Top 382 Copies Quotes & Sayings - Page 7

In Shanghai, I saw great contrasts. On one street there would be impressive shops selling copies of the latest word in glamorous European fashion, and around the corner on a back street there were poor families crammed into one room with a naked light bulb. One evening I heard a Chinese family singing "Happy Birthday." It was weird. You would have thought that they'd have their own happy birthday song. Every dominant society in the world - whether it's French or British or American - imposes its culture on less developed societies.

Darren Hardy has written a new bible for the self-improvement space. If you are looking for the real deal-a real program, with real tools that can change your life and make your dreams a reality-The Compound Effect is it! I plan to use this book to go back and look at what I need to again work on in my own life! Buy ten copies, one for yourself and nine more for those you love, and pass them out now-those who get it will thank you!

You can't write a song out of thin air. You have to feel and know what you are writing about. ... Talent is only a starting point. You've got to keep working that talent. Someday I'll reach for it and it won't be there. ... Life is 10 percent what you make it, and 90 percent how you take it. ... The toughest thing about success is that you've got to keep on being a success. ... After you get what you want you don't want it. ... Listen kid, take my advice, never hate a song that has sold half a million copies. ... The song is ended, but as the songwriter wrote, the melody lingers on.

What I am trying to say is that it is not without any value. The value of copies is that they can direct us towards the original. I was recently at the Louvre Museum and I was filming people who were viewing the Mona Lisa. I noticed the number of ordinary people, astonished, mouths agape, standing still for long stretches looking at the work, and I wondered, "Where does this come from? Are these people all art connoisseurs?" They are like me; through the years, we've seen this work in our schoolbooks or art history books, but when we stand before the original, we hold our breath.

The copies of The Catcher In The Rye or To Kill A Mockingbird that I own look like they were printed yesterday, and there's not a nick, not a blur, there's not any fading on the jacket at all, because they were taken and protected. A limited edition, by nature, is limited, and also probably more protected because of that. I'd rather have a first trade edition than a special one of 25 that was made years later, even if it's signed by the author. The trade edition is the Holy Grail.

They all laughed. I drew their pictures and they asked for copies and I handed them out as if they were my tickets to the show. In the Navy Yard, I could drink with men because I worked with men; in the Parkview, I could drink with men because I drew their pictures. The world was a grand confusion. Finally, when I was bleary, when my hand wouldn't do what I wanted it to do, I went home. I would lie alone in the dark, feeling that I was a character in a story that had lost its plot.

Well, at the end of our movie Fireproof, we released a book that my brother Stephen and I wrote called The Love Dare. It was for couples. That book had a much larger impact than we expected. As a matter of fact, if I could use the term "overwhelmed," we were. The book went on to become a New York Times bestseller and sold over five-million copies and is now in 28 different countries and languages. So, we were blessed and just surprised at how well that did.

Our [Virginia's] act for freedom of religion is extremely applauded. The Ambassadors and ministers of the several nations of Europe resident at this court have asked me copies of it to send to their sovereigns, and it is inserted at full length in several books now in the press; among others, in the new Encyclopédie. I think it will produce considerable good even in those countries where ignorance, superstition, poverty and oppression of body and mind in every form, are so firmly settled on the mass of the people, that their redemption from them can never be hoped.

If nature be regarded as the teacher and we poor human beings as her pupils, the human race presents a very curious picture. We all sit together at a lecture and possess the necessary principles for understanding it, yet we always pay more attention to the chatter of our fellow students than to the lecturer's discourse. Or, if our neighbor copies something down, we sneak it from him, stealing what he himself may have heard imperfectly, and add it to our own errors of spelling and opinion.

We need to take information, wherever it is stored, make our copies and share them with the world. We need to take stuff that's out of copyright and add it to the archive. We need to buy secret databases and put them on the Web. We need to download scientific journals and upload them to file sharing networks... With enough of us, around the world, we’ll not just send a strong message opposing the privatization of knowledge - we’ll make it a thing of the past. Will you join us?

When I was working at the game company, I wasn't just doing graphic design, I was doing the entire product management, so I would do the graphic design, I would create the advertisements, even the catch copies. I would figure out what kind of packaging and design of the packaging, so I was basically doing total product management at that time.

This is sad. I just think it’s a little ridiculous we are still only looking at the surface of one another. Red hair? Blue hair? Pink? Blonde? Short? Long? Whatever. We might as well shave our heads. Hair has nothing to do with the reason we playing music. It’s a style. Something that will never last as long as the songs we play and the words we sing. Listen up ladies in bands, I’m so proud to be one of you and I don’t care if we all look exactly alike or if we are all carbon copies of each other. We have things to say and it’s up to us to get people to not just look but to LISTEN!

Let's set the existence-of-God issue aside for a later volume, and just stipulate that in some way, self-replicating organisms came into existence on this planet and immediately began trying to get rid of each other, either by spamming their environments with rough copies of themselves, or by more direct means which hardly need to be belabored. Most of them failed, and their genetic legacy was erased from the universe forever, but a few found some way to survive and to propagate.

A terrorist doesn't let strangers into her flat because they might be undercover police or intelligence agents, but her children bring their mates home and they run all over the place The terrorist doesn't know that one of these kids has bugged every room in her house, made copies of all her computer files and stolen her address book. The kid works for CHERUB CHERUB agents are aged between 10 and 17. They live in the real world, slipping under adult radar and getting information that sends criminals and terrorists to jail.

Another thing you end up doing when you get older, is you spend so much time sort of trying desperately to keep from just looking just a little older. You're just constantly putting stuff on your face and having things removed from yourself and opening up copies of "Vogue" so that you can find new ways to throw whatever money you've managed to save into the arms of some doctor who has just come up with a new way of lasering your face that feels like electroshock and all these things.

It's like, are you kidding me? I'd sell way more if I just put a picture of my face. That's the fact. I'd sell more copies of me just looking cute. That's what sells more. That's what sells at Wal-Mart. Not someone in a bathtub looking like they're about to kill someone. Topless.

Now a writer can make himself a nice career while he is alive by espousing a political cause, working for it, making a profession of believing in it, and if it wins he will be very well placed. All politics is a matter of working hard without reward, or with a living wage for a time, in the hope of booty later. A man can be a Fascist or a Communist and if his outfit gets in he can get to be an ambassador or have a million copies of his books printed by the Government or any of the other rewards the boys dream about.

Basically, I've reached the point where I've lost any direct relationship to any of the editors I used to have. I suspect I'll have to pay to publish this myself, and I think a lot about about putting out fifty copies. I used to think about hogwash like my legacy and silly things like that. But I feel like if I never have another book out, I've done okay, I've had like twelve or thirteen little books, and I won't be upset about this on my death bed.

Kill me, Doug. Just kill me now. Put me out of my misery.” “Christ, Kincaid, what did you say to him?” murmured Doug. “Well,” I told Doug, “I ripped on his fans and on how long it takes for his books to come out.” Doug stared at me, his expectations exceeded. “Then I said—not knowing who he was—that I’d be Seth Mortensen’s love slave in exchange for advanced copies of his books.

Clay Felker was then - he had - to his credit, he had created New York Magazine, which was the first of the city magazines that covered the city and gave all kinds of advice and all that sort of stuff. And there were copies all over the country by the time he left. He had, however, a view of journalism that was very much, I must say, like Tina Brown's at The New Yorker. You hit 'em hard, fast, give 'em something to talk about the day after the paper comes out, as contrasted with William Shawn, who gave them something to talk about two or three years from then.

My contract with mercury PolyGram Nashville was about to expire. And I never had really been happy. The company, the record company, just didn't put any promotion behind me. I think one album, maybe the last one I did, they pressed 500 copies. And I was just disgusted with it. And about that time that I got to feeling that way, Lou Robin, my manager, came to me and talked to me about a man called Rick Rubin that he had been talking to that wanted me to sign with his record company.

Things happen very quickly and they have to happen quickly in order to have vitality, which I think is essentially part of a good pot. But in addition it means that you can explore an idea and change it and then change it and then change it; I don't mean by changing the one pot, but you make one pot then you make another that's related to that; you make another - you can make 50 pots in a day and none of them are going to be carbon copies of any other, but they'll all be related because there's something going through your mind about the form on that particular day.