A Quote by Trevor Bauer

There are good parts and bad parts and middle parts about everybody. So what I would like to be known as is someone who was true to himself and passionate about the game. — © Trevor Bauer
There are good parts and bad parts and middle parts about everybody. So what I would like to be known as is someone who was true to himself and passionate about the game.
Most programming languages contain good parts and bad parts. I discovered that I could be better programmer by using only the good parts and avoiding the bad parts.
Any experience you have, there are good parts of it and bad parts, and you have to learn from the bad parts and the mistakes that you've made.
When it comes to picking parts, I do make an effort to choose parts that I want to do, and not necessarily parts someone else wants me to do, or parts that someone else is going to respond to.
I would not give up a lot of what I know about my heritage. I would not give up knowing where I came from, the good parts and the bad parts.
Take of London fog 30 parts; malaria 10 parts, gas leaks 20 parts, dewdrops gathered in a brickyard at sunrise 25 parts; odor of honeysuckle 15 parts. Mix. The mixture will give you an approximate conception of a Nashville drizzle.
I'm very keen that we have this debate about the good parts of inequality and the bad parts of inequality. It's not a one-sided thing.
The game might be divided into three parts, the opening, the middle-game and the end-game. There is one thing you must strive for, to be equally efficient in the three parts.
At my school, which was all boys, I played almost exclusively lady parts. When I say lady parts, I mean parts that were ladies. To actually play lady parts would be weird, even by English standards.
You can do bad parts in good pictures or good parts in bad pictures and maybe get a little personal satisfaction. But the key to it all is good parts in good pictures.
As an author, you think you know where the good parts and the bad parts are. And then you read to a group of children, and you learn when you're boring them, and you hurry through those sections to get to the parts where they're interested again. You start to get a sense of your story's rhythm and flow.
There's nothing small or inconsequential about our stories. There is, in fact, nothing bigger. And when we tell the truth about our lives - the broken parts, the secret parts, the beautiful parts - then the gospel comes to life, an actual story about redemption, instead of abstraction and theory and things you learn in Sunday School.
Our job, you know, in the entertainment profession is to try to illuminate and show people all sides of humanity, and it doesn't just mean that you can only do movies that are only about the good parts of us. You have to be able to eliminate the bad parts.
I turn the good parts up and the bad parts down
What I think networks do so well are big, fun, accessible, invite everybody into the tent kinds of storytelling, akin to an early Spielberg movie or a Michael Crichton novel. That's not to say that there aren't scary parts 'cause there are, and that there aren't sexy parts and edgy parts, just like early Spielberg would have, but there's a lot of heart, a lot of emotion and complicated characters.
When we tour in America, the shows are great, and the fans are just as passionate and excited as anywhere else in the world, but in other parts of the world, in parts of South America and in parts of Europe and Asia, the size of the venues and the amount of people we get at concerts is considerably more.
We all have them, those parts of us that are the greatest parts of us and the worst parts of us. Sometimes we're put in circumstances and bad choices are made.
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