A Quote by Daisy Shah

There's no need to go out in public and give explanations. As long as you know what's going on between two different individuals and what kind of relationship they share, I don't feel that the world really needs to know about it.
It's depressing and scary, but he needs to know the world around him because he's fourteen now and in two years he's going to drive. He needs to know what goes on out in the world. I'm not going to always be there.
I feel that the world needs writers. We need to know what's really going on.
You cannot have a private relationship in a public arena. You must look to an inner circle of people who really know you. Don't expect to have that kind of intimate relationship with people who only know you publicly. Do not seek to be understood by the world.
The two words that I've arrived at to describe what we all need to feel about ourselves, children and adults, in order to perceive ourselves accurately, are worthy and welcome. If you don't feel worthy and welcome, you really won't know what to do with yourself. You won't know how to behave in a world of other people. You won't think you deserve to get what you need.
I feel like everything I write about is a gift I need to share because there is somebody out there going through a similar thing that might need to hear it. I know music helped me a lot. And still does.
What people think about you is not supposed to matter much, so long as you yourself know where the truth lies; but I have found out, as have others who move in and out of newspaper headlines, that on occasion it can matter a good deal. For once you enter the world of headlines you learn there is not one truth but two: the one which you know from the facts; and the one which the public, or at any rate a highly imaginative part of the public, acquires by osmosis.
A simple man will have only what he needs, and he will know the difference between what he needs and what he wants. We feel that whatever we want, we desperately need. But before we possess the world, to our wide surprise we see that the world has already possessed us.
Most of the time I don't force records. I'm not one of these guys that put records out every nine, 10 months. I'm pretty long between records. I've only had a few in my career. I kind of wait until I feel I have really strong songs. I don't know if they're going to change the world or not, but I dig 'em, and if I dig 'em we make a record.
In a Trump administration we're going to go about creating a new relationship between our two countries [U.S and Mexico], but it's going to be a fair relationship. We want fairness.
Look, there’s nothing I’m ever going to tell you about me that’s the truth. The more you know about me, the shorter your life span is going to be. All you need to know is that I don’t miss. In fact, you don’t even need to know exactly how good I really am, because if you ever find out, you’re going to be dead. (Steele)
Boom and bust cycles are very difficult for businesses because you're hiring a bunch because you're planning for the future. And if the future is going to be very big, you need to hire people, or suddenly you go to boom to bust, then all of a sudden, you're kind of battening down the hatches and trying to sail, you know, through the storm, it's a different thing. So part of it is making good decisions about, well, how long is a boom cycle going to be, you know, don't plan on it going forever.
I'm not at the point where I'd feel safe in a house alone. I would be really scared. I'm the kind of person that when I get up to go use the bathroom I have this big long hallway, and I just know someone's going to jump out and get me.
I don't do all the background and the worldbuilding before I start the story. What I do is I work out the bare minimum I need to start the story, and often that really is a bare minimum - it's a character in a situation, and I know nothing about the character, I know nothing about the situation, and then I think about it for a long time, and make notes about where I think the story is going to go and so on, but I don't really make notes to do with the background or the magic system or the world.
When I go onstage, I don't know what I'm going to say. I don't know what's going to come out of my mouth. It's one of those questions where any and everything is possible. I literally could be talking about somebody I was hanging out with two seconds ago or something from the news. Literally, there's really no rhyme or reason for it. I want to be free flowing like that.
My compositions are, I would say, like pages ripped from a diary that I don't really want to share, but that I almost feel the need to share. It's a way for me to get things out that I can't get out in life, you know, in real regular conversation with people.
The public needs to know - they need to know as much about atrial fibrillation as they do about cancer and diabetes.
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