Hertengebraad Quotes & Sayings

Music has always been a location for me to run to, whether it's through someone else's song or my own. I can observe my own planet from this foreign land and things make sense within the telescopic lens of song. — Jon Foreman

I haven't eaten," Aaron says, nodding down at the large white bag in his hands. "And I'm guessing Daniel didn't feed you on the way over, because . . . well, because he's Daniel . . . so I bought extra. Do we have plates in the kitchen, Sam?"
When Aaron and Sam go off in search of utensils, Deo says, "The older brother is a pain in the ass. But this one, I could learn to like. — Rysa Walker

I want to be a free agent. I think everybody in the NBA dreams to be a free agent at least one time in their career. It's like you have an evaluation period. It's like if I'm in the gym and I have all the coaches, all the owners, all the GMs come into the gym and just evaluate everything I do. So yes, I want that experience. — Carmelo Anthony

That's the way it is with the mind. Nothing is ever equal. Like a river, as it flows, the course changes with the terrain. — Haruki Murakami

The creative triangle connects three dimensions: the individual, the domain (the particular symbolic system in which the individual works) and the field (other people working in the domain). So imagine, for example, a sculptor called Kate. To assess Kate's chances of becoming recognised as a highly creative artist, we need to consider not only Kate's own talent and originality (the individual), but also the history and current state of sculpture, in particular the kind of sculpture that Kate produces (the domain), and her connections with curators, journalists, critics, art buyers and other gatekeepers (the field) who contribute to establishing who becomes recognised and celebrated. Without a knowledge of the domain, and connection with the field, Kate is unlikely to make an impact. — David Gauntlett

But no, music lasted longer than anything it inspired. After LPs, cassettes, and CDs, when matrimony was about to decay into its component elements - alimony and acrimony - the songs startled him and regained all their previous, pre-Rachel meanings, as if they had not only conjured her but then dismissed her, as if she had been entirely their illusion. He listened to the old songs again, years later on that same dark promenade, when every CD he had ever owned sat nestled in that greatest of all human inventions, the iPod, dialed up and yielding to his fingertip's tap. The songs now offered him, in exchange for all he had lost, the sensation that there was something still to long for, still, something still approaching, and all that had gone before was merely prologue to an unimaginably profound love yet to seize him. If there was any difference now, it was only that his hunger for music had become more urgent, less a daily pleasure than a daily craving. — Arthur Phillips