a man doesn't prove he's a man by getting an erection. He's only a real man if he can pleasure a woman. And if he can pleasure a prostitute, he'll think he's the best lover on the block" -Nyah
If we all hold on to the mistake, we can't see our own glory in the mirror because we have the mistake between our faces and the mirror; we can't see what we're capable of being. You can ask forgiveness of others, but in the end the real forgiveness is in one's own self.
Our real world has evolved. It's become something much different, and inadvertently about healthcare, and about what it means to have good health, and to be able to have good health.
You may tell me that my hand and foot are only imaginary symbols of my existence. I could believe you, but you never, never can convince me that the I is not an eternal reality, and that the spiritual is not the true and real part of me.
I would like to be remembered as a guy who had a set of priorities, and was willing to live by those priorities. In terms of accomplishments, my biggest accomplishment is that I kept the country safe amidst a real danger.
There's always a mismatch. I mean, you know, as the economy evolves, it reallocates resources. Now, the real problem, in my view, is - this has been - the prosperity has been unbelievable for the extremely rich people. If you go to 1982, when Forbes put on their first 400 list, those people had $93 billion. They now they have $2.4 trillion, 25 for one. That is - this has been a prosperity that's been disproportionately rewarding to the people on top.
Love, being in love, isn’t a constant thing. It doesn’t always flow at the same strength. It’s not always like a river in flood. It’s more like the sea. It has tides, it ebbs and flows. The thing is, when love is real, whether it’s ebbing or flowing, it’s always there, it never goes away. And that’s the only proof you can have that it is real, and not just a crush or an infatuation or a passing fancy
An echo is a good way to describe the photogram, which is a visual echo of the real object. That's why I like to work with the photogram, because the contact with what is represented is actual. It's as if the border between the world and the print is osmotic.
That's because only a real artist knows the actual anatomy of the terrible or the physiology of fear - the exact sort of lines and proportions that connect up with latent instincts or hereditary memories of fright, and the proper colour contrasts and lighting effects to stir the dormant sense of strangeness.
Real evidence is usually vague and unsatisfactory. It has to be examined---sifted. But here the whole thing is cut and dried. No, my friend, this evidence has been very cleverly manufactured---so cleverly that it has defeated its own ends.
Perhaps the greatest lesson [Huxley] learned from reading Carlyle was that real religion, that emotive feeling for Truth and Beauty, could flourish in the absence of an idolatrous theology.
The difference between real material poison and intellectual poison is that most material poison is disgusting to the taste, but intellectual poison, which takes the form of cheap newspapers or bad books, can unfortunately sometimes be attractive.
The moth don't care when he sees the flame
He might get burned, but he's in the game
And once he's in, he can't go back
He'll beat his wings till he burns them black
No, the moth don't care when he sees the flame
The moth don't care if the flame is real
'Cause flame and moth got a sweetheart deal
And nothing fuels a good flirtation
Like need and anger and desperation
No, the moth don't care if the flame is real.