A Quote by Peter Gabriel

I love 5.1. Sometimes you can't squeeze everything in comfortably into a stereo picture. There is a lot more space in a 5.1 environment. — © Peter Gabriel
I love 5.1. Sometimes you can't squeeze everything in comfortably into a stereo picture. There is a lot more space in a 5.1 environment.
Sometimes in films it's nice to have violins on either side, rather than on one side, so you've got more of a stereo picture with the violins. Sometimes it's good to have the basses in the middle.
The frontier in space, embodied in the space colony, is one in which the interactions between humans and their environment is so much more sensitive and interactive and less tolerant of irresponsibility than it is on the whole surface of the Earth. We are going to learn how to relate to the Earth and our own natural environment here by looking seriously at space colony ecologies.
When gravitational waves reach the earth, the waves stretch and squeeze space. This is a tiny stretch and squeeze. Far too small to detect with ordinary human senses.
Sometimes the picture is more interesting than what is going on. Sometimes the picture is suggestive of greater things in society or the history of what might be connected to the theme in the pictures and those are worth exploring.
There's nothing hippie about my picture of Christ. The Gospels paint a picture of a very demanding, sometimes divisive love, but love it is.
The settle, followed by 10 for power will give you that grasp on their nuts that you need. Once you've got that, squeeze, squeeze, squeeze and squeeze and don't ever let up! You'll just be breaking 1500 meters down when you hear them yelp. Listen for the yelp, and then bring it into the dock.
Any jerk can have short-term earnings. You squeeze, squeeze, squeeze, and the company sinks five years later.
Interfacing street sculpture in public space creates an installation environment that turns regular space into art space. Signs and people and everything around a street sculpture-they all become part of it. A two-dimensional work, being confined to surfaces, doesn't have as much of a capacity.
I don't particularly believe all love is doomed. But I guess, one is usually kinda suffering from some aborted love affair or association, rather than being at the peak of one. I think it's fairly obvious that a lot more suffering goes on in the name of love than the little happiness you can squeeze out of it.
You're an enormous sponge and everything goes in there and you squeeze it out in songs, I guess. And if you're a painter, you squeeze them out on to a canvas.
You do sometimes wish there were a few more hours in the day to squeeze a bit more in.
When buyers see the pride of ownership - when they come in, and they're impressed by how clean the place is - they can picture their kids playing on the floor. They can picture the family sitting around the table. When they can picture their own family in that space, instantly you grab them, and they'll pay more money, too.
I think, growing up in a small town - I grew up in a lot of different places. I grew up in a city environment, a more suburban environment, a more rural environment. That's the beauty of New Jersey is you get a lot of different types of living.
Sometimes you're not in the best environment. Sometimes you're not speaking the same language and it's not a good place to work. It's a lot to give, actually. And for not a lot of money.
I think there is a lot of space for people to love who they love, and a lot of space for actors to carve a niche for themselves.
I reenact everything. I love to paint a picture for my audience. I'm a lot like Richard Pryor in that aspect. I do a lot of acting on stage, acting out and visualizing stuff. I love to do that. I'm into it so much, it just comes out of me.
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