Albert Murray Quotes
The improvisational nature of jazz musicianship is such that a truly competent performer must be prepared to function as an on-the-spot composer who is expected to contribute to the orchestration in progress, not simply to execute the score as it is written and rehearsed.
Quotes to Explore
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Between the ages of 24 and 27, I read Freud's complete works, everything that had been translated into English. It was very stimulating intellectually. But I did not accept his view of neurosis or of human nature.
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Anyone who knows anything of history knows that great social changes are impossible without feminine upheaval. Social progress can be measured exactly by the social position of the fair sex, the ugly ones included.
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One cannot violate the promptings of one's nature without having that nature recoil upon itself.
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When nature has work to be done, she creates a genius to do it.
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The fairest thing in nature, a flower, still has its roots in earth and manure.
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The true treasure lies within. It is the underlying theme of the songs we sing, the shows we watch and the books we read. It is woven into the Psalms of the Bible, the ballads of the Beatles and practically every Bollywood film ever made. What is that treasure? Love. Love is the nature of the Divine.
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It's not often that the idea of continuing something for a potentially long period of time sounds exciting to me, because I really am a gypsy by nature.
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General Hayden knows full well the powerful and invasive nature of metadata.
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Art is nature speeded up and God slowed down.
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The physical ego, the active consciousness in man, should uplift its body-identified self into unity with the soul, its true nature; it should not allow itself to remain mired in the lowly delusive strata of the senses and material entanglement.
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Just living is not enough... one must have sunshine, freedom, and a little flower.
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'Jaws' was the ultimate man vs. nature movie, and it was a movie that was basically three people against the elements, so that was the biggest influence on 'Frozen.'
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As instruments for knowing the objects, the sense organs are outside, and so they are called outer senses; and the mind is called the inner sense because it is inside. But the distinction between inner and outer is only with reference to the body; in truth, there is neither inner nor outer. The mind's nature is to remain pure like ether.
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I started wrestling at ten. I played a lot of other sports: soccer, football. I really enjoyed skiing. But wrestling just took off for me. It seemed to be the sport I had an affinity for; I liked the individual, combative nature. There's something special about that. It took me all the places I wanted to go.
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Privately, I believe in none of them. Neither do you. Publicly, I believe in them all.
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Although our intellect always longs for clarity and certainty, our nature often finds uncertainty fascinating.
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I'm a writer who simply can't know what I'm writing about until the writing lets me discover it. In a sense, my writing process embraces the gapped nature of my memory process, leaping across spaces that represent all I've lost and establishing fresh patterns within all that remains.
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I believe, for a long time, protracted wars test the will of any democracy, to be sure, and people will underwrite a protracted war if they see some progress. But if they don't see progress, and it appears to be futile and useless, then that political support begins to evaporate rather quickly.
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I'm a very melody-driven writer and I have a rule that I don't write anything down because if I can't remember the melody than it wasn't worth remembering. So it's my way to test myself in the studio. When I was a kid I could sing pretty well so melody always made a lot of sense to me.
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I dreamed a dream, that I had flung a chainOf roses around Love,-I woke, and foundI had chained Sorrow.
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We are here to learn and to make our dreams realized.
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Everybody is looking for an election where they can do something and participate.
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The improvisational nature of jazz musicianship is such that a truly competent performer must be prepared to function as an on-the-spot composer who is expected to contribute to the orchestration in progress, not simply to execute the score as it is written and rehearsed.
