A Quote by Lari White

Unfortunately - as I have experienced first-hand, as many artists have - there's a gaping hole between platinum and non-existent. There's no in-between.
In her previous novels, Maggie O'Farrell has often measured the distance between intimates and the unexpected intimacy of distance - geographic, temporal, cultural. In 'The Hand That First Held Mine' and 'The Distance Between Us,' characters separated by many miles or many years turn out to be joined in ways they never anticipated.
I will say 'I love you' in the same way on any medium. We have this hierarchy in our heads between TV and films, and I know that for a fact because I have experienced it first-hand.
One of our chief needs as creative beings is support. Unfortunately, this can be hard to come by. Ideally, we would be nurtured and encourages first by our nuclear family and then by ever-widening circles of friends, teachers, well-wishers. As young artists, we need and want to be acknowledged for our attempts and efforts as well as for our achievements and triumphs. Unfortunately, many artists never receive this critical early encouragement. As a result, they may not know they are artists at all.
Science means constantly walking a tightrope between blind faith and curiosity; between expertise and creativity; between bias and openness; between experience and epiphany; between ambition and passion; and between arrogance and conviction - in short, between an old today and a new tomorrow.
It doesn't matter if you're delivering pizza or the president of a company, you still deserve to be treated well, and with dignity. Not everybody feels that way, unfortunately, and I experienced that first hand.
Most writing is done between the mind and the hand, not between the hand and the page.
The decision must be made between Judaism and Christianity, between business and culture, between male and female, between the race and the individual, between unworhtiness and worth, between the earthly and the higher life, between negation and God-like. Mankind has the choice to make. There are only two poles, and there is no middle way.
You need a really good mix between young and old, between experienced and hungry players.
I am talking about ordinary people making the link between their communities being treated as disposable and the assumption that the environments they depend on are disposable as well. What gives me hope is the kind of bridgework I'm seeing between social movements on the one hand, and young writers and artists on the other, all intent on opposing such pitiless, short-term thinking.
When oxygen and sulphur dioxide are mixed in the presence of a filiament of platinum, they form sulphurous acid. This combination takes place only if the platinum is present; nevertheless the newly formed acid contains no trace of platinum, and the platinum itself is apparently unaffected: has remained inert, neutral, and unchanged. The mind of the poet is the shred of platinum.
There's a gaping difference between the United States of America and Putin's Russia.
I believe that the fundamental alternative for man is the choice between "life" and "death"; between creativity and destructive violence; between reality and illusions; between objectivity and intolerance; between brotherhood-independence and dominance-submission.
Vienna is relatively small. And it had wonderful salons, opportunities for people to get together. There was a lot of interaction between scientists and non-scientists, between Jews and non-Jews, between artists, writers and scientists, including medical scientists.
I actually did trouble to read Marx first hand. I found it illuminating in so many ways; in particular, my perception of the relationship between people and the society in which they live was irreversibly altered.
The difference between Pound and Whitman is not between the democrat who in deep distress could look hopefully toward the future and the fascist madly in love with the past. It is that between the woodsman and the woodcarver. It is that between the mystic harking back to his vision and the artist whose first allegiance is to his craft, and so to the reality it presents.
Most people assume that a muse is a creature of perfect beauty, poise and grace. Like the creatures from Greek mythology. They're wrong. In fact, there should be a marked absence of perfection in a muse--a gaping hole between what she is and what she might be. The ideal muse is a woman whose rough edges and contradictions drive you to fill in the blanks of her character. She is the irritant to your creativity. A remarkable possibility, waiting to be formed.
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