Chris Craft Quotes

There is no higher calling than service to your fellow man, and to do so through your own personal mastery of a craft is a gift enjoyed by few. Cultivate this gift, and give it away.

An author is like an incompetent bricklayer - doesn't use mortar and keeps rearranging the bricks until someone tells him to stop.

I can think of no more worthwhile aim than pursuing mastery in this craft while transcending one's own limitations.

Writing is a team sport.

I can think of no more worthwhile aim than pursuing mastery in this craft while transcending one’s own limitations.

The planet is sending out two unmanned craft to determine what you did to me I am requesting a copy of their findings which I would send to you if I had your address or any stamps.

The sniper is like a highly skilled surgeon, practicing his craft on the battlefield. Make no mistake: War is about killing other human beings, taking out the enemy before he takes us out, stopping the spread of further aggression by stopping those who would perpetuate that aggression. However, if the goal is to prosecute the war in order to achieve the peace, and to do so as fast and as effectively as possible, and with the least collateral damage, then warriors like Chris Kyle and our other brothers-in-arms are heroes in the best sense.

A truly humble man has no concept of his humility, for he cannot fathom that he would be so special to have the need to be humble. He is too busy getting lost in appreciation of a craft or his fellow man to think of himself. “True humility is not thinking less of yourself; it is thinking of yourself less.” -C.S. Lewis

If you've used adverbs, look at them carefully. Adverbs are the weakest words; verbs are the strongest. Many, many times I've found that I have the wrong verb so I'm attempting to cheat and modify the wrong verb by using an adverb.

There is no higher calling than the service of your fellow man, and to do so through your own personal mastery of a craft is a gift enjoyed by few.

What people intuitively grasped was the new efficiences in distribution, manufacturing, and marketing were changing the definition of what was commercially viable across the board. The best way to describe these forces is that they are turning unprofitable customers, products, and markets into profitable ones. Although this phenomenon is most obvious in entertainment and media, it's an easy leap to eBay to see it at work more broadly, from cars to crafts. Seen broadly, it's clear that the story of the Long Tail is really about the economics of abundance - what happens when the bottlenecks and stand between supply and demand in our culture start to disappear and everything becomes available to everyone.

Jiu Jitsu opened up doors in my mind that public education had bolted shut. In hindsight, I see just how superficial my thoughts had been prior to this art. It is no coincidence that my efforts in reading and writing have run parallel with this craft. I began training Jiu Jitsu at twenty-two, and at the time of this writing I am about to turn thirty. I have learned more in the past eight years than the previous twenty-two, and have no doubts that Jiu Jitsu opened up my mind in a way traditional organized education never could. Jiu Jitsu gave me a life when I didn't know how to live. It is the best thing I have ever done, and is the foundation upon which all I will do.

I have seen far by seeing through the lens of Jiu Jitsu. I have exchanged a great deal of physical health for these insights, and these were trades worth making. My efforts were worth the return. I have sacrificed much in the name of this craft. Not for trophies or belts or prestige. For these fall away like dust. I pursued this art so fervently because it was not actually Jiu Jitsu I pursued. It was myself.

...someone stops writing because [s]he listens to that tiny voice that says, 'What you're writing isn't any good because someone else has already said it.' Well, you shouldn't listen to that voice, because while it's partially right, it's also wrong. The stories we craft, the webs we weave, they are all drawn from the same common threads scattered throughout our shared histories. There's no such thing as originality in the components of a story — our ancestors saw to that a long ago with those ancient fireside tales.

Because of the tragic way that Chris Cornell’s life ended, there’s a propensity to view his story as a tragedy. That would be a mistake. Chris Cornell lived his life to the fullest. He overcame seemingly insurmountable challenges time and time again in the pursuit of a dream too enormous to fathom. He used the tools at his disposal—his one-of-a-kind voice, his guitar, and his imagination—to craft era-defining music that many turned to time and again in moments of sadness, anger, joy, anguish, fear, doubt, and love. He lifted the hearts and minds of countless people from all walks of life on nearly every continent on the planet with his unique and unparalleled artistry. He did what he loved, and along the way created a musical legacy that will endure for generations. Chris Cornell kept his promise.

Remind yourself that people are watching you. They are observing ever so secretly your attitude and why you do what you’re doing more than what you are doing. At the end of the day, people buy because they believe you, trust you and like you. Notice there is little about the words we craft or the speed we travel. The best gift we could give ourselves is a mirror. Taking a hard look at our attitude and improving it may be the single most important thing we can do to turn a mess into a message.

With cryptoassets, much of the speculative value can be derived from the development team. People will have more faith that a cryptoasset will be widely adopted if it is crafted by a talented and focused development team. Furthermore, if the development team has a grand vision for the widespread use of the cryptoasset, then that can increase the speculative value of the asset.

Sell your art, crafts, or any handcrafted item on etsy.com Develop a travel concierge service to help people when they miss their flights Offer online tutoring services in your field of expertise Host a networking event (charge a low ticket price and get sponsors to provide food) Create and sell a visitors’ guide to your town or city, or build a web resource for tourists, supported by advertisers Create an online (or offline) course in some quirky subject you happen to know a lot about Publish a blog with a new lesson on a specific topic every day Start a podcast and sell sponsorship Visit yard sales or thrift shops and buy items to resell Offer a simple freelance service—anything from fact-checking to tech support or something else entirely Become a home, office, or life organizer Manage P.R. or social media accounts for small businesses Buy and sell used textbooks to college students Sell your musings on business, art, or culture as a freelance writer Start a membership website, where people pay a monthly or annual fee to access useful information about a specific topic Write and publish a book (if I can do it, you can too!)

Seibel: What's your desert-island list of books for programmers? Peyton Jones: Well, you should definitely read Jon Bentley's Programming Pearls. Speaking of pearls, Brian Hayes has a lovely chapter in this book Beautiful Code entitled, “Writing Programs for ‘The Book’” where I think by “The Book” he means a program that will have eternal beauty. You've got two points and a third point and you have to find which side of the line between the two points this third point is on. And several solutions don't work very well. But then there's a very simple solution that just does it right. Of course, Don Knuth's series, The Art of Computer Programming. I don't think it was ever anything I read straight through; it's not that kind of book. I certainly referred to it a lot at one stage. Chris Okasaki's book Purely Functional Data Structures. Fantastic. It's like Arthur Norman's course only spread out to a whole book. It's about how you can do queues and lookup tables and heaps without any side effects but with good complexity bounds. Really, really nice book. Everyone should read this. It's also quite short and accessible as well. Structure and Interpretation of Computer Programs. Abelson and Sussman. I loved that. And Compiling with Continuations, Andrew Appel's book about how to compile a functional program using continuation passing style. Also wonderful. Books that were important to me but I haven't read for a long time: A Discipline of Programming by Dijkstra. Dijkstra is very careful about writing beautiful programs. These ones are completely imperative but they have the “Hoare property” of rather than having no obvious bugs they obviously have no bugs. And it gives very nice, elegant reasoning to reason about it. That's a book that introduced me for the first time to reasoning about programs in a pretty watertight way. Another book that at the time made a huge impression on me was Per Brinch Hansen's book about writing concurrent operating systems. I read it lots of times.

WRITING GUIDES AND REFERENCES: A SELECTIVE BIBLIOGRAPHY The Artful Edit, by Susan Bell (Norton) The Art of Time in Memoir, by Sven Birkerts (Graywolf Press) The Writing Life, by Annie Dillard (Harper & Row) Writing with Power, by Peter Elbow (Oxford University Press) Writing Creative Nonfiction, edited by Carolyn Forché and Philip Gerard (Story Press) Tough, Sweet and Stuffy, by Walker Gibson (Indiana University Press) The Situation and the Story, by Vivian Gornick (Farrar, Straus and Giroux) Intimate Journalism: The Art and Craft of Reporting Everyday Life, by Walt Harrington (Sage) On Writing, by Stephen King (Scribner) Telling True Stories, edited by Mark Kramer and Wendy Call (Plume) Bird by Bird: Some Instructions on Writing and Life, by Anne Lamott (Pantheon) The Forest for the Trees, by Betsy Lerner (Riverhead) Unless It Moves the Human Heart, by Roger Rosenblatt (Ecco) The Elements of Style, by William Strunk, Jr., and E. B. White (Macmillan) Clear and Simple as the Truth, by Francis-Noel Thomas and Mark Turner (Princeton University Press) Word Court, by Barbara Wallraff (Harcourt) Style, by Joseph M. Williams and Gregory G. Colomb (Longman) On Writing Well, by William Zinsser (Harper & Row) The Chicago Manual of Style, by University of Chicago Press staff (University of Chicago Press) Modern English Usage, by H. W. Fowler, revised edition by Sir Ernest Gowers (Oxford University Press) Modern American Usage, by Wilson Follett (Hill and Wang) Words into Type, by Marjorie E. Skillin and Robert M. Gay (Prentice-Hall) To CHRIS, SAMMY, NICK, AND MADDIE, AND TO TOMMY, JAMIE, THEODORE, AND PENNY

After dinner I text Chris to see if she wants to come over, but she doesn't text back. She's probably out with one of the guys she hooks up my scrapbooking. with. Which is fine. I should catch up on I was hoping to be done with Margot's scrapbook before she left for college, but as anyone who's ever scrapbooked knows, Rome wasn't built in a day. You could spend a year or more working on one scrapbook. I've got Motown girl-group music playing, and my sup plies are laid out all around me in a semicircle. My heart hole punch, pages and pages of scrapbook paper, pictures I've cut out of magazines, glue gun, my tape dispenser with all my different colored washi tapes. Souvenirs like the playbill from when we saw Wicked in New York, receipts, pictures. Ribbon, buttons, stickers, charms. A good scrap book has texture. It's thick and chunky and doesn't close all the way.

The Blasters proved to be the most prominent and popular of these acts by far. Originally a quartet, the band was bred in Downey, just down the freeway from East L.A. In their teens, brothers Phil and Dave Alvin were bitten by the blues bug; they became habitués of the L.A. club the Ash Grove, where many of the best-known folk and electric blues performers played, and they sought out the local musicians who could teach them their craft, learning firsthand from such icons as Big Joe Turner, T-Bone Walker, and Little Richard’s saxophonist Lee Allen (who would ultimately join the band in the ’80s). But the Blasters’ style was multidimensional: they could play R&B, they loved country music, and they were also dyed-in-the-wool rockabilly fans who were initially embraced by the music’s fervent L.A. cultists. Their debut album, 1980’s American Music, was recorded in a Van Nuys garage by the Milan, Italy–born rockabilly fanatic Rockin’ Ronnie Weiser, and released on his indie label Rollin’ Rock Records, which also issued LPs by such first-generation rockabilly elders as Gene Vincent, Mac Curtis, Jackie Waukeen Cochran, and Ray Campi. By virtue of Phil Alvin’s powerful, unmannered singing and Dave Alvin’s adept guitar playing and original songwriting, the Blasters swiftly rose to the top of a pack of greasy local bands that also included Levi and the Rockats (a unit fronted by English singer Levi Dexter) and the Rockabilly Rebels (who frequently backed Ray Campi). Los Lobos were early Blasters fans, and often listened to American Music in their van on the way to their own (still acoustic) gigs. Rosas says, “We loved their first record, man. We used to play the shit out of that record. Dave [Hidalgo] was the one who got a copy of it, and he put it on cassette.

This new model of doing business is well under way for these unexpected entrepreneurs, most of whom have never thought of themselves as businessmen and businesswomen. It’s a microbusiness revolution—a way of earning a good living while crafting a life of independence and purpose.

A private blockchain is typically used to expedite and make existing processes more efficient, thereby rewarding the entities that have crafted the software and maintain the computers. In other words, the value creation is in the cost savings, and the entities that own the computers enjoy these savings.

The goal isn’t to get rich quickly but to build something that other people will value enough to pay for. You’re not just creating a job for yourself; you’re crafting a legacy.

There is an undeniable truth that as one progresses further in his understanding of a craft the rest of his life progresses along with it. This symbiotic relationship between all things is experienced on a daily basis, but rarely articulated through conscious thought.

I am a better son, brother, friend, and teacher because of the daily sacrifice and effort I put toward my craft. WIth all the advantages modern society has created, it has left us wanting. We no longer need to struggle to survive. Our basic needs are now met with minimal physical strife or mental challenge. Technology and the advances of man have left us over-stressed and under-performing. We are now forced to actively pursue our struggles. If we do not go out of our way to stretch our comfort zones and grow, no one nor nature will do it for us.

join Yale’s CEID (Center for Engineering Innovation and Design) to become a “maker-geek,” getting your hands dirty crafting prototypes and designing clever devices. Play at the interstices of disciplines, find the edges and seek overlap. Talk to people who are discussing things you don’t understand. Take

We are born with a natural delight in the music of language. As infants we coo and babble and let consonants roll around in our mouths like mother’s milk. As young children, we invent words, mash syllables together, and delight in nonsensical lines. We let ourselves be lulled to sleep by the playful rhymes of Mem Fox (“It’s time for bed, little goose, little goose, / The stars are out and on the loose”). We seek out stories with fanciful sounds (“Quickberry / Quackberry / Pick me a blackberry”). We begin to sense the link between what’s on the surface, and what’s under it (“I meant no harm. I most truly did not. / But I had to grow bigger. So bigger I got. / I biggered my factory. I biggered my roads. / I biggered my wagons. I biggered the loads”). As we mature, our delight in the music of words goes a bit underground, but it’s still there. We repeat not just Chaucer’s prologue, but also advertising jingles. We let brand names like Chunky Monkey and SurveyMonkey tumble off our tongues. We appreciate the curt sentences of Hemingway as well as those that are long and loose and lyrical. We let ourselves be moved by the moral authority of Nelson Mandela. We follow the Dalai Lama on Facebook. We let Chris Christie voice our outrage after a hurricane, Barack Obama our sorrow after a massacre of children. Language remains an adventure, if sometimes a somewhat mysterious one: We are drawn to reliable narrators and find that metaphors lift us. We are transported by soaring vowels. The cadence of sentences acts on us like the rhythm of an ancient drum. The music of language leads us to meaning, to our own humanity.

Do not use the elevators or your craft will stall.

We are all apprentices in a craft where no one ever becomes a master.” ― Ernest Hemingway, The Wild Years

We are all apprentices in a craft where no one ever becomes a master.” ― Ernest Hemingway, "The Wild Years