Quotes of All Topics . Occasions . Authors
When I think about protest, I worry so much that people think about it only as standing in the streets. And I say that as someone who has been standing in the streets of cities across the country - but at the root of it is this idea of telling the truth in public.
A couple times a year, I get in the car, and I'll drive 1,000 miles cross-country, going through side streets. I'll stay off the highways as much as possible. And I realize it's a huge country, and for us to be in so many places in the country is an amazing thing.
The tragedy of India is that the Mahatma, who has numerous streets named after him and has had his statues put up everywhere, who's there in our school books and on our currency, who is used by everyone to hardsell his political ideology, is not emulated in India.
I've wanted to be an actor since I was 6 years old. I was literally picked off the streets of Paris... while I was modeling there. I was asked to audition for Oliver Stone's 'Alexander.' I didn't get the part, but that led to commercials and roles in South Africa.
It's hard to say goodbye to the streets. It's all how you do it. You can pass by and say, 'What's happening?' and keep it moving, but it's a certain element that'll never be able to roll with you once you get to this level, because that's the separation of it all.
They have some pretty tough gun laws in Japan, as they do in any other civilized country in the world, and they're not killing each other off with firearms. You have very violent films in Europe, yet it's not causing the mayhem we see in our streets routinely here.
I have been a journalist, off and on, since I was 17. I was a copy boy for the 'New York Times,' when it had an edition in Paris, in 1963. I sold the paper in the streets by day and tore wire copy off the tele-printer for the editors making up the edition by night.
He's been the greatest father for me. Going around the streets of Chicago with my dad, people always tell me they can't believe how much my dad has matured. Or, 'You wouldn't believe how your dad used to be.' There's always lots of words about how much he's changed.
In terms of style I typically veer toward a certain masculinity. My style inspirations range from images of my father in his 1970s suits, to Tilda Swinton, to Hugh Hefner, to Sharon Stone and her ferocious sexuality, to handsome men I see on the streets of New York.
I find littering very annoying. It's a minor but also a major thing: a society that litters is one that also has so little respect for the environment and, consequently, other people. If we had clean streets, a lot of other things would be fixed almost effortlessly.
CCTV is seen either as a symbol of Orwellian dystopia or a technology that will lead to crime-free streets and civil behaviour. While arguments continue, there is very little solid data in the public domain about the costs, quantity and effectiveness of surveillance.
The trouble with the Labour Party leadership and the trade union leadership, they're quite willing to applaud millions on the streets of the Philippines or in Eastern Europe, without understanding the need to also produce millions of people on the streets of Britain.
When you're trying to bring the streets into rap to prove a point, then you already lost. You separate the two, and that ain't to be played with. You've got people that lost their lives and people that are doing real time. If we gon' make music, let's just make music.
I was very clear that we'd invest much more in shelter space to get people off the streets, out of doorways, out from overpasses and get them connected with services - whatever services they need, whether it's mental health whether its addiction or economic resources.
When I was a toddler, we lived in Maryland and my mom would routinely pile us in the car to go see events unfolding in Washington, D.C. such as the return of Apollo astronauts, parading through the streets of D.C. on open back convertibles while we all waved pennants.
David Lee Roth had the idea that if you covered a successful song, you were half way home. C'mon - Van Halen doing 'Dancing in the Streets'? It was stupid. I started feeling like I would rather bomb playing my own songs than be successful playing someone else's music.
It's something you dream about, working in Scotland, working in Glasgow, walking down the same streets I used to walk down when I was a drama student, daydreaming about being in an American TV show or doing something that was well known. I guess I sort of pinch myself.
My hope is that very young people in America who have experience with the streets, hip-hop, college, higher learning will fuse all that together. I just want to be the music that can relate to both sides, that stitch together their lives or represents their experiences.
My submission to you is we're fighting the war on terror not overseas but in our own streets, and we'd be spending vast more fortunes to try to be a defensive country to protect ourselves rather than an offensive country to spread democracy wherever people yearn for it.
There's hardly any precedent for a guy like me to have the career that I've had. Because I grew up the way I grew up, I'm an in-your-face kind of guy. I developed that as a defense mechanism to survive in the streets. I do that in Hollywood in the service of my passion.
Too much research can be the writer's enemy. You can spend days on end in the British Library or prowling the streets with a Dictaphone, and it's easy to convince yourself that you're working hard. Often, it can be an excuse not to work; a classic displacement activity.
I remember living in a pretty small neighborhood where you could play in the streets and run around like crazy. My friends and I would ride our bikes around, but instead of just riding our bikes, we were solving crimes and going out in the woods to see what lay out there.
If people really saw what was happening in Iraq and Afghanistan, then they might be marching in the streets to end wars. But you know, I think that no one ever sees because we're not allowed to see, and we're not allowed to publish what we do see. So it's quite difficult.
Only one thing is certain: every time I return to New York from Nashville, I walk down the streets with a silly grin, just smiling at everyone I see and, more often than not, receiving a suspicious glance in return... but honestly, I wouldn't have it any other way, y'all!
These people living on the streets could have been friends you once knew. They are people who have somehow fallen through the gaps and found themselves, often through unimaginable circumstances, on the cusp of existence. In another reality, this could easily be me or you.
I'm always going to be able to touch fans and get new fans because everybody goes through something everyday. I just keep touching different subjects by talking to the streets and reaching out to my fans by telling them a story instead of just giving them music to listen.
For 'The Journal of Finn Reardon,' I traveled to New York City and walked the streets where Finn and his friends would have lived, worked, and played. I visited the Tenement Museum on Orchard Street and toured an actual flat in which families like Finn's might have lived.
What creates freedom? A revolution in the streets? Mass protest? Civil war? A change of government? The ousting of the old guard and its replacement by the new? History, more often than not, shows that hopes raised by such events are often dashed, sooner rather than later.
When an author creates a town in her novels, she spends a great deal of time visualizing the streets and buildings, landmarks and topography. And while the town becomes real in her imagination, it's rare for an author to see the place she's created actually spring to life.
Art morphs with what's going on in the world. We say 'Ferguson'; we don't say 'Mike Brown.' Just like we say 'Selma,' not 'Jimmie Lee Jackson.' There is something startling about the people in a particular place, a city or a small town, rising up and taking to the streets.
The worst country I ever lived in, the old U.S.S.R., was crammed with privileges for the political elite. They had their own hospital, their own shops, country houses, and blocks of flats, special lanes on the streets so they could bypass the traffic in their special cars.
Discovering how to spend leisure time well, especially during a time of austerity, could be as important in the effort to reduce crime as having extra police on the streets, and increasing the population of concert halls may actually help decrease the population of prisons.
The idea of infection began to be taken far more seriously than it ever had before. Hospitals transformed themselves in response to the new plague - sometimes for the better, but often for the worse, as when, in fear, they cast their ulcerated patients out into the streets.
In the Nordic countries, there are hardly any societal problems, but we writers are bloodthirsty people like anyone else, so we have to quench this thirst with literature. If you live in a mafia state with lots of violence on the streets, you tend to write beautiful poetry.
Most people, if you live in a big city, you see some form of schizophrenia every day, and it's always in the form of someone homeless. 'Look at that guy - he's crazy. He looks dangerous.' Well, he's on the streets because of mental illness. He probably had a job and a home.
I moved from a mountain with one traffic light to New York City when I was 17, and it was an amazing, eye opening, creative adventure. I would walk through the streets of Manhattan looking up at these huge buildings, amazed that I didn't know a single person in any of them.
My desire to curtail undue freedom of speech extends only to such public areas as restaurants, airports, streets, hotel lobbies, parks, and department stores. Verbal exchanges between consenting adults in private are as of little interest to me as they probably are to them.
In the streets, they're very nice. On Twitter, there are people who love to hate me. Sometimes people get mean. I tend to answer like, 'Careful now, know who you're dealing with...' They're like, 'I'm sorry! Don't send the Lord of Light after me!' It's fun to play with that.
It was never a case of male and female when I was growing up. I played with my cousins, my friends. From a young age, I played on the local streets, just with my neighbours. The majority would be boys, but a couple would be girls, so I never really thought too hard about it.
I couldn't go anywhere unless there was a security guard with me. That spoiled my life. It was like being in captivity. Those days are gone, and I don't ever want to see that happen to me again. Now I can wander around the streets of Los Angeles on my own. I like it that way.
I did a short film at Outfest, 'Where Are the Dolls,' based on an Elizabeth Bishop poem done, where I play this woman who is sort of walking the streets and ends up alone dancing in a club. I have this hot and heavy scene with a very beautiful actress. It became very popular.
I love filming in London. In New York, every street is familiar because you have seen it in a movie. They mythologise their own city. You're forever trying to get down streets that have been blocked off because of shooting. In London, they don't put up with it; they're grumpy.
Cities can be paradoxical places. In the mornings they buzz with commuters, in the evenings they come alive with diners and partygoers, at weekends the streets fill with shoppers and market traders. But amidst the hustle and bustle, even the greatest city can be a lonely place.
Like the skyscraper, the automobile, and the motion-picture palace, neon signs once symbolized popular hopes for a new era of technological achievement and commercial abundance. From the 1920s to the 1950s, neon-lit streets pulsed with visual excitement from Vancouver to Miami.
Lordy, lordy, lordy do I love money. It is a character flaw, no doubt, one that springs from a panicked childhood in which I always felt as if our family was only a couple missed child support payments from being tossed onto the pitiless streets of our suburban New Jersey town.
I used to stay up all night playing 'Resident Evil 2,' and it wouldn't stop until the sun came up. Then I'd walk outside at dawn's first light, looking at the empty streets of London, and it was like life imitating art. It felt like I'd stepped into an actual zombie apocalypse.
When George Hirsch ran the New York City Marathon in 1976, the first year the course snaked through all five boroughs, the event was a lean affair. He and two thousand others dodged wayward bicycles and pedestrians on the streets, with little help from an anemic police presence.
Chicago is constantly auditioning for the world, determined that one day, on the streets of Barcelona, in Berlin's cabarets, in the coffee shops of Istanbul, people will know and love us in our multidimensional glory, dream of us the way they dream of San Francisco and New York.
What I wanted to do was to look at the powerlessness that I felt as - and continue to feel at times - as a black man in the American streets. I know what it feels like to walk through the streets, knowing what it is to be in this body and how certain people respond to that body.
You do not go out into the street in your underwear, although usually you are wearing underwear. The underwear is not visible but it is there all the time. It is the same with concepts. They are there. They underlie practical things we do- even when we are not conscious of them.