No matter where I'm at in life, whether I'm in the music industry, rich, poor, everybody need love in their life. Gangsta or not, everybody need love in their life. You can't act too hard about that.
A Boogie wit da Hoodien
I'm not really worried about the flashy stuff. I don't got chains and cars. I spend what I need to spend. It doesn't faze me.
I don't wanna learn about more science and math. That's not why I'm going to college.
The album 'Hoodie SZN' is about the result of where I come from: it gave me this black heart. And the black heart represents depression.
Not everyone's really got the heart to talk about what's going on with their love in their music.
So much of life is not about whether you're good or bad, or right or wrong, or can afford or not afford - it's just about timing.
A. A. Gill
Bald isn't like being ethnic or disabled. Everyone can and will make jokes about it and expect you to laugh good-naturedly, which you will.
Nature gave you your look and there's only a limited amount you can do about that, but what you wear is the skin you choose for yourself.
No British TV company could ever make a series like 'The West Wing' about British politics. It would beggar credibility. No one could write it with a straight face, or perform it without giggling.
I'm terribly prone to anxiety. I get very depressed and I get very anxious and my anxiety is almost always about my children.
It is impossible to be taken seriously in shorts. No one has ever cared about anything said by a man in shorts.
You see, the problem with Dave Cameron is that people know who he is. The less people know about him, the more he's likely to get re-elected.
Have you ever wondered why the rich and privileged care about, or even bother with, the gift bag? Because they don't need this stuff. If they wanted it, they could afford to buy it, without blinking. But they love the gift bag, beyond reason.
It's not in the nature of stoic Cincinnatians to boast, which is fortunate, really, for they have meager pickings to boast about.
Cowboy boots you can't wear unless you actually are a cowboy or in a Status Quo tribute band, or over 60; there's something about a retiring gent in cowboy boots that looks sort of presidential.
Writing, for me, is the great organiser. It's while writing that I think most deeply about things.
Men and women understand different things about personal boundaries. What men call privacy, women know as secrecy.
You don't have a choice about fashion or aesthetics - you're in it, whether you like it or not.
It is more fun to talk with someone who doesn't use long, difficult words but rather short, easy words, like 'What about lunch?'
A. A. Milne
I think about the Arabs not as enemies but as cousins. Even when we are in a fierce conflict with them, they are more of a kind of family - with all the problems of a family. We have to live with them.
A. B. Yehoshua
In my own view, Hamas's frustration derives from a lack of legitimization by Israel and by much of the world. It is this frustration that leads them to such destructive desperation. That's why we need to grant them status as a legitimate enemy - before we talk about an agreement or, alternatively, about a frontal war.
I remember, in my first show in New York, they asked, 'Where is the Indian-ness in your work?'... Now, the same people, after having watched the body of my work, say, 'There is too much Indian philosophy in your work.' They're looking for a superficial skin-level Indian-ness, which I'm not about.
In India, nobody really talks about works of art; they always talk about the appreciation of art. You buy this for 3,000 rupees, it'll become 30,000 in two months.
My work is not directly about the social or political.
I think artists are really the root of a tree. They can search for truth or reality in their own way, and the gallery can support them - the outside part of the tree, where it is more about reaching the outside world, connecting with the outside world. That is the role of the gallery, no? Why does the artist have to do that?
I'm the world's expert on sterotypes held by academics about athletes and held by athletes about academics. To me, both of them are caricatures.
When I first wrote 'Papa Hemingway,' there were too many people still alive, and the lawyers for Random House didn't want to OK it. But now all that's been filtered away by the passage of all these people. And having the fortune of surviving, I now feel that I am the custodian of what Ernest wanted the world to know about him and these women.
I don't recall having any self-awareness about the intricacy of my stories.
I first read science fiction in the old British Chum annual when I was about 12 years old.
But, somewhere in there, I did have the thought that this really fits in with my thinking about what I wanted to do; with what has to be done by a writer in order to stay alive as a writer.
It came about as follows: over the years when I was involved in dianetics, I wrote the beginnings of many stories. I would get an idea, and then write the beginning, and then never touch it again.
I pledged to become the world's greatest expert in a field I knew nothing about.
I was very good at sitting. But I just read so much research about how horrible sitting is for you. It's like, it's really bad. It's like Paula-Deen-glazed-bacon-doughnut bad. So I now move around as much as possible.
An Englishman teaching an American about food is like the blind leading the one-eyed.
If there is any way you can get colder than you do when you sleep in a bedding roll on the ground in a tent in southern Tunisia two hours before dawn, I don't know about it.
If the first requisite for writing well about food is a good appetite, the second is to put in your apprenticeship as a feeder when you have enough money to pay the check but not enough to produce indifference of the total.
The primary requisite for writing well about food is a good appetite. Without this, it is impossible to accumulate, within the allotted span, enough experience of eating to have anything worth setting down.
The biggest misconception about me is the bad-boy image that everyone stuck me into due to my tattoos, drug days and the constant changes I make with my hair color.
The greatest problem about old age is the fear that it may go on too long.
I'm starting to realize that people are beginning to want to know about me. It's a jolly strange idea.
If you read about Mussolini or Stalin or some of these other great monsters of history, they were at it all the time, that they were getting up in the morning very early. They were physically very active. They didn't eat lunch.
Reading about Queen Victoria has been a passion of mine since, as a child, I came across Laurence Housman's play 'Happy and Glorious,' with its Ernest Shepard illustrations.
When Christians start thinking about Jesus, things start breaking down, they lose their faith. It's perfectly possible to go to church every Sunday and not ask any questions, just because you like it as a way of life. They fear that if they ask questions they'll lose their Christ, the very linchpin of their religion.
Of all liars the most arrogant are biographers: those who would have us believe, having surveyed a few boxes full of letters, diaries, bank statements and photographs, that they can play at the recording angel and tell the whole truth about another human life.
I don't think you can tell the objective truth about a person. That's why people write novels.
When I think about atheist friends, including my father, they seem to me like people who have no ear for music, or who have never been in love.
I think one of the very frightening things about the regime of the National Socialists is that it made people happy.
I do not find it easy to articulate thoughts about religion. I remain the sort of person who turns off 'Thought for the Day' when it comes on the radio.
If nobody said anything unless he knew what he was talking about, a ghastly hush would descend upon the earth.
In India we only read about death, sickness, terrorism, crime.
