A Quote by Patti Smith

I had no proof that I had the stuff to be an artist, though I hungered to be one. — © Patti Smith
I had no proof that I had the stuff to be an artist, though I hungered to be one.
I don't believe Fermat had a proof. I think he fooled himself into thinking he had a proof.
He had supposed for years that he had no secrets from himself. Here was proof that he had a great big secret somewhere inside, and he could not imagine what it was.
Yes, my mother was a singer, and my father played piano and keyboards. They were in a band together, though they also had regular jobs because they had kids and stuff like that.
I felt my faith was on again off again until I met Paula White, who saw that the Lord had other plans; there was a weightiness to my spirit. She gave me the news that God loved me and wanted his son back. She spoke to the king in me and gave me new hope I could get right with God. The God I had hungered for; the Father I had been missing.
Do you believe then that the sciences would ever have arisen and become great if there had not before hand been magicians, alchemists, astrologers and wizards, who thirsted and hungered after abscondite and forbidden powers?
But, on more accounts than one, I had had enough of moose-hunting. I had not come to the woods for this purpose, nor had I foreseen it, though I had been willing to learn how the Indian manvred; but one moose killed was as good, if not as bad, as a dozen.
It seemed to me that all things were possible on the island, all tyrannies and cruelties, though in small; and if, in despite of what was possible, we lived at peace with another, surely this was proof that certain laws unknown to us held sway, or else that we had been following the promptings of our hearts all this time, and our hearts had not betrayed us.
Richard Pryor - he had stories, he had characters, he had short jokes, and he had bits. He had all those things. Eddie Murphy has all those things, and he can sing. A comedian is a bunch of stuff; it's not just one area.
I had a friend who had done the cinematics for 'Splinter Cell: Conviction,' so he kind of indoctrinated me into the series. I did a bunch of temp stuff for him - I roughed stuff in the game for him, playing about nine characters - just so he had some character templates to work from.
I'd just sort of gravitated toward the arts, and I had always loved music and really loved theater, even though I didn't want to act. For some reason, being in Kansas, you can either be a graphic artist or a visual artist, so I decided, 'I guess I'm going to be a painter.'
I had proof that I had five senses, that I knew how to get myself to function! And then I lost my childhood.
I started writing songs in high school, so you had to write this stuff out and register it with the Library of Congress. You had to learn how to do that stuff.
When I was a kid, before there were VCRt, my parents had a movie projector, and we'd watch Frankenstein and Dracula. I just always though that stuff was cool - creepy comics and monsters and horrific stuff. Music lends itself to that whole theme.
He was an artist when he saw society: it never crossed his mind that society had to be like this; had any right, had any business being like this. A car in the street. Why? Why cars? This is what an artist has to be: harassed to the point of insanity or stupefaction by first principles.
A proof is a proof. What kind of a proof? It's a proof. A proof is a proof. And when you have a good proof, it's because it's proven.
Yeah, I put out some goofy stuff. I had no idea who I was as an artist at all before 'Posse on Broadway.'
This site uses cookies to ensure you get the best experience. More info...
Got it!