A Quote by Steven Chu

At Rochester, I came with the same emotions as many of the entering freshman: everything was new, exciting and a bit overwhelming, but at least nobody had heard of my brothers and cousins.
I grew up with a lot of brothers and male cousins, so I had to worm my way in to get heard. But that's sort of what excites me.
Shows have been sold out. It's overwhelming, you know. I had no idea what to expect with this new sound and everything and just to see so many people just come out and embrace it, it's overwhelming.
I grew up in a flat with my brothers and my cousins. My brothers were in the same bed.
I grew up in Rochester, New York, where we had the North American Soccer League. Rochester were at the time the worst team in the whole league, but week in week out I was there to support my team.
Having been kept pretty strict in prep schools, I guess I couldn't cope with all the freedom at Yale. I had a wild, wonderful time, got abysmal grades and was bounced out in my freshman year. I then came back the following fall as a repeating freshman, lasted until April and got bounced out again - for the same reason.
I just had - we had instances - like, for instance, when I turned 13, she threw me a bar mitzvah. But nobody came.But nobody came because nobody knew what the hell that was. I only had black friends. No one knows what the hell you're doing.
Heard ten thousand whispering and nobody listening. Heard one person starve, I heard many people laughing. Heard the song of a poet who died in the gutter.
At a university they had the freshman class make the same predictions that some of the well-known psychics do every year, and they found the freshman class did better
The majority of my photos are taken while traveling, because everything feels new and exciting initially. Taking photos is like a way to make sense of the overwhelming.
I had done a couple of auditions for 'Amistad' and didn't feel it was going to go any further - and then the call came about heading to Los Angeles to work with Steven Spielberg. It was surreal: exciting, challenging, overwhelming.
There [is] a feeling of recognition, as of meeting an old friend, which comes to us all in the face of great artistic experiences. I had the same experience when I first heard an English folksong, when I first saw Michelangelo's Day and Night, when I suddenly came upon Stonehenge or had my first sight of New York City - the intuition that I had been there already.
I've found that the chief difficulty for most people was to realize that they had really heard new things: that is things that they had never heard before. They kept translating what they heard into their habitual language. They had ceased to hope and believe there might be anything new.
In the middle 1940s... I heard everyone live. Painting, the theater; everything was happening. It was an exciting time when New York was the place to be.
My father and his brothers and sisters were childhood Irish jig champions in the Bronx. At our family celebrations, they all get out and do the jig. And of course, the younger generation, me and my cousins and my brothers, we have our own Americanized renditions of the Irish jig, which is a bit more like 'Lord of the Dance.'
I blame and credit my brothers for my competitive fire within me. Growing up, I lost at everything! My brothers are quite a bit older - 10 years and 5 years - so it was a challenge, but I have some of the most amazing memories with my big brothers.
When I was a freshman, I was 5 feet 9 and totally skinny as a pole. Knock-knees and bad hair. Then, over that summer, I grew up a little bit. Not that I was some super beauty, but at least I didn't look like I was 10 anymore and had a little self-confidence.
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