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It's a sad indication of where Washington has come, where policy differences almost necessarily become questions of integrity. I came to Washington in the late '70s, and people had the ability in the past to have intense policy differences but didn't feel the need to question the other person's character.
There were aspects of stardom I didn't like, which were of no consequence, really, but the positive things far outweighed the negative. By the time I came to write 'Setting Sons,' I felt my writing was more like prose, set to music.
I came up in gospel.
I came to California and got signed at a young age. And it's not like you see in the movies, where you start rubbing shoulders with Timbaland and Pharrell, and you become a giant pop star.
I worked in rep for six years, then I came to London and to the National Theatre. What's better than that?
I came in the Dawson's Creek era; it was all about tiny guys who looked like teenagers, and I haven't looked like a teenager ever. So I was, like, auditioning to be their dads. At 25.
I came from a wealthy family. I made over my share of the estate to various charities.
I think I came back from America a funnier and nicer person than I went.
I came to all the realizations about sustainability and biodiversity because I fell in love with the way food tastes. That was it. And because I was looking for that taste I feel at the doorsteps of the organic, local, sustainable farmers, dairy people and fisherman.
I made a real specific decision when I came out of school and most artists were writing about home - if you were a woman, you were writing about being a woman - and I decided not to do that, write about what you know. That's not what I do. I went as far away from home as possible in terms of the development of my imagination.
Anna Deavere Smith
I talk about race a lot. It's been my work ever since I came out of acting school. But it's true that in a way talking about race is a taboo. Because so many of our debates about race have to do not with race but with what we are willing to see, what we will not see and what we don't want to see.
Anna Deavere Smith
When I came in, the city was on the edge of bankruptcy. I'm proud of what I did. I built the foundation that mayors after me built upon - particularly Bloomberg. But the foundation was essential because if it hadn't occurred, we would have been another Detroit.
I was actually away in Africa doing 'Generation Kill' while everyone was auditioning for Twilight. They all had, like, five different auditions: I was so lucky that I came back from Africa just in time and the actor who was playing Emmett fell through, lucky for me!
It became clear to me by 1984 that Microsoft was likely going to be the big winner in the PC software apps and operating system category, partly because of the dynamics of owning and controlling the operating system: that gave you enormous power, and I came to see Bill Gates was fierce competitor.
I'm very proud of my sisters and everything they've accomplished and done. I'm very proud of where I came from.
When I was 7, I came up with the idea of 'charm socks.' My mom would take me to buy bags of plastic charms, we would sew them on frilly white socks, and I sold them at school.
When I came to Britain I was in awe of the British press, afraid of them. But they're not as ferocious as people think. In some instances they are, but when it comes to taking on power they're really deferential.
Well, when you're the youngest of five, parents kind of lose interest more and more through the children. I think my eldest brother was under loads of pressure to do something amazing with his life, but by the time I came around they were like, 'Well, let's hope he doesn't kill a guy.'
I came up around people who took acting seriously, who cared about acting, cared about the theater and, in the '70s, made movies that said something that mattered. I came up with those people, and I was a kid. Their ethos and credo became mine.
I began painting well before I started doing comedy. In fact, when I came out of the war in 1946, I enrolled in art school in Dayton, Ohio. I painted for three years, and then show business took hold.
It's always easier if you have the support of your family, if you're not alone. I came from a country that has been through a lot of troubles in the last 20 to 30 years, but we have been through them together.
I could never muster the courage to speak to girls in my college in Pune. Most of them were Parsis and spoke English. I came from a village and could barely converse in English.
One time, I came off stage and a guy named Roman Decare, God rest his soul, he was a comic. 'Louie, if you do that family stuff, and you're a clean comic on stage, you'll become famous.' And, for some reason, a switch clicked, and I started doing the family stuff, and it became a giant part of my life.
The first thing I did when I decided that I was going to dive into the world of poop was look at who was doing stuff in that world. The first I came across was the World Toilet Organization. So one of the first things I did was to go to their annual show in Moscow.
I think it's really important for me not to forget where I came from.
Martin Luther King, Jr.
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