As my early drawings warned me, where humans go, lions and tidal waves follow.
An artist's early work is inevitably made up of a mixture of tendencies and interests, some of which are compatible and some of which are in conflict.
If there's a deadline, I work late. If not, I like to have normal hours, and get up early and work. When things are going well, I hate to quit. And then I'll work 'till exhausted.
I had an older brother who was very interested in literature, so I had an early exposure to literature, and and theater. My father sometimes would work in musical comedies.
For me it was sort of career suicide to work in color, but I did it because I perceived myself from an early stage to be interested in seasonality - the changing of the seasons - that's what I deeply loved.
As I noted in my Nobel lecture, an early insight in my work on the economics of information concerned the problem of appropriability - the difficulty that those who pay for information have in getting returns.
I get up around 7 a.m. That's very early for a stand-up comic. Then I'll have breakfast with my husband, the artist Al Ridenour, take my three dogs for a walk and commence with my work.
Whatever you do, do it with all your might. Work at it, early and late, in season and out of season, not leaving a stone unturned, and never deferring for a single hour that which can be done just as well now.
The ability to work together has to be in the blood of particle physicists. They learn very early on that it is impossible to advance on one's own and that constant exchange is necessary.
A treatment method or an educational method that will work for one child may not work for another child. The one common denominator for all of the young children is that early intervention does work, and it seems to improve the prognosis.
I studied English at Princeton in the early eighties in what I consider a period of high obscurity. Professors and students ran around discussing the work of critics and philosophers that I doubt they'd read or understood.
It's now taken for granted that women are in bands and you can say feminist things in your songs. But back in the early '90s, there was a lot of violence at Bikini Kill shows that people don't realize happened.
In the early 1980s, I got into a war with my management - they just kept on suing me and I lost everything. So I had to go out on tour to make sure the electricity stayed on.
The Cold War went on for so long that it bred a kind of worldwide military establishment. Even when budgets went down in the early and mid-nineties, it didn't really affect it.
The dead do not need aspirin or sorrow, I suppose. but they might need rain. not shoes but a place to walk. not cigarettes, they tell us, but a place to burn. or we're told: space and a place to fly might be the same. the dead don't need me. nor do t...
We have a sense of great expectations that is wholly blessed as we sense Your call on our lives from an early age. There may be aptitudes and giftings that are evident in our lives well before we reach the spiritual maturity to dispense them. We may ...
Lying flat against the tile of the kitchen floor listening to someone else have sex is essentially my early twenties in a nutshell.
...the/ supreme end-result of/ early Gothic phallic forms/ is the skyscraper & the/ oil drill & powered/ compressor & pistons of/ great engines...
From an early age I didn't buy into the value systems of working hard in a nine-to-five job. I thought creativity, friendship and loyalty and pushing the boundaries of what was acceptable was much more interesting.
Even at an early age, I rebelled against my strict upbringing. When I was 9, I built myself a 'make-out fort' in our backyard from wood, filled it with candy, and invited my blond, blue-eyed neighbor over to kiss.
I found at an early age the times when I learned the most about myself was when I got thrown out there on a stage in front of a microphone when you didn't really want to be out there, where you're kind of afraid.
