Quotes of All Topics . Occasions . Authors
Music is very personal. It is not objective. We're not talking about how tight they were. How famous they are. How rich they are. For me it's like food. You taste it, and you either love it, or you think it's boring, or it tastes bad, which is three reactions I have with music, just like food, it's very personal.
This is a universal, unique movie, it has potential to cross barriers. But we never thought about that on set, when we were doing the film. We knew that in making a silent movie, we were doing something a little bit under the wire, a bit interdit. It's a pastiche, but for the French taste, you would have thought.
The song that's mostly changing my career or made the biggest impact on my career would be 'Catch Me Outside.' Mainly because it hit YouTube, and that was, like, my first-ever video, so people never really seen what I looked like or knew exactly what I was about, so that was, like, the first taste of what they got.
'Under the Poppy' is the love story of Istvan and Rupert, lovers and friends from childhood, who've been parted by jealousy - and a secret betrayal by Istvan's sister, Decca, who also loves Rupert, with whom she runs the brothel called Under the Poppy, where the floozies cater to every taste from saucy to peculiar.
My mom is a painter and an artist. She would play music, and she always had very good taste in music, fashion, and art. She was also a young single mom, so I think she had really good style; she was really free... just really inspiring in her own way and allowed me to find the direction I wanted to take in my life.
When we are filming, it often feels like we're flying blind. As an actor, you have no idea if your choices are right or if they work. Some scenes feel like a complete Hail Mary. Imagine you're blindfolded and cook a massive Thanksgiving feast with only new recipes - without getting to taste any of them along the way.
Quinn Cummings is a master story-teller and her book is nothing short of delightful. Her insights into topics like celebrity, parenting, and cats with a taste for homicide are pithy and uproarious and not to be missed. Notes from the Underwire is charming, hilarious, and just snarky enough to be ultimately satisfying.
With 'Rage,' it was a little bit different because this was going to be the public's first interaction with the 'Rage' IP. Early on, right after the tech demo, there was some marked concern internally how much of a bad thing it would be if the game went out and it wasn't well released and people got a bad taste off it.
In 1974/75, I spent a sabbatical year with Professor Vince Jaccarino and Dr. Alan King at the University of California in Santa Barbara to get a taste of nuclear magnetic resonance. We solved a specific problem on the bicritical point of MnF2, their home-base material. We traded experience, NMR, and critical phenomena.
For a lot of people, well-meaning teaching has made poetry seem arcane, difficult, a kind of brown-knotting medicine that might be good for you but doesn't taste so good. So I tried to make a collection of poetry that would be fun. And that would bring out poetry as an art, rather than the challenge to say smart things.
One can discern a few very general myths that facilitate the birth of further myths: that everything is possible; that whatever we have failed to explain in normal and earthly terms must have paranormal or supernatural explanations; and that science, being rational, cannot explain the irrational, such as taste and love.
Every child's taste is different. Don't worry if they're not reading 'War and Peace' at age 12. First, build a good foundation and a positive attitude about reading by letting them pick the stories they enjoy. Make friends with a bookseller or librarian. They are a wealth of information on finding books that kids enjoy.
There is no reason to suppose that taste is in any way a lower sense than the other four; a fine palate is as much a gift as an eye that discerns beauty or an ear that appreciates and enjoys subtle harmonies of sound, and we are quite right to value the pleasures that all our senses give us and educate their perceptions.
I have such an eclectic taste in music. Come to a backyard BBQ at my house, and I will run the gamut from Skynyrd to Sinatra to '90s grunge, rap, R&B, and classic rock. I have issues. If I had to pick one, I love this country artist named Craig Morgan. His music and his songs are so relatable and tell such vivid stories.
Like a lot of kids, I had a Superman cake or different theme cakes, but then I hit the age where I think my mom thought I was ready for the German chocolate cake that she makes for my dad. Just the sight of that, the taste of that frosting, just reminds me of being at home with my mom and my dad and my sister and my friends.
In the middle of the next century, when the literary establishment will reflect the multicultural makeup of this country and not be dominated by assimiliationists with similar tastes, from similar backgrounds, and of similar pretensions, Langston Hughes will be to the twentieth century what Walt Whitman was to the nineteenth.
I grew up in Deptford in south London, and at that time I used to wear toppers, loon pants and tonic suits from shops like Take 6 and Topman. I was a bit of a soul boy, but I had a very eclectic taste in music - I was into James Brown and Bowie; and I was the only kid in the neighbourhood who would also be listening to Chopin.
Something I learned when I was very young: with cooking, it doesn't matter where you are; you can always cook. You can end up in small village in Peru where somebody's cooking, take a spoon and taste it, and you might not be too sure what you're eating, but you can taste the soul in the food. That's what is beautiful with food.
I love cookbooks for completely different reasons. I love 'The Harry's Bar Cookbook' and Marco-Pierre White's 'White Heat' for their feel. For pure learning, Gray Kunz wrote a great cookbook, 'The Elements of Taste', published in 2001. The first time I read Charlie Trotter's, the Chicago chef's first cookbook, I was blown away.
I think of myself as a fairly logical, scientific and somewhat reserved person. Maura Isles, the Boston medical examiner who appears in five of my books, is me. Almost everything I use in describing her, from her taste in wine to her biographical data, is taken from my own family. Except I don't have a serial killer as a mother!
Animals' taste systems are specialized for the niche they occupy in the environment. That includes us. As hunters and foragers of the dry savannah, our earliest forebears evolved a taste for important but scarce nutrients: salt and high-energy fats and sugars. That, in a nutshell, explains the widespread popularity of junk food.
Even Helen Keller, who was born blind and deaf, could see God. No doubt, in her silent darkness, every fragrant flower, every ray of the warm sun, every taste that touched her tongue told her that there was a God who created all things. Jodie Foster shouldn't therefore be surprised that people are surprised that she's an atheist.
The sweet quality is set opposite to the bitter, and is a gracious, amiable, blessed and pleasant quality, a refreshing of the life, an allaying of the fierceness. It maketh all pleasant and friendly in every creature; it maketh the vegetables of the earth fragrant and of good taste, affording fair, yellow, white and ruddy colours.
Nowadays people talk about PayPal's founders as prescient geniuses who would inevitably change the world. It was, however, not so obvious that PayPal would taste its first major success by helping people sell Beanie Babies on eBay. But they had a vision, a hope, and the perseverance to try multiple iterations until they got it right.
I got into Dio when I was still quite young. I remember seeing the video for 'Rainbow In The Dark' on MTV. That was my first taste of Dio. It wasn't until years later that I realized he had this whole career with Rainbow and Black Sabbath and even going back to Elf. When I saw that video, it instantly became one of my favorite songs.
I feel that for years of teaching in the country and reading criticism in books, I feel like the things most needed in our culture are the understanding of the meanings of our music. We haven't done that good of job teaching our kids what our music means or how we developed our taste in music that reminds us and teaches us who we are.
I got out of the music industry many years ago. I had a charlatan for a producer who I wanted nothing to do with. He's dead now, so I guess I can't beat that horse any more. It left a very bad taste in my mouth, so I just went on about my business doing what I do and not involving myself with record companies, except for distribution.
A world of few choices, whether in jeans or mates, is a world in which individual differences become sources of alienation, unhappiness, even self-loathing. If no jeans fit, you'll feel uncomfortable or inferior. If no housing developments reflect your taste for unique architecture, you'll write screeds against philistine mass culture.
I write for young people because I like them and because I think they are important. Children's books can be mind-stretchers and imagination-ticklers and builders of good taste in a way that adult books cannot, because young people usually come to books with more open minds. It's exciting to be able to contribute to that in a small way.
We say no to lots of things that would please us. I would like to punch people every now and then, but I don't. I would like to have something for free rather than pay for it. I would like to skip to the front of the line... I don't mean to brush aside the taste of meat, which is a powerful attraction. But its power is not without limit.
In the creative industries, there are few things more exciting than a zinger - a thought, idea, line, plot device - anything really, that just totally works in a fundamentally new and fresh way. It's like a uniquely lovely melody or a new taste idea in cooking. Something special, something new, something wonderful. They're also very rare.
Artistic qualities that once seemed undeniable don't seem so now. Sometimes these fluctuations are only fickleness of taste, momentary glitches in an artist's work, or an artist getting ahead of his audience (it took me ten years to catch up to Albert Oehlen). Other times, however, these problems mean there's something wrong with the art.
I love cooking and eating - I'm a total foodie. It started off as a survival thing as a student, when cheese and potato pie was all I could afford to make. My most successful results come from concocting something with leftovers. Any chef will tell you that you should taste as you cook, so I might make it a bit more spicy, yogurty or eggy.
I stay excited 'cause for me, this is something I love to do. I'm like Coca Cola with it. I been here for a long time, I just gotta keep it nice and stay up to date and also give them that quality taste that they been looking for. It's nothing to me. When you built for it, you born for it, you do it cuz you wanna do it, not cuz you have to.
I was introduced to the Turducken in New Orleans. And it wasn't Thanksgiving. Glenn at the Gourmet Butcher Block brought it by, and I had never heard of it or had seen one, and they put it in the booth, and it smelled so good that I had to taste it. And it was good. Then Thanksgiving came, and we got one in addition to the traditional turkey.
Reality television is to television what marble and gold are to real estate. The point is to dispense with the idea of taste. It's all id. The more unrestrained the better. We all know that 'reality' in reality television is not real. That anybody who would participate in reality television is a fake. But pretending otherwise makes them real.
You can pick wild strawberries with your eyes closed, locating them by smell, for they are two parts perfume to one part taste. An hour of searching might yield a handful if you're lucky. Wild strawberries can't be encouraged, nor can they be discouraged: They come to you unbidden and unearned. They appear, or do not, by the grace of the sun.
When you realize that you have a little germ of an idea that has - I suppose I can only say, has to me - a little taste of magic to it. You have this idea that there are millions, literally, of people listening to it at the same time as you and that little strange telepathy of a feeling that you're sharing something live with all those people.
I grew up listening to bands like the Cure, Joy Division, Cocteau Twins, Dead Can Dance - these are the bands that I actually grew up with, and I always had these things in my taste, too. And I always loved industrial music as well: I listened to Throbbing Gristle, SPK, Cabaret Voltaire. And shoegaze bands like Slowdive and My Bloody Valentine.
I'm an aesthetic empiricist. If you like something, it doesn't matter who made it. There really is no objective standard other than your own taste. You develop your own tastes, you find things that do or do not fit your tastes, and therefore are or are not 'good.' Whether they have been labeled as produced by the right person is another matter.
Even personal tastes are learned, in the matrix of a culture or a subculture in which we grow up, by very much the same kind of process by which we learn our common values. Purely personal tastes, indeed, can only survive in a culture which tolerates them, that is, which has a common value that private tastes of certain kinds should be allowed.
Luckily for me, my father had impeccable taste. No contemporary collector was he. His treasure trove of comics included gems such as 'Little Lulu,' 'Frontline Combat' and 'Classics Illustrated.' But the works that stood head and shoulders above the rest were Carl Barks's 'Donald Duck' and 'Uncle Scrooge' comics from the 1940s through the 1960s.
I was very nervous about doing the Entertainment Weekly cover, because I thought, "Okay, this is the first taste, this is the first visual moment." By then I obviously knew a lot of the more iconic moments in his comic history, but still it's me. It's not a drawing, it's not an artist; it's me and I'm kinda frightened, but it seemed to go down.
At one campus where I was lecturing, I asked a friend, "How many of my colleagues know I'm gay?" He answered, "All of them." I wasn't surprised. But, just the same, it was kind of spooky, because not one of them had ever given me the faintest sign that he or she knew. If I had spoken about it myself, most of them would have felt it was in bad taste.
I should describe mine own nature as tripartite, my interests consisting of three parallel and dissociated groups - (a) Love of the strange and fantastic. (b) Love of the abstract truth and of scientific logick. (c) Love of the ancient and the permanent. Sundry combinations of these three strains will probably account for all my odd tastes and eccentricities.
Taste is not stationary. It grows every day, and is improved by cultivation, as a good temper is refined by religion. In its most advanced state it takes the title of judgment. Hume quotes Fontenelle's ingenious distinction between the common watch that tells the hours, and the delicately constructed one that marks the seconds and smallest differences of time.
Have you ever noticed how few sitting places you find in private gardens? How seldom the versatility and importance of benches is considered? True gardeners, with their peerless taste, dexterity and inspired planting, never stop . . . To sit is almost an offence, a sign of depravity and an outrage towards every felicitous refinement that has gone into making a garden.
A love of the republic in a democracy is a love of the democracy, as the latter is that of equality. A love of the democracy is likewise that of frugality. Since every individual ought here to enjoy the same happiness, and the same advantages, they should consequently taste the same pleasures and form the same hopes, which cannot be expected but from a general frugality.
Our dangers, as it seems to me, are not from the outrageous but from the conforming; not from those who rarely and under the lurid glare of obloquy upset our moral complaisance, or shock us with unaccustomed conduct, but from those, the mass of us, who take their virtues and their tastes, like their shirts and their furniture, from the limited patterns which the market offers.
There is a plain distinction to be made betwixt pleasure and happiness. For tho' there can be no happiness without pleasure--yet the converse of the proposition will not hold true.--We are so made, that from the common gratifications of our appetites, and the impressions of a thousand objects, we snatch the one, like a transient gleam, without being suffered to taste the other.