I was at the first Minor Threat show, and you could tell, 'This band is going to be the king of the town.' It was obvious. They were so good.
Henry RollinsRead
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I was at the first Minor Threat show, and you could tell, 'This band is going to be the king of the town.' It was obvious. They were so good.
So sweet love seemed that April morn. When first we kissed beside the thorn, So strangely sweet, it was not strange We thought that love could never change.
In America, people with lots of money can easily avoid the consequences of bad bets and big losses by cashing out at the first sign of trouble.
When the human race neglects its weaker members, when the family neglects its weakest one - it's the first blow in a suicidal movement. I see the neglect in cities around the country, in poor white children in West Virginia and Virginia and Kentucky - in the big cities, too, for that matter.
I think there is a tendency for people to get rigid and caught up in their beliefs of what is right and wrong, and they lose sight of humanity. Being human has to come first before right or wrong.
In my very first NFL game, I completed my first pass to Hall of Fame running back Marshall Faulk.
Experience was my only teacher; I knew little of the modern art movement. When I first saw the works of the Impressionists, van Gogh, van Dongen, and Fauves, I admired it. But I had to seek the true way alone.
In truth, every creation of the mind is first of all 'poetic' in the proper sense of the word; and inasmuch as there exists an equivalence between the modes of sensibility and intellect, it is the same function that is exercised initially in the enterprises of the poet and the scientist.
My dad was a very quiet person, and unbelievably tough. But my grandmother gave me my first look at negative thinking to bring about positive results. When I was just a little guy, anytime I came to my grandmother and said I wish for this or that, Grandma would say, 'If wishes were horses, beggars would ride.'
I was the first critic ever to win a Tony - for co-authoring 'Elaine Stritch at Liberty.' Criticism is a life without risk; the critic is risking his opinion, the maker is risking his life. It's a humbling thought but important for the critic to keep it in mind - a thought he can only know if he's made something himself.
Seven years ago, in my first semester at college, the professors handed out MacBook Pros. With mine, I filmed a seven-minute tutorial on 'natural makeup' - just me, my laptop, and a cup of coffee. When, a week later, it clocked 40,000 Web views, I knew people were connecting with it, so I kept going. That moment changed my life.
As I started to consider a career in music, I hoped for success, truthfully. I didn't imagine anything that would amass the level of the first record, but I hoped that I would be able to sustain a career.
When food prices surge, poor families suddenly find themselves unable to afford enough nutritious food. If this happens during the first thousand days of a child's life, the damage to his or her body and mind can be permanent.
The first, that their pretensions to this possession of an art properly so called in their art of speaking are entirely unfounded; and the second, that they are involved in a profound mistake in their confusion of the good with the pleasant.
Sometimes, I feel like I spent the first part of my life wishing to be a teen-age boy, and the second part condemned to being one.
I try to make my music interesting to me first, then hopefully other people will find it interesting, too.
A leader who is self-aware enough to know that he or she is not adept at everything is one who has taken the first step toward being a great leader.
The disappointing second novel is measured against the brilliant first novel - often no novel lives up to the first. Literary improvement seems like an unfair expectation.
From my very first movie, what was my concentration, my inspiration, was I didn't want to narrate something, I didn't want to tell a story. I wanted to show something, I wanted for them to make their own story from what they were seeing.
Whenever I start a book, I swear it's going to be a short one. But then it's, 'Who was his grandfather? And how did he get there in the first place? And what kind of animals is he chasing?'
I always think first about the nature of the story. When I had the idea for 'The Namesake,' I felt that it had to be a novel - it couldn't work as a story.
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