Inspirational quotes with keyboard.
No matter how old you are now. You are never too young or too old for success or going after what you want. Here’s a short list of people who accomplished great things at different ages1) Helen Keller, at the age of 19 months, became deaf and blind. But that didn’t stop her. She was the first deaf and blind person to earn a Bachelor of Arts degree.2) Mozart was already competent on keyboard and violin; he composed from the age of 5.3) Shirley Temple was 6 when she became a movie star on “Bright Eyes.”4) Anne Frank was 12 when she wrote the diary of Anne Frank.5) Magnus Carlsen became a chess Grandmaster at the age of 13.6) Nadia Comăneci was a gymnast from Romania that scored seven perfect 10.0 and won three gold medals at the Olympics at age 14.7) Tenzin Gyatso was formally recognized as the 14th Dalai Lama in November 1950, at the age of 15.8) Pele, a soccer superstar, was 17 years old when he won the world cup in 1958 with Brazil.9) Elvis was a superstar by age 19.10) John Lennon was 20 years and Paul Mcartney was 18 when the Beatles had their first concert in 1961.11) Jesse Owens was 22 when he won 4 gold medals in Berlin 1936.12) Beethoven was a piano virtuoso by age 2313) Issac Newton wrote Philosophiæ Naturalis Principia Mathematica at age 2414) Roger Bannister was 25 when he broke the 4 minute mile record15) Albert Einstein was 26 when he wrote the theory of relativity16) Lance E. Armstrong was 27 when he won the tour de France 17) Michelangelo created two of the greatest sculptures “David” and “Pieta” by age 2818) Alexander the Great, by age 29, had created one of the largest empires of the ancient world19) J.K. Rowling was 30 years old when she finished the first manuscript of Harry Potter20) Amelia Earhart was 31 years old when she became the first woman to fly solo across the Atlantic Ocean21) Oprah was 32 when she started her talk show, which has become the highest-rated program of its kind22) Edmund Hillary was 33 when he became the first man to reach Mount Everest23) Martin Luther King Jr. was 34 when he wrote the speech “I Have a Dream."24) Marie Curie was 35 years old when she got nominated for a Nobel Prize in Physics 25) The Wright brothers, Orville (32) and Wilbur (36) invented and built the world's first successful airplane and making the first controlled, powered and sustained heavier-than-air human flight26) Vincent Van Gogh was 37 when he died virtually unknown, yet his paintings today are worth millions.27) Neil Armstrong was 38 when he became the first man to set foot on the moon.28) Mark Twain was 40 when he wrote "The Adventures of Tom Sawyer", and 49 years old when he wrote "Adventures of Huckleberry Finn"29) Christopher Columbus was 41 when he discovered the Americas30) Rosa Parks was 42 when she refused to obey the bus driver’s order to give up her seat to make room for a white passenger31) John F. Kennedy was 43 years old when he became President of the United States32) Henry Ford Was 45 when the Ford T came out.33) Suzanne Collins was 46 when she wrote "The Hunger Games"34) Charles Darwin was 50 years old when his book On the Origin of Species came out.35) Leonardo Da Vinci was 51 years old when he painted the Mona Lisa.36) Abraham Lincoln was 52 when he became president.37) Ray Kroc Was 53 when he bought the McDonalds Franchise and took it to unprecedented levels.38) Dr. Seuss was 54 when he wrote "The Cat in the Hat".40) Chesley "Sully" Sullenberger III was 57 years old when he successfully ditched US Airways Flight 1549 in the Hudson River in 2009. All of the 155 passengers aboard the aircraft survived41) Colonel Harland Sanders was 61 when he started the KFC Franchise42) J.R.R Tolkien was 62 when the Lord of the Ring books came out43) Ronald Reagan was 69 when he became President of the US44) Jack Lalane at age 70 handcuffed, shackled, towed 70 rowboats45) Nelson Mandela was 76 when he became President
It's in the morning, for most of us. It's that time, those few seconds when we're coming out of sleep but we're not really awake yet. For those few seconds we're something more primitive than what we are about to become. We have just slept the sleep of our most distant ancestors, and something of them and their world still clings to us. For those few moments we are unformed, uncivilized. We are not the people we know as ourselves, but creatures more in tune with a tree than a keyboard. We are untitled, unnamed, natural, suspended between was and will be, the tadpole before the frog, the worm before the butterfly. We are for a few brief moments, anything and everything we could be. And then...and then -- ah -- we open our eyes and the day is before us and ... we become ourselves.
A telkhine was hunched over a console, but he was so involved with his work, he didn't notice us. He was about five feet tall, with slick black seal fur and stubby little feet. He had the head of a Doberman, but his clawed hands were almost human. He growled and muttered as he tapped on his keyboard. Maybe he was messaging his friends on uglyface.com.
He started to touch the mechanism under the keyboard, then pulled his hand back with a snap."Ah," he said. "Must deactivate the security....Turn around, please.""What?""Turn around, Claire. It's a secure password!""You have GOT to be kidding.""Why ever would I joke about that? Please turn.
As for the piano, the faster her fingers flew over it, the more he marveled. She struck the keys with aplomb and ran from one end of the keyboard to the other without a stop.
The worst part of writing fiction is the fear of wasting your life behind a keyboard. The idea that, dying, you'll realize you only lived on paper. Your only adventures were make-believe, and while the world fought and kissed, you sat in some dark room masturbating and making money.
This is how you do it: you sit down at the keyboard and you put one word after another until its done. It's that easy, and that hard.
Sometimes writing is running downhill, your fingers jerking behind you on the keyboard the way your legs do when they can’t quite keep up with gravity.
Writing:It starts at the keyboard,and it ends at the far corners of the universe. --Paako
But how?" my students ask. "How do you actually do it?" You sit down, I say. You try to sit down at approximately the same time every day. This is how you train your unconscious to kick in for you creatively. So you sit down at, say, nine every morning, or ten every night. You put a piece of paper in the typewriter, or you turn on the computer and bring up the right file, and then you stare at it for an hour or so. You begin rocking, just a little at first, and then like a huge autistic child. You look at the ceiling, and over at the clock, yawn, and stare at the paper again. Then, with your fingers poised on the keyboard, you squint at an image that is forming in your mind -- a scene, a locale, a character, whatever -- and you try to quiet your mind so you can hear what that landscape or character has to say above the other voices in your mind.
But the real life of a writer resides in showing up at the keyboard every day, with the necessary patience and mercy, and making the best decisions you can on behalf of your people. It’s a slow process. It often feels hopeless, more like an affliction than an art form.Most of us will have to find our readers one by one, in other words, and against considerable resistance. If anything qualifies us as heroic, it’s that private perpetual struggle.Put down the magazine, soldier. Forget about the other guy. Remember who you are.
Writing is easy: just stare at the screen of your computer until a tear drops on your keyboard.
We have all been empowered by the web: everyone with a keyboard can now effectively broadcast to a national audience. In a sense, it puts each of us on the same footing as the major media conglomerates, except for AOL, who now apparently own all our thoughts and teeth.
I remember one bobcat they had in here - now bobcats are an endangered species in this neck of the woods - they'd caught it somewhere and they must have put that cat through a dozen rounds of burn experiments before they finally determined that it was utterly useless to them. Like an empty beer can. And then you know what they did to it? Claudius was late for a lunch date so rather thanput the destroyed but still breathing animal to sleep, he picked it up by its hind legs and simply smashed its head against a wall repeatedly until it was dead. How can I forget it: I was the one told to clean up the mess. The head dented in. The eyes slowly closing. The once proud claws hanging down, stunned and lifeless, the utter senselessness of it all, and the hate, a hatred that was consummated in me which is as dangerous a hormone, or chemical, or portion of the brain, as any neutron bomb. Except that I didnt know how to explode. I was like a computer without a keyboard, a bird without wings. Roaring inside. I wanted to kill that man. To do unto others what they had done unto me. I was that bobcat, you better believe it.
My best advice about writer’s block is: the reason you’re having a hard time writing is because of a conflict between the GOAL of writing well and the FEAR of writing badly. By default, our instinct is to conquer the fear, but our feelings are much, much, less within our control than the goals we set, and since it’s the conflict BETWEEN the two forces blocking you, if you simply change your goal from “writing well” to “writing badly,” you will be a veritable fucking fountain of material, because guess what, man, we don’t like to admit it, because we’re raised to think lack of confidence is synonymous with paralysis, but, let’s just be honest with ourselves and each other: we can only hope to be good writers. We can only ever hope and wish that will ever happen, that’s a bird in the bush. The one in the hand is: we suck. We are terrified we suck, and that terror is oppressive and pervasive because we can VERY WELL see the possibility that we suck. We are well acquainted with it. We know how we suck like the backs of our shitty, untalented hands. We could write a fucking book on how bad a book would be if we just wrote one instead of sitting at a desk scratching our dumb heads trying to figure out how, by some miracle, the next thing we type is going to be brilliant. It isn’t going to be brilliant. You stink. Prove it. It will go faster. And then, after you write something incredibly shitty in about six hours, it’s no problem making it better in passes, because in addition to being absolutely untalented, you are also a mean, petty CRITIC. You know how you suck and you know how everything sucks and when you see something that sucks, you know exactly how to fix it, because you’re an asshole. So that is my advice about getting unblocked. Switch from team “I will one day write something good” to team “I have no choice but to write a piece of shit” and then take off your “bad writer” hat and replace it with a “petty critic” hat and go to town on that poor hack’s draft and that’s your second draft. Fifteen drafts later, or whenever someone paying you starts yelling at you, who knows, maybe the piece of shit will be good enough or maybe everyone in the world will turn out to be so hopelessly stupid that they think bad things are good and in any case, you get to spend so much less time at a keyboard and so much more at a bar where you really belong because medicine because childhood trauma because the Supreme Court didn’t make abortion an option until your unwanted ass was in its third trimester. Happy hunting and pecking!
The usual notion of prayer is so absurd. How can those who know nothing about it, who pray little or not at all, dare speak so frivolously of prayer? A Carthusian, a Trappist will work for years to make of himself a man of prayer, and then any fool who comes along sets himself up as judge of this lifelong effort. If it were really what they suppose, a kind of chatter, the dialogue of a madman with his shadow, or even less—a vain and superstitious sort of petition to be given the good things of this world, how could innumerable people find until their dying day, I won't even say such great 'comfort'—since they put no faith in the solace of the senses—but sheer, robust, vigorous, abundant joy in prayer? Oh, of course—suggestion, say the scientists. Certainly they can never have known old monks, wise, shrewd, unerring in judgement, and yet aglow with passionate insight, so very tender in their humanity. What miracle enables these semi-lunatics, these prisoners of their own dreams, these sleepwalkers, apparently to enter more deeply each day into the pain of others? An odd sort of dream, an unusual opiate which, far from turning him back into himself and isolating him from his fellows, unites the individual with mankind in the spirit of universal charity!This seems a very daring comparison. I apologise for having advanced it, yet perhaps it might satisfy many people who find it hard to think for themselves, unless the thought has first been jolted by some unexpected, surprising image. Could a sane man set himself up as a judge of music because he has sometimes touched a keyboard with the tips of his fingers? And surely if a Bach fugue, a Beethoven symphony leave him cold, if he has to content himself with watching on the face of another listener the reflected pleasure of supreme, inaccessible delight, such a man has only himself to blame.But alas! We take the psychiatrists' word for it. The unanimous testimony of saints is held as of little or no account. They may all affirm that this kind of deepening of the spirit is unlike any other experience, that instead of showing us more and more of our own complexity it ends in sudden total illumination, opening out upon azure light—they can be dismissed with a few shrugs. Yet when has any man of prayer told us that prayer had failed him?
Color directly influences the soul. Color is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another purposively, to cause vibrations in the soul.
Color is the keyboard, the eyes are the hammers, the soul is the piano with its many chords. The artist is the hand that, by touching this or that key, sets the soul vibrating automatically.
Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.
From an essay on early reading by Robert Pinsky:My favorite reading for many years was the "Alice" books. The sentences had the same somber, drugged conviction as Sir John Tenniel's illustrations, an inexplicable, shadowy dignity that reminded me of the portraits and symbols engraved on paper money. The books were not made of words and sentences but of that smoky assurance, the insistent solidity of folded, textured, Victorian interiors elaborately barricaded against the doubt and ennui of a dreadfully God-forsaken vision. The drama of resisting some corrosive, enervating loss, some menacing boredom, made itself clear in the matter-of-fact reality of the story. Behind the drawings I felt not merely a tissue of words and sentences but an unquestioned, definite reality.I read the books over and over. Inevitably, at some point, I began trying to see how it was done, to unravel the making--to read the words as words, to peek behind the reality. The loss entailed by such knowledge is immense. Is the romance of "being a writer"--a romance perhaps even created to compensate for this catastrophic loss--worth the price? The process can be epitomized by the episode that goes with one of my favorite illustrations. Alice has entered a dark wood--"much darker than the last wood":[S]he reached the wood: It looked very cool and shady. "Well, at any rate it's a great comfort," she said as she stepped under the trees, "after being so hot, to get into the--into the--into what?" she went on, rather surprised at not being able to think of the word. "I mean to get under the--under the--under this, you know!" putting her hand on the trunk of the tree. "What does it call itself, I wonder? I do believe it's got no name--why to be sure it hasn't!"This is the wood where things have no names, which Alice has been warned about. As she tries to remember her own name ("I know it begins with L!"), a Fawn comes wandering by. In its soft, sweet voice, the Fawn asks Alice, "What do you call yourself?" Alice returns the question, the creature replies, "I'll tell you, if you'll come a little further on . . . . I can't remember here".The Tenniel picture that I still find affecting illustrates the first part of the next sentence: So they walked on together through the wood, Alice with her arms clasped lovingly round the soft neck of the Fawn, till they came out into another open field, and here the Fawn gave a sudden bound into the air, and shook itself free from Alice's arm. "I'm a Fawn!" it cried out in a voice of delight. "And dear me! you're a human child!" A sudden look of alarm came into its beautiful brown eyes, and in another moment it had darted away at full speed.In the illustration, the little girl and the animal walk together with a slightly awkward intimacy, Alice's right arm circled over the Fawn's neck and back so that the fingers of her two hands meet in front of her waist, barely close enough to mesh a little, a space between the thumbs. They both look forward, and the affecting clumsiness of the pose suggests that they are tripping one another. The great-eyed Fawn's legs are breathtakingly thin. Alice's expression is calm, a little melancholy or spaced-out.What an allegory of the fall into language. To imagine a child crossing over from the jubilant, passive experience of such a passage in its physical reality, over into the phrase-by-phrase, conscious analysis of how it is done--all that movement and reversal and feeling and texture in a handful of sentences--is somewhat like imagining a parallel masking of life itself, as if I were to discover, on reflection, that this room where I am writing, the keyboard, the jar of pens, the lamp, the rain outside, were all made out of words.From "Some Notes on Reading," in The Most Wonderful Books (Milkweed Editions)
Brian came in heavy at that moment on his guitar, the rapid, high-pitched squeal ranging back and forth as his fingers flew along the frets. As the intro's tempo grew more rapid, Bekka heard Derek's subtle bass line as it worked its way in. After another few seconds Will came in, slow at first, but racing along to match the others' pace. When their combined efforts seemed unable to get any heavier, David jumped into the mix.As the sound got nice and heavy, Bekka began to rock back-and-forth onstage. In front of her, hundreds of metal-lovers began to jump and gyrate to their music. She matched their movements for a moment, enjoying the connection that was being made, before stepping over to the keyboard that had been set up behind her. Sliding her microphone into an attached cradle, she assumed her position and got ready. Right on cue, all the others stopped playing, throwing the auditorium into an abrupt silence. Before the crowd could react, however, Bekka's fingers began to work the keys, issuing a rhythm that was much softer and slower than what had been built up. The audience's violent thrash-dance calmed at that moment and they began to sway in response.Bekka smiled to herself.This is what she lived for.
As his hands fell upon the keyboard, it was still possible to believe a beautiful harmony had been formed at random, in spite of him. But a second later the music came surging out, the power of it sweeping away all doubts, voices, sounds, wiping away the fixed grins and exchanged glances, pushing back the walls, dispersing the light of the reception room out into the nocturnal immensity of the sky beyond the windows.He did not feel as if he were playing. He was advancing through a night, breathing in its delicate transparency, made up as it was of an infinite number of facets of ice, of leaves, of wind. He no longer felt any pain. No fear about what would happen. No anguish or remorse. The night through which he was advancing expressed this pain, this fear, and the irremediable shattering of the past, but this had all become music and now only existed through its beauty.
Name a song. Any song at all."She thought for a moment and said, "'Claire de Lune.'"I placed my hands on the keyboard. I closed my eyes and tilted my head back and struck a key, sounding a single note. "There you go. Gimme another one. I can play the first note of anything. As long as I get to choose the key it's in.
As soon as she sees me she swings forward and hits a key on her keyboard. The music cuts off instantly. Strangely, the silence that follows seems just as loud.
Yet a much more fundamentally political dimension of the socially constructed nature of capital - nothing less than the specification of a parallel universe with its own natural laws and rules for the physical existence and subsistence of financial capital and its interaction with the other factors of production - has also often been overlooked in contemporary academic literature. Under the current monetary arrangements financial capital is a peculiar creature indeed. Money can be created ex nihilo at the stroke of a pen - or a keyboard - by a specific type of legal person entrusted with the task, not other legal or natural person. With the socially constructed ability to attract compound interest in a world where physical assets rot and break, it does not share the same physical reality with the mere mortal factors of production: even in cases where productive investments which enable the payment of interest in real terms can be identified, the compounding of interest on financial capital is not temporally limited to the period that the relevant physical assets can continue to produce exponential returns in real terms. Rather than representing accumulated wealth that could be "saved" to finance investment, the bulk of money disappears as soon as other factors of production are not willing to pay a tribute to induce its continuing circulation in the form of interest payments. In addition to the inherently political nature of specifications of money have been detached from virtually any substantive connection to the rules or the realities experienced by other factors of production in the physical world that is nonetheless supposed to achieve economic efficiency and a host of other objectives through monetary calculation and monetarily mediated social relationships deserves particular scrutiny.
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