I've got a hold of something that won't move. It's a willingness to keep walking into the next day, open to whatever may turn out to be true that day.
I'm in a mainline church, I'm very aware, especially as I move through community churches and new-start churches that are making real efforts not to associate themselves with traditional denominations - very often they have no history. They have no institutional memory.
Even moving around onstage seemed very artificial. But at the same time you have to make that effort in order to get back to who you are and even accept not moving, if that's who you are.
I was born in St. Louis and lived in Pittsburgh for a bit, before my family moved to Nigeria, where they're from. We lived there for three or four years and came back to the States when I was about ten. I realised that I'd gone from place to place not fitting in. The thing that helped me fit in when moving around and not having a ton of friends was that I could make art. That was the through-line.
You can physically move yourself around but there's that great line that Adam wrote: "Does it define for life, like print of thumb?" I think it does.
A song, you know, you've got a tempo. You know,you've got something that is moving swiftly. You can't stop it, you know? Andit's designed to move swiftly from, you know, mouth to mouth, heart to heart,where a poem really speaks to something that has no time and that is - it's acompletely different perception.
Book ideas are like planes, lined up to approach the runway. Some never leave the gate, but others move quickly to the front of the line. It was like that with The Four Purposes. Honestly, I cannot remember the moment I had the idea for the book; perhaps because it emerged like a green shoot emerging from the soil of my subconscious. But it seemed important enough to begin the flow of words that eventually shaped themselves into this new book.
I've been thinking a lot about Anacortes and what it's like to be here, though I'm not trying to get people to move here - I would hate that.
It's easy for me to say, "Oh yeah, that's the self-saboteur move that most artists pull whenever they're afraid."
I didn't start smoking weed till my junior year. I had a boyfriend who smoked a lot, and I was like, "Oh, I guess I'm moving on to this phase of life." I didn't fight it at all.
I went to Mexico City to visit, and I fell in love with the city. I went to my house to pick up my stuff. It was the craziest, most impulsive move I've ever done. I just felt like I had to stay there.
If we don't keep people engaged, we're not going to move you. And if we move you, we've done something useful. That's what anybody who writes genre knows.
Here I am, the artist, the person, the black woman, and the stereotype. I'm using myself and it has nothing to do with my muses or other women. It has to do with me. You see parts of my body moving, very collage like, flashing, and not speaking, just laying on a couch, looking out at the viewer.
My vibe was to just move forward at a really cool pace.
I'm always moving forward creatively and don't like stalling, trying to find the perfect snare drum sound.
It's funny, the old media idea is very segmented, like "this is my territory and this is yours." But media is changing. You're at a point now where people can start to move into different forms.
My relationship with my mom has really evolved since The Hills. We had a very hard time getting through that, and I didn't talk to her for almost two years, but since then we have learned to get over the past and move forward.
Maybe one way to think about it would be in the context of the historical development of germ theory. The problem of childbed fever was not significant until the development of a male-dominated medical establishment made possible the situation in which a professional might move from touching a corpse (for the purposes of study) to putting his unwashed hands up against, or into, a woman in labor.
We live in a culture that insists on "moving on" (even while our loyalty to and love of the franchise and the sequel give away a larger loopiness). But I tend to dwell or obsess or meditate, and I came back to, for instance, the figure of Dickens's "Miss Havisham" with some (self) recognition if not relief.
So when we're told to "move on" or "let go," we should take a look at who is saying it and why, and when we see repetition happening it's worth trying to understand it before attempting to shut it down.
What was toughest for me in writing "Trust," was reliving it, turning and facing this. We move on and we don't move on, you know? She's still there - and by "she" I mean me - caught in that windowless room, that bad bargain and that violation. No one can touch me, sexually, without activating that memory. But I had walled, I thought, that time off. I say that and then want to say "and I got off lightly"!
I lived by a bay for a while, and I shucked oysters. Some packing things. You know, just whatever odd job you can find whenever you're moving around. I never really cared much for the franchise kind of work, so I'd try to find things that I considered to be a little more honorable.
I want to move away from sampling records and just have it be quite minimal. I don't want any more hip-hop beats in there.
OK, so here's the deal. First of all, "The Wall Street Journal" was bought for $5 billion. It's now worth $500 million, OK. They don't have to tell me what to do. "The Wall Street Journal" has been wrong so many different times about so many different things. I am all for free trade, but it's got to be fair. When Ford moves their massive plant to Mexico, we get nothing. We lose all of these jobs.
I don't want them to move their plants. I want them to stay in Michigan. I want them to stay in all of the places where they are, or expanding to other places. But I want it to be in the United States. I don't want them to go to Mexico.
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