A Quote by Taylor Fritz

Because when you're 10, 11, 12, 13, you see all these strokes and you want to copy them. And it's not easy to keep what you started with, if that makes sense. — © Taylor Fritz
Because when you're 10, 11, 12, 13, you see all these strokes and you want to copy them. And it's not easy to keep what you started with, if that makes sense.
I want to have my 11 or 12, 13, 14 belt picture. I want to be lying down just covered in them. I want a lot of them. I want my closets to be filled with UFC belts.
I knew being a musician was my calling when I was 12 or 13. I started singing when I was six but didn't actually see myself being a singer when I was 12 or 13.
When I was 10, 11, 12, 13, 14, I had so many people I looked up to and was so inspired by all these different people. It's cool to be in that position.
I started writing - just generally - when I was 10, there, and started writing songs when I was maybe 11 turning 12.
If you raise children, you forget what age they are. I mean you don't literally forget, but you treat a 13-year-old like she's 10 and there's a big difference in those three years and they can't stand it. They want to be treated like they're 17 when they're 13. And sometimes you can't help thinking of them as if they were 10 or 10 months old because it's all so recent. So we do overprotect sometimes.
First, I started to play the organ. I did that until I was 11. From the age of 11 to 13, I gave up music entirely. And then at 13, I picked up the guitar, and after one and a half years, I started practicing intensively. I began playing in rock bands, and it was there that I discovered that the music I liked to write was always instrumental.
We want to progress and ultimately win something. You can't do that with 11, 12 or 13 players, you need a squad.
When I was a kid - 10, 11, 12, 13 - the thing I wanted most in the world was a best friend. I wanted to be important to people; to have people that understood me. I wanted to just be close to somebody.
I read The NAMBLA Bulletin fairly regularly and I think it is one of the most intelligent discussions of sexuality I've ever found...I would have been so much happier as an adolescent if NAMBLA had been around when I was 9, 10, 11, 12, 13.
I wrote my first song at 12 and remember someone asking, 'What were you going through at 12 that you could write about?' I get what you're saying, but 11, 12, 13 were the hardest years of my life. You learn everything. You learn how horrible things feel.
I've always said I'd rather see a club that's won 10 or 12 in a row than a club that's lost 10 or 12 in a row because they're tougher.
When I turned 12 or 13 years old, even as a dad, you can't make a kid play anymore, but up until that point, he pushed me to keep playing, and when I turned 13, I didn't want to do anything else. He was just there with me at the cage every day because I wanted him to go with me and throw to me and work on what I needed to work on.
It seems like teams want a guy who can get 10, 11, 12 assists. That's the kind of player I want to be. Sometimes that is more important than scoring 30 points a night.
What Simone Weil said politics has meant all along, which means that you fight for 11 percent, 12 percent, 13 percent, that you avoid golden-age thinking and romantic melancholy and you just keep pushing.
I started playing guitar at the age of 8 or 9 years. Very early, and I was like already into pop music and was just trying to copy what I heard on the radio. And at a very early age I started experimenting with old tape recorders from my parents. I was 11 or 12 at that time and then when I was like 14 or 15 I had a punk band. I made all the classic rock musician's evolutions and then in the early nineties I bought my first sampler and that is how I got into electronic music, because I was able to produce it on my own. That was quite a relief.
When you're 12, a 12-year-old girl is so out of your league, because they have no interest in you. You're like 10 years younger. You're 2 to them.
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