I've been in Africa, America, moving around a lot. It's helped me to open up my mind. I was born in Jamaica; I've lived all my life there and got all I could from Jamaica. But I needed to be somewhere else to grow.
I make music that I know that people will enjoy, and balance the ideas and philosophy that we put in music with music that when we play it live, people can move to it and groove to it.
Once you learn to do something consciously, you can move it into the subconscious and do it well. Everything you do well will be done subconsciously.
Problem-solving becomes a very important part of our makeup as we grow into maturity or move up the corporate ladder.
One problem I have with talking about myself in the context of class divisiveness is that I can be - and indeed have been - used by others to demonstrate its absence and that it's only a matter of hard work to move upward socially. After all, how could I complain about anything, if the retort is: "But look where you got to? It can't be all that bad." But this is nonsense as an argument quite aside from its empirical absurdity because no single case can invalidate a statistical claim.
I had a tough childhood, yes. I was born in rural Bangladesh to parents who had had no education beyond high school. We moved to the UK where I grew up in poverty, in some of the worst conditions in a developed economy, before moving to the projects - heaven - and I went to unremarkable schools before going to university. My father was a bus conductor first and then a waiter, and my mother a seamstress.
We shouldn't overdramatize the current disagreements with the Russians. They are real, but they're not really all that threatening. And the notion that we're moving back to some Cold War I think is really an exaggerated judgment.
Long-term trauma for women who have survived armed conflict is a haunting reminder that health issues and depression can follow decades after the end of war, but women who hope for healing can and do move forward.
I'm always interested in the way people speak and move in their environment, in a very particular environment. I'm never interested in writing a kind of neutral, universal novel that could be set anywhere. To me, the any novel is a local thing always.
It seems that if you put people on paper and move them through time, you cannot help but talk about ethics, because the ethical realm exists nowhere if not here: in the consequences of human actions as they unfold in time, and the multiple interpretive possibility of those actions.
Anytime I've ever been involved in a non-linear story, you see it in a linear manner first, just to make sure it makes sense, and then you chop it up and move it around.
There was this interesting quote: try and live your life without fear and desire. It's this concept that's like when you look at a painting in a museum and you are held in aesthetic arrest. So the I, the ego, is stripped, is gone. The observer and thing become one. That's where fear and desire come in because you don't want to own it, possess it, desire it, and it's not moving you to fear. It's like you're in this harmonious state with the object.
Honestly, people told me to. It was weird, I graduated from school, I never thought I'd live in L.A. and I always wanted to be to New York. I assumed that would be my trajectory - that romantic ideal of moving there and doing plays Off-Broadway and being scrappy about it. Then we did a showcase in New York and a showcase in L.A., and for whatever reason the response that I generated in L.A. was significantly more enthusiastic.
I feel like that [the role in Star Trek] is a prime example of, yeah, I got that role and it was awesome, because it changed a lot for me professionally, but then creatively, it became a whole other thing, with J.J. [Abrams] and Chris [Pine] and the people I got to know. Now I just feel like it's our jobs to be open and to keep moving stuff forward. I don't know what that means. This is the first time in a long time that I have no idea what's happening next. As scary as that is, and as anxiety-provoking as that can still be, it's also really exciting.
There was a little bit of hesitancy about staying in Pittsburgh and not moving away for college, but that didn't last long. It was right in line with what I wanted, so I auditioned there and it wasn't a tough decision.
It feels much more natural to move forward and grow with the instruments I've grown accustomed to. Piano, accordion, brass, ukulele.
Sometimes, I go to Barnes & Noble with the sole intention of moving all copies of the bible to the fiction section.
This is the reason why there are currently about 6,000 startups in Israel. And the nature of the Israeli entrepreneur—who is not afraid and is resourceful, motivated and fast moving—all give us an advantage.
Many of my songs were dance orientated from way back. That's because I love dance! When I hear a dance number, just hearing the first eight bars, it immediately makes my bod start moving and dancing.
If I hear dance music, my body starts to move. Whatever the dance music is, I can't help it. With all that, I still felt, well, rock is a little higher art, but it wasn't. Right now, because I have so much experience with dance charts, I started to realize that it's incredible art. This is going to be known one day as high art.
When I hear music, my body just starts to move. It has nothing to do with training or anything. That's just me. That's just my body. And I was like that as a child, too.
I believe that it is my responsibility as the prime minister of Israel to do whatever can be done to exploit the unique opportunities that lie ahead of us to move towards peace. Not everything can be done by one act.
It is the specialist's task to talk about means, about centimeters. An artist's task is to talk about the goal, about kilometers, thousands of kilometers. The organizing role of art consists of infecting the reader, of arousing him with pathos or irony -- the cathode and anode in literature. But irony that is measured in centimeters is pathetic, and centimeter-sized pathos is ridiculous. No one can be carried away by it. To stir the reader, the artist must speak not of means but of ends, of the great goal toward which mankind is moving.
Moving to the US was quite a transition for me, to say the least! There were, and still are so many new things to get used to: the language, food, culture, even the style of basketball is different here!
When one sings, one does not speak about the problems of the every day. One speaks about the things which inspire us, which helped us.
