Pitch Perfect 1 Quotes

Perfection was a surface thing. The epidermis. Cut a few layers deep, you begin to see some darker shades. Cut to the bone—pitch black.

Kitten, I’d break my fucking pitching arm if it meant keeping you safe.

His teeth sang in their individual sockets like tuning forks, each one pitch-perfect and clear as ethanol.

I cry and watch Pitch Perfect and sing along with the Barden Bellas. I don’t want to be a person who knows the name of a fictional a cappella group in a chick flick but that’s what love has done to me.

His experience, there was darkness everywhere human beings gathered. The way of the world. Perfection was a surface thing. The epidermis. Cut a few layers deep, you begin to see some darker shades. Cut to the bone - pitch black.

She [Anita] turns back to Raffe, her face melting into a radiant smile. She puts her hand on his arm as he’s about to take off his pants. And that’s all the excuse I need. I grab the sudsy shirt out of the gray water and throw it at her. It makes a plop noise when it lands on her face, wrapping around her hair. Her perfect hair clumps into a stringy mass, and her mascara smears as the cloth slides wetly down her blouse. She emits a high-pitched squeal that turns every head within earshot. “Oh, I’m sorry,” I say in a sugary voice. “Did you not like that? I thought that’s what you wanted. I mean, why else would you be putting your paws on my man?

Whatever mischief you're up to, I'll be there for it. Besides, someone must ensure that you behave like a lady." I skittered to a stop. "Like a lady? Which is how exactly?" My voice was shrill. He had picked a poor moment to antagonize me. "Biddable." "Biddable? Biddable!" Somehow my pitch was even screechier than before. I kicked my bottom high and dipped my chest low-a perfect display of the Grecian bend. "It it's a camel you wish to have,sir,then you are on the wrong continent!

The voice was low and smooth, almost hypnotizing, and a second later the shadow shifted and stepped forward, resolving into a man with broad shoulders and a wiry form, all lean muscle and long bone. The FTF fatigues fit him perfectly, and beneath his rolled sleeves, small black crosses circled both forearms. Above a chiseled jaw, fair hair swept down into eyes as black as pitch. The only imperfection was a small scar running through his left eyebrow—a relic from his first years—but despite the mark, Leo Flynn looked more god than monster.

Pearl waved her tail dismissively. “You can thank me by distracting Great-Uncle Humpback if he tries to corner me again with stories about the grand old days. ‘You know, when I was a young whippersnapper, we had scavenger sashimi every afternoon. But where have they all gone, can you tell me that, eh? They can’t have gotten smarter! Someone’s been interfering with my scavenger supply! Some toothy little blowfishes, I’ll show them.’” Her imitation of Humpback’s creaky old voice was pitch-perfect. Indigo giggled. “Someone should eventually tell him that he probably ate them all.” “It’s not going to be me!” Pearl said.

Would you change that bulb, then?" He held out a fresh bulb from the drawer beside him. It was a perfect glass bubble with a tangle of fine wire inside. Thaniel took it and felt unqualified to be doing anything with it. "Why can't you?" "I'd have to stand on the desk." He shifted. "I'm afraid of heights." "And you can't even stand on a desk?" "Shall we not dwell on it?" Mori said, at a slightly higher pitch then usual.

You can have the perfect message, but it may fall on deaf ears when the listener is not prepared or open to listening. These listening "planes" were first introduced by the American composer Aaron Copland (1900-1990) as they pertain to music . . . 1. The Sensual Plane: You’re aware of the music, but not engaged enough to have an opinion or judge it. 2. The Expressive Plane: You become more engaged by paying attention, finding meaning beyond the music, and noticing how it makes you feel. 3. The Musical Plane: You listen to the music with complete presence, noticing the musical elements of melody, harmony, pitch, tempo, rhythm, and form.

love potion The cherry-vanilla combination in this cocktail is somewhat reminiscent of childhood, but given that those flavors are mixed with sake and prosecco here, this drink is very grown-up. Finishing off the cocktail’s highball with chocolate sugar is a stroke of genius, if I do say so myself; the pitch-perfect end result is practically dessert. TIME: 5 MINUTES SERVES: 1 2 tablespoons coconut sugar 1½ teaspoons unsweetened cacao powder ½ ounce Vanilla Syrup 1½ ounces sake 3 ounces cherry juice Prosecco On a small round plate, mix the coconut sugar and cacao powder until fully combined. Using a sponge or paper towel, moisten the highball glass rim with a bit of vanilla syrup. Dip the rim in the chocolate coconut sugar, without twisting. Make sure the rim is thoroughly coated. Fill the rimmed glass three-quarters full with ice. Add the sake, cherry juice, and vanilla syrup. Top with prosecco. Stir briefly with a barspoon. Serve and enjoy.

The Perfect Pitch Here’s the general framework for successful pitches: 1. Here’s how the world works today. 2. Here’s how the world should work in the future, but here’s what’s broken/missing. 3. Here’s why no one has been able to solve this problem so far (potentially reference folks who have tried and failed). This is a massive opportunity. Whoever solves this problem is going to have to do X, Y, and Z, but will be rewarded heavily. 4. Here’s the secret to how we’re going to fix this. A secret can be a unique insight, approach, technology, invention, or some shift or change in the world that has opened up an opportunity with you being the first mover. 5. Here’s why we’re going to execute the best (best team ever, traction thus far if applicable, your unique experience as a founder, etc.).

He does have a spectacular face. A defiant jawline. Perfect eyebrows. Eyes as pitch-black as his hair. Sleek. Strong. A bit dangerous.

When Crick and Watson began, they knew very little about DNA for sure, and part of what they were most sure of was wrong. To consider DNA as a physical object, they wanted diameters, lengths, linkages and rotations, screw pitch, density, water content, bonds, and bonds and again bonds. The sport would be to see how little data they could make do with and still get it right: the less scaffolding visible, the more elegant and astonishing the structure. More than sport was involved. Crick, following Pauling, elevated this penurious elegance into a theoretical principle, the corollary of model-building. “You must remember, we were trying to solve it with the fewest possible assumptions,” Crick said. “There’s a perfectly sound reason—it isn’t just a matter of aesthetics or because we thought it was a nice game—why you should use the minimum of experimental data. The fact is, you remember, that we knew that Bragg and Kendrew and Perutz had been misled by the experimental data. And therefore every bit of experimental evidence we had got at any one time we were prepared to throw away, because we said it may be misleading just the way that 5.1 reflection in alpha keratin was misleading.” We were in his office in Cambridge; thinking out loud, he got up and began to pace back and forth, with long, loping steps, in the clear lane in front of his desk, speaking in the rhythm of his stride. “They missed the alpha helix because of that reflection! You see. And the fact that they didn’t put the peptide bond in right. The point is that evidence can be unreliable, and therefore you should use as little of it as you can. And when we confront problems today, we’re in exactly the same situation. We have three or four bits of data, we don’t know which one is reliable, so we say, now, if we discard that one and assume it’s wrong—even though we have no evidence that it’s wrong—then we can look at the rest of the data and see if we can make sense of that. And that’s what we do all the time. I mean, people don’t realize that not only can data be wrong in science, it can be misleading. There isn’t such a thing as a hard fact when you’re trying to discover something. It’s only afterwards that the facts become hard.

Clean Up Let us throw off everything that hinders and the sin that so easily entangles, and let us run with perseverance the race marked out for us. Let us fix our eyes on Jesus, the author and perfecter of our faith. HEBREWS 12:1- 2 NIV Have you ever gone on a cleaning rampage to straighten up your home or office? Did you enjoy pitching junk, straightening objects, and organizing materials so that you could find them when you need them? You may need to get on a Holy Ghost rampage and do the same thing with your life. Say, “I’ve had enough bondage. I’ve had enough negative thoughts. I’ve had enough of the lies of the devil. I am not going to have any more bad days. I am not going to be discouraged, depressed, or despondent. I am going to enjoy my life!” Jesus is ready to help you live life to the fullest!

Clean Up Let us throw off everything that hinders and the sin that so easily entangles, and let us run with perseverance the race marked out for us. Let us fix our eyes on Jesus, the author and perfecter of our faith. HEBREWS 12:1- 2 NIV Have you ever gone on a cleaning rampage to straighten up your home or office? Did you enjoy pitching junk, straightening objects, and organizing materials so that you could find them when you need them? You may need to get on a Holy Ghost rampage and do the same thing with your life. Say, “I’ve had enough bondage. I’ve had enough negative thoughts. I’ve had enough of the lies of the devil. I am not going to have any more bad days. I am not going to be discouraged, depressed, or despondent. I am going to enjoy my life!

And still, he was here. And by virtue of that fact, or rather because of it, this place wasn’t perfect. His experience, there was darkness everywhere human beings gathered. The way of the world. Perfection was a surface thing. The epidermis. Cut a few layers deep, you begin to see some darker shades. Cut to the bone—pitch black.

built the skeletal structure for the box based on the directions of the holy writ given from God to Noah, and then to Methuselah on leather. Everything stood ready. They needed only to begin the process of final construction. It could be completed within months if things went well. They had perfected a means of holding the beams together by pounding wooden pins into them. They had found bitumen pits nearby for the final layer of pitch to cover the wood of the completed box with a one or two inch thickness. Noah drove them hard to finish quickly, but he never asked of any man what he was not willing to do himself.

On one occasion, when in New York City, I was in the night season called upon to behold buildings rising story after story toward heaven. These buildings were warranted to be fireproof, and they were erected to glorify their owners and builders. Higher and still higher these buildings rose, and in them the most costly material was used. Those to whom these buildings belonged were not asking themselves: "How can we best glorify God?" The Lord was not in their thoughts. {9T 12.1} I thought: "Oh, that those who are thus investing their means could see their course as God sees it! They are piling up magnificent buildings, but how foolish in the sight of the Ruler of the universe is their planning and devising. They are not studying with all the powers of heart and mind how they may glorify God. They have lost sight of this, the first duty of man." {9T 12.2} As these lofty buildings went up, the owners rejoiced with ambitious pride that they had money to use in gratifying self and provoking the envy of their neighbors. Much of the money that they thus invested had been obtained through exaction, through grinding down the poor. They forgot that in heaven an account of every business transaction is kept; every unjust deal, every fraudulent act, is there recorded. The time is coming when in their fraud and insolence men will reach a point that the Lord will not permit them to pass, and they will learn that there is a limit to the forbearance of Jehovah. {9T 12.3} The scene that next passed before me was an alarm of fire. Men looked at the lofty and supposedly fire-proof buildings and said: "They are perfectly safe." But these buildings were consumed as if made of pitch. The fire engines could do nothing to stay the destruction. The firemen were unable to operate the engines. {9T 13.1}

So you’re here to pitch yourself as a boyfriend?” His lip twitched again. “Or as a math tutor?” “Both, I guess.

He put his hands on her waist. “Kiss me,” he said. “No,” she said. “Come on. Haven’t I been perfect? Haven’t I followed all your rules? How can you be so selfish? There’s no one around—they’re busy drinking.” “I think you should go back to your reunion,” she said, but she laughed at him again. Boldly, he picked her up under her arms and lifted her high, holding her above him, slowly lowering her mouth to his. “You’re shameless,” she told him. “Kiss me,” he begged. “Come on. Gimme a little taste.” It was simply irresistible. He was irresistible. She grabbed his head in her hands and met his lips. She opened hers, moving over his mouth. When he did this to her, she thought of nothing but the kiss. It consumed her deliciously. She allowed his tongue, he allowed hers, and she reached that moment when she wanted it to never end. It was so easy to become lost in his tenderness, his strength. And then, inevitably, it had to end. They were standing in the street, after all, though it was almost dark. “Thank you,” he said. He put her on her feet and behind them, a raucous cheer erupted. There, on the porch at Jack’s, stood eight marines and Rick, their tankards raised, shouting, cheering, whistling, cat-calling. “Oh, brother,” she said. “I’m going to kill them.” “Is this some kind of marine tradition?” she asked him. “I’m going to kill them,” he said again, but he kept his arm around her shoulders. “You realize what this means,” she said. “These little kisses are no longer our little secret.” He looked down into her eyes. The shouts had subsided into a low rumble of laughter. “Mel, they are not little. And since it’s leaked,” he said, grabbing her up in his arms, lifting her up to him again, her feet clear of the ground, and planted another one on her, to the excited shouts of the old 192nd. Even with that riot in the background, she found herself responding. She was growing addicted to the perfect flavor of his mouth. When it was done she said, “I knew it was a mistake to let you get to first base.” “Ha, I haven’t even thrown out the first pitch yet. You’re invited to go fishing with us, if you like.” “Thanks, but I have things to do. I’ll see you tomorrow night for a beer. And I’ll get myself to my car. I’m not going to make out in front of them for the next week.” *

Before we dive into specific examples, let’s first look at a simple, four-step, codified breakdown for a typical infomercial pitch: 1. The Problem: Here’s the problem you’re experiencing today, based on your status quo state or the solution you’re already using. This is where the tension is created. Where they “cut you” and get you to see you are bleeding (as we discussed in chapter 4)! In some cases, this pain might be top of mind, or it might be hidden, latent, or even something you may not think about all that often. This is also a perfect place to call out the enemy you identified earlier in this chapter. For example, if this were an infomercial for a set of space-aged kitchen knives that never need sharpening, the narrative might begin with a poor fool trying to cut a red, ripe tomato with an old, dull knife. As the grainy black-and-white footage rolls, the unsuspecting subject squashes the tomato with their sub-par knife, sending seeds and tomato flesh flying in all directions (and ruining the white suit they were wearing for some reason). Tension is created as the viewer starts to see themselves as the subject or hero of this story. 2. The Ideal Solution: Here’s the ideal solution to the problem. While not always top of mind, people often know the solutions to problems but see them as requiring too much effort and cost. In other words, spending money or investing time doing something our hero doesn’t want to do can usually solve the problem. This is where that solution is positioned. For example, the ideal solution to our dull knife problem is to go to a fancy kitchen store and purchase some top-of-the-line Japanese hand-forged steel knives. In a business context, many problems can be solved by throwing tons of time, money, and both human and technical resources at a them. 3. The Problem with That Ideal Solution: This is what makes that ideal solution difficult or less desirable. Here, you are creating contrast between where your hero is today and where they need to get to—a large gap they need to overcome. In doing this you are positioning the ideal solution as something they don’t want to or can’t make happen. For example, you could go to the kitchen store and buy those fancy knives, but they cost hundreds of dollars that you would rather not spend. The same goes for the massive business resource splurge suggested in the previous step. 4. Enter Our Solution: The stunning climax! Here’s how investing in our product, service, or solution can help you overcome the problem and pain you’re experiencing, while at the same time circumventing the challenges associated with the ideal solution.

He and Nox look very similar, all dark eyes and pitch-black hair. North’s is cut short and styled perfectly, where Nox’s is longer and curling softly around his cheeks.

Her sense of pitch was near-perfect, and it was critical to the blimp speech.

tuning the four lower bodies not only in perfect resonance with each other but to a pitch that allows the Higher Self or Soul and then the I Am Presence, Inner God or Christ Consciousness to take full residence within the physical body.

And when I first met my husband, he’d imparted a few words of wisdom: if you can only be good at one thing, be good at lying. Because if you’re good at lying, you’re good at everything. Words to live by. I’d taken his advice to heart, and like everything else I did, I practised. Practice made perfect.

The heavens declare the glory of God; the skies proclaim the work of his hands. 2 Day after day they pour forth speech; night after night they reveal knowledge. 3 They have no speech, they use no words; no sound is heard from them. 4 Yet their voice[b] goes out into all the earth, their words to the ends of the world. In the heavens God has pitched a tent for the sun. 5 It is like a bridegroom coming out of his chamber, like a champion rejoicing to run his course. 6 It rises at one end of the heavens and makes its circuit to the other; nothing is deprived of its warmth. 7 The law of the Lord is perfect, refreshing the soul. The statutes of the Lord are trustworthy, making wise the simple. 8 The precepts of the Lord are right, giving joy to the heart. The commands of the Lord are radiant, giving light to the eyes. 9 The fear of the Lord is pure, enduring forever. The decrees of the Lord are firm, and all of them are righteous. 10 They are more precious than gold, than much pure gold; they are sweeter than honey, than honey from the honeycomb. 11 By them your servant is warned; in keeping them there is great reward. 12 But who can discern their own errors? Forgive my hidden faults. 13 Keep your servant also from willful sins; may they not rule over me. Then I will be blameless, innocent of great transgression. 14 May these words of my mouth and this meditation of my heart be pleasing in your sight, Lord, my Rock and my Redeemer.

Well, that is bezdushnyi,” she said, turning to face him, heartless, soulless, but Nate’s contrarian demons already had their hands in his guts, and he knew his feelings for her, but he knew his duty, and he knew what she wanted, and he knew what he could give, what the CIA would let him give, and that he had let his passion—oh, it was real passion, no doubt—take over again, again, goddamn it, on the day before she was supposed to return to Moscow and sit in front of the interrogators, and if she wasn’t pitch-perfect, well, that would be his fault because he couldn’t tell her no last night. Romantic, hopeless Russians.

I’ll always remember everything about you,” Hugo said. The smile on his face filled my heart with joy. How had I found someone so utterly perfect?

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Something about the fact that he was making perfect sense didn’t sit right with me.

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The drug hit him like an express train, a white-hot column of light mounting his spine from the region of his prostate, illuminating the sutures of his skull with x-rays of short-circuited sexual energy. His teeth sang in their individual sockets like tuning forks, each one pitch-perfect and clear as ethanol. His bones, beneath the hazy envelope of flesh, were chromed and polished, the joints lubricated with a film of silicone. Sandstorms raged across the scoured floor of his skull, generating waves of high thin static that broke behind his eyes, spheres of purest crystal, expanding. . . . “Come on,” she said, taking his hand. “You got it now. We got it. Up the hill, we’ll have it all night.

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