You had to go to a different part of town from where I was to get Muddy Waters singles. I had him on singles.
Despite the hours spent debating different models of general education, the choices faculties make rarely lead to any significant difference in the cognitive development of undergraduates.
You can only learn by opening yourself up to engage with different sources of information. How can you learn something if you never see it, read it, or hear it?
I did a lot of writing for a lot of different kinds of bands that I was in and out of during those five years and that left me with a little body of songs that I liked better when I played alone, so I ended up going out solo and very soon made my first album.
There are some decision-makers in the world whose version of sanity is a little different from what I consider the right one.
I used to be teased for the way I wore my hair at school. I used to do things like wear a different-colored sock on each leg.
I really enjoy being able to spend my time doing different charitable and philanthropic activities.
I initially wanted to be a teacher and then I was going to become an engineer and build bridges and highways but pretty soon I went into the business world. I never did get to be a teacher except in a different way.
Our show is different, because it's not about law and order, it's about psychology, the intent of somebody.
When we gather for worship, whether with a handful in a storefront chapel or with thousands in St. Peter's Square, we perform a drama with different parts-speaking and singing and praying and giving money and baptizing and eating bread and drinking wine-all for the delight of God.
Most of us encounter a great deal more Mystery than we are willing to experience. Sometimes knowing life requires us to suspend disbelief, to recognize that all our hard-won knowledge may only be provisional and the world may be quite different than we believe it to be. This can be very stressful, even frightening. But if we are not willing to wonder, we may have to hang up the phone on life.
Prayer is a means of sharing the burden, which relieves pressure, as you tell your worries and concerns to someone who will listen and won't judge, no matter what you say. Praying is like handing the problem over to someone else as you talk it out. Then you can tune in for guidance and a different perspective that will exude heartfelt energy. When you pray, you are exposing your real self and extending sincere, loving energy to yourself. It doesn't matter if your words are fancy or plain, and there is no way to do it right or wrong. Prayer is about opening your heart and being sincere.
Old cranks have practiced all their lives, just as old saints have likewise practiced all their lives. They just practiced different life principles.
Often a successful problem-solver is one who creates a new context in which to view the problem. This can often be done by directing one's attention away from the distracting details of the difficulty. From a detached perspective, we may examine the situation in a new or different light and, after exploring information and options, choose an appropriate course of action.
Each hamlet or village or town should be a place, its own place. This is not a matter of fake historicism or artsy-craftsy architecture. It is a matter of respect for things existing, subtle patterns of place woven from vistas and street widths and the siting and color and scale of stores, houses, and trees... If the countryside is to prosper, it must be different from city or suburb... The difference is in part the simple business of containing our towns and giving them boundaries.
Maybe we didn't even have a chance. The message of American Pop Art was so powerful and so optimistic. But it was also very limited, and that led us to believe that we could somehow distance ourselves from it and communicate a different intention.
The Atlas belongs to the Lenbachhaus in Munich - it's long since ceased to belong to me. Occasionally I run across it somewhere, and I think it's interesting because it looks different each time.
If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying - for however long it takes - until I think it has improved. And I don't demand an explanation from myself as to why this is so.
As a matter of fact, it was only through the dealer Fred Jahn that I succeeded in overcoming my reservation about the works on paper and exhibiting them. Added to this, of course, was the fact that after ten years I could see the watercolours in a different light, and in conjunction with pictures painted afterwards, they had at least become more comprehensible to me.
Above all, it's never blind chance: it's a chance that is always planned, but also always surprising. And I need it in order to carry on, in order to eradicate my mistakes, to destroy what I've worked out wrong, to introduce something different and disruptive. I'm often astonished to find how much better chance is than I am.
I wanted to say something different: the pictures are also a leave-taking, in several respects. Factually: these specific persons are dead; as a general statement, death is leave-taking. And then ideologically: a leave-taking from a specific doctrine of salvation and, beyond that, from the illusion that unacceptable circumstances of life can be changed by this conventional expedient of violent struggle.
The paint for the grey paintings was mixed beforehand and then applied with different implements - sometimes a roller, sometimes a brush. It was only after painting them that I sometimes felt that the grey was not yet satisfactory and that another layer of paint was needed.
I first came up with the idea for the colour-chart pictures back in 1966, and my preoccupation with the topic culminated in 1974 with a painting that consisted of 4,096 colour fields. Initially I was attracted by the typical Pop Art aestheticism of using standard colour-sample cards; I preferred the unartistic, tasteful and secular illustration of the different tones to the paintings of Albers, Bill, Calderara, Lohse, etc.
A lot of different things had to come together over the years, accumulated experiences of a general and personal nature, before the idea and the decision were developed and then carried out.
And I have to admit that there is something undeniably fulfilling about hunting with Rosie. Somehow, it makes me feel as if the long list of differences between us doesn't exist. We're dressed the same, we fight the same enemy, we win together ... It's as though for that moment I get to be her, the one who isn't covered in thick scars, and she gets to understand what it is to be me. It's different than hunting with Silas-he and I are partners, not part of the same heart.
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