatever is to be bought on terms of future payment. From this constant necessity of borrowing and buying dear, it is easy to conceive how immensely the expenses of a nation, in a course of time, will be augmented by an unsound state of the public credit.

A person may profit by noticing the first intimation of the spirit of revelation; for instance, when you feel pure intelligence flowing into you, it may give you sudden strokes of ideas, so that by noticing it, you may find it fulfilled the same day or soon; [that is,] those things that were presented unto your minds by the Spirit of God, will come to pass; and thus by learning the Spirit of God and understanding it, you may grow into the principle of revelation, until you become perfect in Christ Jesus.

Having serious consequences to your decision-making process is something you have to be very comfortable with. It's something you learn and you practise over time, so I encourage people to find some way to challenge themselves. The other thing I share with people, which I've learned over time, is self-confidence. You have to get very comfortable with saying, "Well, every day, I'm just going to give my best. I have skill sets I've learned, I'm going to employ them, and my best is going to be good enough".

In a world of chance is there a better and a worse? We yield to a stranger's embrace or give ourselves to the waves; for the blink of an eyelid our vigilance relaxes; we are asleep; and when we awake, we have lost the direction of our lives. What are these blinks of an eyelid, against which the only defence is an eternal and inhuman wakefulness? Might they not be the cracks and chinks through which another voice, other voices, speak in our lives? By what right do we close our ears to them? (Susan Barton)

For the moment, the jazz is playing; there is no melody, just notes, a myriad tiny tremors. The notes know no rest, an inflexibleorder gives birth to them then destroys them, without ever leaving them the chance to recuperate and exist for themselves.... I would like to hole them back, but I know that, if I succeeded in stooping one, there would only remain in may hand a corrupt and languishing sound. I must accept their death; I must even want that death: I know of few more bitter or intense impressions.

My studio works in cycles. I am consistent with all of the practices, but I give attention to one part for a certain amount of time. I say, "Okay, I'm making performances," and sometimes that means I can't be making photographic works. As I'm maturing as an artist, years have passed and I feel that I'm becoming a better craftsperson in multiple fields, but that takes time. Also, because I trained as an actor, I hold this thing about how an actor prepares and therefore I try to prepare for all of my tasks.

The first and most important rule to observe...is to use our entire forces with the utmost energy. The second rule is to concentrate our power as much as possible against that section where the chief blows are to be delivered and to incur disadvantages elsewhere, so that our chances of success may increase at the decisive point. The third rule is never to waste time. Finally, the fourth rule is to follow up our successes with the utmost energy. Only pursuit of the beaten enemy gives the fruits of victory.

It's the balance I'm trying to find - not being disconnected but giving myself some space to be in my world. I feel like I'm surrounded by friends of mine who are very different from one another but all care about similar things. We talk about this a lot, and I think that's probably the main thing - being surrounded by good people is the best way to stay in a solid head space. You want to be able to talk about these things, and be able to think things through and feel things through. That's helpful for me.

Love is in the pleasure of possession, but in the Love of Allah there is no pleasure of possession, because the stations of the Reality are wonderment, the cancelling of the debt which is owed, and the blinding of vision. The Love of the human being for God is a reverence which penetrates the very depths of his being, and which is not permitted to be given except to Allah alone. The Love of Allah for the human being is that He Himself gives proof of Himself, not revealing Himself to anything that is not He.

Everybody wants to be on the mountaintop, but if you'll remember, mountaintops are rocky and cold. There is no growth on the top of a mountain. Sure, the view is great, but what's a view for? A view just gives us a glimpse of our next destination-our next target. But to hit that target, we must come off the mountain, go through the valley, and begin to climb the next slope. It is in the valley that we slog through the lush grass and rich soil, learning and becoming what enables us to summit life's next peak.

I'm not ashamed to say that I want to be good. And I've found in my life that it has been critically important to establish this intention between me and the Lord so that I knew that HE knew which way I committed my agency. I went before Him and said, 'I'm not neutral, and you can do with me what you want. If you need my vote-it's there. I don't care what you do with me and you don't have to take anything from me because I give it to you-everything. All I own. All I am.' And THAT has made all the difference.

Another thing about creation is that every day it is like it gave birth, and it's always kind of an innocent and refreshing. So it's always virginal to me, and it's always a surprise. ... Each piece seems to have a life of its own. Every little piece or every big piece that I make becomes a very living thing to me, very living. I could make a million pieces; the next piece gives me a whole new thing. It is a new center. Life is total at that particular time. And that's why it's right. That reaffirms my life.

I played for my first church service when I was nine years old. I was sufficiently tall to be able to reach the pedals. The first hymn I played was Bringing in the Sheaves, and to this day I can play it in any key. I graduated to a Hammond organ a few years later when we went to another church, and then in high school came one of the loves of my life, the pipe organ. The sound of the pipe organ still gives me a thrill, whether soft strings or drowning out the orchestra as in Strauss' Also Sprach Zarathustra.

The inferno of the living is not something that will be; if there is one, it is what is already here, the inferno where we live every day, that we form by being together. There are two ways to escape suffering it. The first is easy for many: accept the inferno and become such a part of it that you can no longer see it. The second is risky and demands constant vigilance and apprehension: seek and learn to recognize who and what, in the midst of inferno, are not inferno, then make them endure, give them space.

The investor has the benefit of the stock market's daily and changing appraisal of his holdings, 'for whatever that appraisal may be worth', and, second, that the investor is able to increase or decrease his investment at the market's daily figure - 'if he chooses'. Thus the existence of a quoted market gives the investor certain options which he does not have if his security is unquoted. But it does not impose the current quotation on an investor who prefers to take his idea of value from some other source.

You'd have thought we planned it," says Peeta, giving me just the hint of a smile. "Didn't you?" asks Portia. Her fingers press her eyelids closed as if she's warding off a very bright light. "No," I say looking at Peeta with a new sense of apreciation. "Neither of us even knew what we were going to do before we went in." "And Haymitch?" says Peeta. "We decided we don't want any other allies in the arena." "Good. Then I won't be responsible for you killing off any of my friends with your stupidity," he says.

At that moment, Harry fully understood for the first time why people said Dumbledore was the only wizard Voldemort had ever feared. The look upon Dumbledore's face as he stared down at the unconscious form of Mad-Eye moody was more terrible than Harry could have ever imagined. There was no benign smile upon Dumbledore's face, no twinkle in the eyes behind the spectacles. There was cold fury in every line of the ancient face; a sense of power radiated from Dumbledore as though he were giving off burning heat.

My true role is to get actors to understand what the camera is doing and what my intent is so they don't waste their good stuff on over-the-shoulder shots and wide shots. They need to know when we're going in to get something important, so they know to really go for it. No human being can give you 1,000 percent on every single take or shot, so you need to let them know what you're heading for. It's important that the actors know they're being looked after and being recorded in a way so they can do their best.

Sir," returned Mrs. Sparsit, " I cannot say that i have heard him precisely snore, and therefore must not make that statement. But on winter evenings, when he has fallen asleep at his table, I have heard him, what I should prefer to describe as partially choke. I have heard him on such occasions produce sounds of a nature similar to what may be heard in dutch clocks. Not," said Mrs. Sparsit, with a lofty sense of giving strict evidence, " That I would convey any imputation on his moral character. Far from it.

Modern acting is method acting, most of it. And there are sort of different schools, so I guess I'm not really from one school or another. I had a number of different teachers but they were all kind of drawing from the same pool, which is - What do you want? What are you doing to get what you want? And, what is in the way? These are basic acting questions. Knowing the answers to those questions. So you're talking about objectives and actions and obstacles. That's a sort of shorthand that gives you a language.

Blind audition format is what make our show unique and gives it so much more integrity. After all, the show is called The Voice. It's about vocals, and you have to stand out to get the attention of these four, Grammy-winning superstars who have an amazing ear and know what they're talking about. They rely on their ear as well as the reaction of fans in the audience to figure out whether that contestant is worth pressing that red button for. It's a great concept which keeps everybody on the edge of their seat.

A part of my appreciation for the good which moments bring has come from awareness and recognition. But it has also come from a correspnding sadness which arises from their passing. When something that can never quite be reenacted comes to an end (and all moments are that way), I feel a pensiveness within. This pensiveness gives my life a quality that might be best described as bittersweet. And those moments take on double meaning and richness - because they are here now - and because they will not always be.

Ought to have a universal compulsory force to move and arrange each part in the manner best suited to the whole. Just as nature gives each man an absolute power over all his members, the social compact gives the body politic an absolute power over all its members." "We grant that each person alienates, by the social compact, only that portion of his power, his goods, and liberty whose use is of consequence to the community; but we must also grant that only the sovereign is the judge of what is of consequence.

One day I realized that I really needed to stop losing myself in my work and in my addictions. What happens is you just wake up one morning and feel absolutely dead. You can't even drag your soul back into your body. You feel you have negated everything that is wonderful about life. When you have fallen that far, it feels like a miracle when you regain your love of life. That's when you can begin really looking for a relationship. When you can appreciate the whole concept of giving to someone, not just taking.

‘Was that like a cookie?’ she wondered. ‘Hmmm?’ ‘You know, have a cookie. You'll feel better.’ She put her hands on either side of his face, lifting it as he laughed. ‘Were you making me feel better?’ ‘I certainly hope so. It worked for me.’ He dipped his head to kiss her lightly. ‘I wanted you. I always do.’ ‘It's funny how men can wake up with their brains in their cocks.’ ‘It makes us what we are.’ Still chuckling, he rolled her over him, patted her butt. ‘Let's take a shower. I'll give you another cookie.’

Some of the best auditions I've ever had have been when my agent called and said, "They want you 20 minutes ago, in an office in Century City, to see you for something." It's actually sometimes a really good thing. I don't have time to second-guess myself, I don't have time to overthink things, and I don't have time to get bogged down in stuff. I'm not sitting there thinking for a week and a half, before I'm supposed to go in front of a network president to do something. That just gives you time to be nervous.

I am not really thinking, I am just, working with the music. And people have asked me, why don't you say more, or why do you not have singers, or why don't you sing? I think it's because, if I would have words for what I am doing, I I could write. But I really don't. It's a whole different thing. And I think it's one of the beauty of instrumental music is that it can be background. It can be what people call "easy listening." But it's really one of those things where it's as much as you are willing to give it.

I think we give Jimmy Carter too much credit to think he knew what was going to happen when he used the word "apartheid." It's provocative, but it was like a nuclear bomb in Israel. And yet that word is used all the time in the Israeli press. There's a double standard there. He probably picked it up in Israel, as it's commonly discussed. I'd be a little surprised if he understood how it was going to be used against him. He doesn't have a highly developed emotional detector. As a politician, that was a weakness.

At the Third Wave Foundation, we were asking questions like, "How can we get more voters registered who support our issues?" or "How do we want to give away of money so that it has the greatest impact?" But, the poems were involved in questions of feeling whole, negotiating sexual trauma, and speaking to what has been lost forever. I've always been a person who feels most energized when I am both creating art and working toward social change, but I often have difficulty talking about the two in the same breath.

Each of us spends money on things that we do not really need. You could take the money you're spending on those unnecessary things and give it to this organization the Against Malaria Foundation which would take the money you had given and use it to buy nets to protect children. And we know reliably that if we provide nets, they're used, and they reduce the number of children dying from malaria. Fortunately more and more people are understanding this idea, and the result is a growing movement effective altruism.

Voting, we might even say, is the next to last refuge of the politically impotent. The last refuge is, of course, giving your opinion to a pollster, who will get a version of it through a desiccated question, and then will submerge it in a Niagara of similar opinions, and convert them into--what else?--another piece of news. Thus we have here a great loop of impotence: The news elicits from you a variety of opinions about which you can do nothing except to offer them as more news, about which you can do nothing.

I've decided to call him Norbert,' said Hagrid, looking at the dragon with misty eyes. 'He really knows me now, watch. Norbert! Norbert! Where's Mummy?' 'He's lost his marbles,' Ron muttered in Harry's ear. 'Hagrid,' said Harry loudly, 'give it a fortnight and Norbert's going to be as big as your house. Malfoy could go to Dumbledore at any moment. Hagrid bit his lip. 'I- I know I can't jus' dump him, I can't.' Harry suddenly turned to Ron. 'Charlie,' he said. 'You're losing it too,' said Ron. 'I'm Ron, remember?

I started to concentrate more upon how the viewer looks at photographs... I would insert my own text or my own specific reading of the image to give the viewer something they might not interpret or surmise, due to their educated way of looking at images, and reading them for their emotional, psychological, and/or sociological values. So I would start to interject these things that the photograph would not speak of and that I felt needed to be revealed, but that couldn't be revealed from just looking at an image.

To contact the cosmic giggle, to have the flow of casuistry begin to give off synchronistic ripples, whitecaps in the billows of the coincidental ether, if you will. To achieve that, a precondition is a kind of unconsciousness, a kind of drifting, a certain taking-your-eye-off-the-ball, a certain assumptions that things are simpler than they are, almost always precedes what Mircea Eliade called ‘the rupture of plane’ that indicates that there is an archetypal world, an archetypal power behind profane appearances.

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