Quotes on Like

I wanted the young African-American girls also on the bus to know that they had a right to be there, because they had paid their fare just like the white passengers.

The attraction of the virtuoso for the public is very like that of the circus for the crowd. There is always the hope that something dangerous will happen.

I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.

Hope is like a harebell trembling from its birth.

We were emerging from the period of war, of uniforms, of women-soldiers built like boxers. I drew women-flowers, soft shoulders, fine waists like liana and wide skirts like corolla.

When you're on one of the Caribbean islands, sometimes it's hard to picture how they fit in with the rest, but when you see them all joined together like a necklace from space, you see the natural geographic connectedness of them all.

I want my books to force readers to recognise the fact that a woman is a human being just like them.

We need women who are at the head of a boardroom, like at the head of the White House, at the head of kind of major scientific enterprises so that little girls everywhere can then think, you know what? I can do that, I want to do that, I will do that.

You can tell a workingman you like him, but he knows whether you are sincere or not. You can't make him believe you are interested in his welfare unless you are.

You can't have whatever you want. But to a child who must ask permission for every single thing, adulthood looks like a constant parade of every desire's satisfaction. It is a heady and terrifying place. It is the Otherworld. It is Fairyland. In fantasy, we make this literal.

Employers, like most people, tend to trust their intuitions. But when employers decide whom to hire, they trust those intuitions far more than they should.

I overheard people saying, 'She thinks she's so great because she's Debbie Reynolds' daughter!' And I didn't like it; it made me different from other people, and I wanted to be the same.

My parents had this incredibly vital relationship with an audience, like muscle with blood. This was the main competition I had for my parents' attention: an audience.

I still have a feeling that I haven't written the best that I can write. I think all poets must feel this: that there is constantly something new to be discovered in the language. It's like a thrilling encounter, and you can find things.

When faced with a challenge, happy families, like happy people, just add a new chapter to their life story that shows them overcoming the hardship. This skill is particularly important for children, whose identity tends to get locked in during adolescence.

If it all just happens like this for the rest of my life, it's going to be one endless Groundhog Day. I determined that I was not prepared to submit to this regime, so I thought I had to do something about it.

When I started working on ambient music, my idea was to make music that was more like painting.

People have said, 'Why don't you make your own company like Chan-wook Park has his own company,' but my head is full of writing and directing and I don't feel like I want to run a company. That's not really within my personality as well.

People want athletes to cater to their image of what an athlete should be, but they also want them to fail so they can feel like their screwups are all right. If I make a priority shift, I'll make it because it's best for me.

For a long time, I thought when you do a box set, you're giving up; you're saying, 'OK, I don't have anything left.' But now I've listened to some of the old stuff I haven't heard in 20 to 40 years with fresh ears. It's like, 'Oh yeah, I can see where people might want to to hear some of this stuff that didn't make it onto the records.'

I'll stop when I think I'm not doing good stuff. I'll never exploit something just because people like it.