Dvorak Quotes

Many reporters believed, Dvorak writes, that if you ended up in the ‘needs work’ category, Microsoft would take pains to try and have you fired.

You cannot live life on what feels good. If we live our lives based on our desires, based on our feelings, we will lose our lives” (Pastor Phil Dvorak).

In fact, I believe that Americans in general are losing touch with the past, with our history and cultural inheritance. We live in an age of instant gratification. We no longer know our forebears. This is one reason we feel so fractured today. Dvořák was bent on excavating roots. This exercise has never seemed more timely.

I'm tired of trying to do something worthwhile for the human race, they simply don't want to change!

nIn all large corporations, there is a pervasive fear that someone, somewhere is having fun with a computer on company time. Networks help alleviate that fear.

In all large corporations, there is a pervasive fear that someone, somewhere is having fun with a computer on company time. Networks help alleviate that fear.

Without hope, or expectation, we are unable to move into the realm of faith.

The only way to conquer Barbara Stanwyck was to kill her, if she didn’t kill you first. Lynn Bari wanted any husband that wasn’t hers. Jane Russell’s body promised paradise but her eyes said, “Oh, please!” Claire Trevor was semi-sweet in Westerns and super-sour in moderns. Ida Lupino treated men like used-up cigarette butts. Gloria Grahame was oversexed evil with an added fey touch—a different mouth for every role. Ann Sheridan and Joan Blondell slung stale hash to fresh customers. Ann Dvorak rattled everyone’s rafters, including her own. Adele Jergens was the ultimate gun moll, handy when the shooting started. Marie Windsor just wanted them dead. Lucille Ball, pre–Lucy, was smart of mouth and warm as nails. Mercedes McCambridge, the voice of Satan, used consonants like Cagney used bullets. Marilyn Maxwell seemed approachable enough, depending on her mood swings. And Jean Hagen stole the greatest movie musical ever made by being the ultimate bitch. These wonderwomen proved that a woman’s only place was not in the kitchen. We ain’t talkin’ Loretta Young here.

The concept of “realness” goes hand in hand with the idea of confront. Basically, the more you confront something, the more you face it, the more real it will be to you. Also, the more real something is to you, the easier it is to face, and thus the easier it is to handle.

The entire Habsburg landscape was given a deep, even coating of musical interpretation, whether Smetana and Dvorak in Bohemia or Haydn and Schubert in Austria or Bartok and Kodaly in Hungary. As soon as you head south from Hungary or the Carpathians this music stops. And with food, the greedy, complex and extravagant Habsburg world of layered cakes, a mad use of chocolate, subtle soups and fine wines goes off a cliff. This is obviously an enormous subject, ludicrously compressed here, but the very idea of such complex foods trickled down in the west from royal courts, famously with the development of the idea of the 'French restaurant' in the aftermath of the Revolution. Indeed, we all eagerly guzzle a range of court foods - with many Indian and Chinese restaurants in the west also serving essentially court Mughal or Qing banquet foods, albeit in mutilated forms.

Robert Dvorak.

cuando lloran los bebés. Cuando tenía miedo, me cogía en sus brazos y mecía mi cuna invisible. La boca de Dios era finita, de un rosa pastel, como si llevara carmín, y me trastornaba cuando decía que pensaba en mí en cada fracción de segundo. Dios me enseñó a entregar el más bonito de los regalos: los besos. Él devoraba mi boca. Y yo, la verdad, es que no lo hacía muy bien. Pero eso, pocas veces me lo ha dicho. También lloraba Dios noches enteras, escondido debajo de la almohada, al oír la sinfonía del Nuevo Mundo de Dvorak, cuando me sabía en brazos de otro. Y fue cuando descubrí por primera vez que las lágrimas de un hombre son el mejor regalo para una mujer enamorada. Dios tenía un pequeño defecto: no sabía pronunciar la c. Intenté enseñarle, pero podíamos pasar noches enteras escupiendo sin éxito. ¡Qué divertido era Dios! Pero lo que más me gustaba de él, era recibir su bendición. Dios era generoso, y bendecía cada vez que se lo

The most popular license in America now? A license to hate.

Come to the feet of Jesus knowing you have nothing to offer him” (Pastor Philip Dvorak).

Though patented in 1932, the Dvorak Simplified Keyboard was written off. QWERTY survives due to the high costs of changing user behavior.

Reliving the painful moment over and over again is a trap of the enemy to bring us down to his level of defeat where he can easily cause further harm.

Second Corinthians 2:14, “Now thanks be to God who always leads us in triumph in Christ, and through us diffuses the fragrance of His knowledge in every place.

[For I always pray to] the God of our Lord Jesus Christ, the Father of glory, that He may grant [me] a spirit of wisdom and revelation [of insight into mysteries and secrets] in the [deep and intimate] knowledge of Him, by having the eyes of [my] heart flooded with light, so that [I] can know and understand the hope to which He has called [me], and how rich is His glorious inheritance in the saints (His set-apart ones), and [so that [I] can know and understand] what is the immeasurable and unlimited

You are unaware that the bride is a geologist. When

Four oxygen atoms surround a single zirconium atom in such a way as to make a geometric shape known as a tetrahedron, a four-sided pyramid, which is the strongest geometric shape possible.

pushed

Typewriters became mechanically more efficient, and the QWERTY keyboard design was no longer necessary to prevent key jamming. The search for an improved design was led by Professor August Dvorak at the University of Washington, who in 1932 used time-and-motion studies to create a much more efficient keyboard arrangement.

One might expect, on the basis of its overwhelming advantages, that the Dvorak keyboard would have completely replaced the inferior QWERTY keyboard. On the contrary, after more than 50 years, almost all typists are still using the inefficient QWERTY keyboard.

The Spirit of the Lord is upon Me, because He has anointed Me to preach the gospel to the poor; He has sent Me to heal the brokenhearted, to proclaim liberty to the captives and recovery of sight to the blind, to set at liberty those who are oppressed; to proclaim the acceptable year of the Lord” (Luke 4:18-19).

As Lauren Bruner raced up the same ladder I had taken, a Zero fixed its sights on him. A blast from its guns, and bullets bit metal. One of those shots struck flesh, hitting the back of Lauren’s lower leg. He limped onto the sky platform, a trail of blood following him. The others of our team came after him, spilling into the metal enclosure, called the “director,” where we directed the antiaircraft guns—Harold Kuhn, Russell Lott, Earl Riner, George Hollowell, Alvin Dvorak, Fred Zimmerman, and Frank Lomax.

The powerful blast first entered the director through the starboard hatchway, where Dvorak sat—in a direct line with the incoming fireball—hands tight on his steering wheel’s brodie knobs. The concussion and fireball hit him first—full force—while it raced starboard to port. As if a rag doll, Dvorak was at once lifted from his position, and slammed back, hard, against his fixed metal seat. The force then caught Stratton in the face and chest; grabbed and slammed him against the bulkhead and, according to Stratton, “…rattled me around like a piñata.” “I thought I was going blind, from the fire”, Stratton would tell Lauren, years later. On the platform, Zeke had already decided to head back inside. He managed to grab hold of the hatchway handles just as the blast raced through and circumnavigated the director. The force of the concussion hit him in the back, and face-on. As if a spirit’s presence had seized his body, it grabbed at Zimmerman’s torso and bent him forward, then backwards. The impact ripped his grip from the door handles, sucked him into the flames, and dispatched him, hard, against the platform’s railing. Inside, Hollowell was propelled backwards, across the steel cube. His head slammed against the range finder with a forceful blow, and his body was dumped next to Lott—who had pulled Lauren’s blanket tighter across his own head. The hellish fireball had sucked oxygen from the cube, shot across the steel shell, and merged with a second blast of flames through the port and rear hatchways. As if in a boxing match—in a futile attempt to protect his face from being hit by the fire and heat—Lauren held tight to the range finder. Instinct caused him to raise his right arm around the viewport, for protection.

As she went on with her labour, she became aware that she had Schubert's Erl-King going around in her head. It wasn't the ideal music for the job. Normally, Pannonique programmed her brain to play symphonies that have her the energy indispensable for such physical labour-Saint-Saens, Dvorak-but now that heart-rending Lied stuck in her skull and sapped her strength.

A point often ignored in cinema history studies of [Bette] Davis,” wrote Jim Parish and Don Stanke years later of Housewife, “is that Ann Dvorak, who plays the film’s title role, was established as a strong dramatic actress long before Bette, and it was she who set the standard for battling with the studio for better roles. In her quiet performance as Nan Wilson Reynolds, it is Miss Dvorak and not the already mannered Bette, who woos the audience’s attention and affection. It is Dvorak who provides the proper artistic control for the feature…” The big difference between the two actresses was maturity. Bette, in these early movies, was very rough around the gills; she became polished, but always tended to slip into campy tirades. Dvorak was a natural; she was intense, but always in control, even in highly emotional situations.

Dvorak siempre ha batido a QWERTY.