Nice teeth is a turn on for me. If you open your mouth and it looks like a battle of epic proportions, I don't like it.
The future will belong to the Germans... ...when we build the House of Europe. In the next two years, we will make the process of European integration irreversible. This is a really big battle but it is worth the fight.
I know that the battle scenes, as well, are quite gory and quite strong. Battle was romantic, but it was far from being easy. It's nice, in both respects, to have that color and contrast.
All has changed, thanks to Joe Eszterhas' life-threatening battle with throat cancer. He announced in "The New York Times" that he and Hollywood had blood on their hands and now Eszterhas is crusading to stop Hollywood's glamorization of smoking.
With a television show, it's about fighting to get it on the screen every week. It's like going into battle, and you have to fight these fights. Some are big fights, some are skirmishes, some you can come to detente on, but it's always a fight.
I've seen Joe take on many battles, cancer being one of them, and the determination that he has, and he won't stop, he's not going to make one announcement and write one editorial and go away.
There are various forms of weaponry, intellectual weaponry, spiritual weaponry, political weaponry, economic weaponry. Because we are on the battlefield, and there are bullets flying, some symbolic, some literal and the life of the mind is a crucial place where the battle goes on.
'Scissorman' is terrifying. The studio at the time didn't want Scissorman because they were afraid that he'd look silly to which my response was, 'Well, then why did buy this because that's what the game is.' But I lost that battle.
News footage came on the TV during dinner of bloody bodies coming back from battle in Vietnam, or the race riots in the South, people getting hosed in Selma, Alabama, or the Biafra war, where I got my name. In my household, it was explained and discussed with the children, as a way of educating us from when we first started grade school why racism and war were wrong, what this all really means.
Back in the old days, a man could just get sick and die. Now they have to wage a battle. So my Uncle Bert is waging a courageous battle, which I've seen, because I go and visit him. And this is the battle: he's lying in the hospital bed, with a thing in his arm, watching Matlock on the TV.
The only other things I got from the abstract expressionists is the absolute belief that this canvas is the complete total area of struggle, this is the arena, this is where the fight is taking place, the battle. Everybody believes that, but you have to really believe that and work that way.
I used to live at the Cecil Hotel, which was next door to Minton's [Playhouse]. We used to jam just about every night when we were off. Lester [Young], Don Byas and myself - we would meet there all the time and like, exchange ideas. It wasn't a battle, or anything. We were all friends. Most of the guys around then knew where I lived. If someone came in Minton's and started to play - well, they'd give me a ring, or come up and call me down. Either I'd take my horn down, or I'd go down and listen. Those were good days. Had a lot of fun then.
I never was the battle rapper. That was never my thing. I always felt like it's enough room for everybody to do their thing. I like bringing new energy, re-inventing the wheel, so to speak, every time I come out.
Most ideas never happen. It's an uphill battle against the status quo and our own tendencies.
They had a big court battle over who got to keep me. Mom won; she made me live with Dad.
I was a typical kid. I dug holes in the yard, threw rocks, had plum battles with the neighbours and used trash can lids as shields. I was always outside getting dirty.
It's a constant battle between what your heart tells you, and what your brain tells you.
We could have lost faith and just let this battle with cancer get the best of us, or I could give my daughter's battle with cancer a purpose and use my platform to try to raise as much awareness as possible.
I feel like each possession is a battle and you never want to lose a battle.
Everything in New Orleans was competitive. People would always be betting on who was the best and the greatest in everything. That's where the battles of music came in.
... the battle for the acceptance of photography as Art was not only counter-productive but counter-revolutionary. The most important photography is most emphatically not Art.
I think the best war photos I have taken have always been made when a battle was actually taking place - when people were confused and scared and courageous and stupid and showed all these things. When you look at people right at the very moment of truth, everything is quite human. You take a picture at this moment with all the mistakes in it, with everything that might be confusing to the reader, but that's the right combat photo.
I try to express with the camera what the story is, to get to the heart of the story with picture. In battle I look at things first in terms of people, second in terms of strategies or casualties... To tell a story, you don't photograph one hundred dead civilians to prove there were one hundred dead civilians. You photograph one dead civilian with an expression on his face that says, This is what it's like if you're a dead civilian in Vietnam.
That's all the difficulty and the challenge and the battle: to look through this mechanical thing, these bits of glass and metal, at someone. And not lose the sense that this shape is a human being.
All the survivors of the war had reached their homes and so put the perils of battle and the sea behind them.
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