A Quote by Victoria Azarenka
That intensity, that feeling of the battle, heat of the moment: personally, that's what I live for.
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I'm not fighting for bonuses or money or anything else. I fight because I love to fight and I love being in the heat of the battle and the heat of the moment. You might laugh at me when I say this, but I love feeling like I gave the fans their money's worth.
We can't be perfect all the time and that's okay. In the heat of the battle, in the heat of the moment, you might say things or do things that aren't right, but at the same time, Christ forgives us. Christ will always forgive you.
We may say that feelings have two kinds of intensity. One is the intensity of the feeling itself, by which loud sounds are distinguished from faint ones, luminous colors from dark ones, highly chromatic colors from almost neutral tints, etc. The other is the intensity of consciousness that lays hold of the feeling, which makes the ticking of a watch actually heard infinitely more vivid than a cannon shot remembered to have been heard a few minutes ago.
Social issues is something I've been a part of changing and pushing for. It's embedded and ingrained in my soul. It's not something that personally I try to plan. It just comes in the heat of the moment.
One cool judgment is worth a thousand hasty councils. The thing to do is to supply light and not heat. Ay any rate, if it is heat it ought to be white heat and not sputter, because sputtering heat is apt to spread the fire. There ought, if there is any heat at all, to be that warmth of the heart which makes every man thrust aside his own personal feeling, his own personal interest, and take thought of the welfare and benefit of others.
Heat may be considered, either in respect of its quantity, or of its intensity. Thus two lbs. of water, equally heated, must contain double the quantity that one of them does, though the thermometer applied to them separately, or together, stands at precisely the same point, because it requires double the time to heat two lbs. as it does to heat one.
I am a leader. Leaders always get heat. They're always going against the grain. Jimi Hendrix got heat; Bob Marley got heat; Miles Davis got heat. Every great artist got heat. Heat means you're doing something right.
I am a leader, so leaders always get heat. They're always going against the grain. Jimi Hendrix got heat; Bob Marley got heat; Miles Davis got heat. Every great artist got heat. Heat means you're doing something right.
An art school is generated only by the intensity and heat of a common pressure.
Sometimes a single battle decides everything and sometimes, too, the slightest circumstance decides the issue of a battle. There is a moment in every battle at which the least manoeuvre is decisive and gives superiority, as one drop of water causes overflow.
When I play, I open up. I'm in the heat of the performance and it's a healing thing. It's great! It's like a spiritual elevation that occurs when you're playing and becoming one with the instrument or players on the stage. It takes on this incredible feeling of levitating and the molecules spin differently in the moment.
When you are so full that there is no emptiness in you, that you have started feeling the significance of the ordinary, day-to-day existence, when moment to moment you live totally, intensely, passionately, then God is available.
Let's face it: I'm scared, scared and frozen. First, I guess, I'm afraid for myself...the old primitive urge for survival. It's getting so I live every moment with terrible intensity.
The heat of the battle is as sweet as the victory.
If I wrote in Jacob Riis' time, I'd be writing about teeming slums in our cities and kids dying of tuberculosis or outhouses in Philadelphia or kids losing their toes because they were living in homes without heat. He took on a battle in 'The Battle with the Slums' - and we won.
Within a year after I write a play I forget the experience of having written it. And I couldn't revise or rewrite it if I wanted to. Up until that point, I'm so involved with the experience of having written the play, and the nature of it, that I can't see what faults it might have. The only moment of clear objectivity that I can find is at the moment of critical heat - of self-critical heat when I'm actually writing.
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