Charles A. Reich (Charles Alan Reich) Quotes
Quotes to Explore
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Hair is a huge part of who I am and what I obsess over - I've had long hair my entire life.
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I'm Greek. My body produces feta cheese.
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For clothes and accessories, I love my friend's boutique; One by One and UT.LAB for shoes.
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A dead end street is a good place to turn around.
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Crises are part of life. Everybody has to face them, and it doesn't make any difference what the crisis is.
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I keep waiting to meet a man who has more balls than I do.
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I don't consider myself a musician. I'm an artist.
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I spend a lot of time balancing between faith and disbelief.
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I did some good things as a rookie.
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My life is so full of sacrifices.
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Great men lose somewhat of their greatness by being near us; ordinary men gain much.
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When the iPhone came out, every CIO in America said, 'You're not bringing that into our corporate environment,' my CIO included.
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I remember rap music. We used to party and dance off of it. Today it's all about a whole different angle... Rappers are going against each other, and it's more of a bragging, boasting thing.
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The older you get the stronger the wind gets and it's always in your face.
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Technology is neutral and sterile. Now, technology is the nature of modern man; it is our environment and our horizon. Of course, every work of man is a negation of nature, but at the same time, it is a bridge between nature and us. Technology changes nature in a more radical and decisive manner: it throws it out.
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I grew up in the east side of Detroit in an area where there was very little, except for a lot of scarcity, poverty and hunger. I never woke up saying, 'I'm an orphan again today, isn't this terrible? Poor me.'
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The great thing about doing theater is that you get to do it better the next night.
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I came close to depression, but when I started to feel I could really lose myself, I somehow escaped it.
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Publishing is in a kind of Jurassic age.
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Everything in art is but a copy of nature.
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Seen from the point of view of the composer, the most nonsensical practice is that of casting people in musicals who are unable to sing. No one would cast a dancing part with someone who cannot dance sufficiently to come up to professional standards. The same is true of acting. But when it comes to singing, more often than not it is amateur night. . . . Either musicals should be written for specified performers in the first place, or they should be cast with people who are adequate to its dancing, acting and singing demands.
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What we do not understand, we cannot control.
