When I was about seven, I started touring the globe as part of New York's La MaMa theater company - without my parents!
Then one day I thought it would be wonderful to make a whole book, to make my text and my drawings together, and that's how I started doing children's books.
I shopped a lot on 1stdibs.com when I first started modelling. Just whenever, I've always been on and bought all my furniture on 1stdibs.com.
We started giving presentations at practitioner conferences in 1986, and since then all of our derivatives research has been stimulated by contact with practitioners.
I started earning a living as a poet rather early on.
I received a grant from The Ford Foundation to write a book for kids about urban perception, or how people experience cities, but I kept putting off writing it. Instead I started to write what became The Phantom Tollbooth.
I was going to McDonald's and Taco Bell every day. The kids behind the counter knew me - it wouldn't even faze them. Or I'd sit up at Denny's or Big Boy and just eat by myself. It was sad. I got so heavy that people started to not recognize me.
I went to community college for about a year but I'd started taking music seriously by then so I dropped out.
I started with jewelry when I was probably 24 years old. It was really just in response to a feeling that most of the fine jewelers were men appealing to men and selling pieces in a very unmodern way. I felt that there was a huge demographic of self-purchasing women who were feeling uncomfortable in the traditional retail environment.
I started off in England and very few people knew I was Australian. I mean, the clues were in the poems, but they didn't read them very carefully, and so for years and years I was considered completely part of the English poetry scene.
For me, the perfect film has no dialogue at all. It's purely a visual, emotional, visceral kind of experience. And I think one can create wonderful depth and meaning and communication without using words. I started out as an illustrator and a cartoonist and caricature artist, so for me the visual is primary.
I started dancing when I was four years old and then was in class until I was about 20 years old or so, and then primarily was dancing just in shows that I was doing, but not really studying and training.
It was hard to figure out what were the good causes, the bad causes, even the good politics and the bad politics. So we started taking requests and figuring it out.
My body started to shut down. I got really, really ill. When you're starving yourself, you can't concentrate. I was like a walking zombie, like the walking dead. I was just consumed with what I would eat, what I wouldn't eat.
Well, I never studied design and I went to art school to study art, you know, sculpture and things like that, and ended up making things like sculpture and started making chairs and jewelry together and that's how I started.
Magic came very easy for me when I was a kid. When I was 8 years old I started doing it, and by the time I was 12, I was already published in magic books.
I started skating and I kind of liked it because I could run circles around the guys that wouldn't pick me to play baseball.
Rocco paid me 35 bucks a week at Murray's Inn in South Jersey. People started asking Rocco to have me sing.
Most people understand life expectancy has changed since Social Security started in 1937 when folks lived to be 59 years old. Today, they live to be 77 years old.
Everything in my life has been about sound and making music, so Beats represents just that - the improvement of sound and the dedication to everything I've been doing from the day I started.
This was a mutual relationship, mutual on all levels, right from the way it started and all the way through. I don't accept that he had to completely desecrate my character.
I was just finishing up 'Spotlight' in Toronto - I finished it on a Tuesday and started 'True Detective' on a Friday. So I was missing rehearsals, unfortunately, which I hate and why I never like to work back-to-back.
You know for many elected officials they all started in the same place. You know marriage is between a man and a woman, but they understand that they are moving inevitably, catching up to the American public.
I wanted to be Stan Laurel, then I wanted to be Fred Astaire and then Captain Kangaroo. I actually started out as a radio announcer when I was 17 and never left the business, so that's literally 70 years.
My great-grandfather started in the coal mines, and my great grandmother made 10 pounds of bread every Saturday morning that we delivered to the neighbors. It was always about giving back. These kinds of things drive me to make a difference.
They say it all started out with a big bang. But, what I wonder is, was it a big bang or did it just seem big because there wasn't anything else drown it out at the time?
I started in a research lab for TV cameras, then I worked at a tape duplication facility. That was the first introduction for me to recorded music and hi-fi.
I was about 11 when my mother brought me this karaoke machine and I was really into it back then, but about 4 or 5 years ago is when I started printing up my own music, going to the studio and doing my own thing.
When I started my campaign for Congress, I was one who people said, 'Tulsi, you have a bright future, but there's no way you can win.'
To the extent that '60s guys own things, yes... but I don't have the publishing, just like most '60s guys, and that was an error, you know... part ownership in publishing was the kind of era that started a little bit later, when real businessmen started to manage artists.
I started out in the Chabad movement, and I started pretty closed up, with the idea of there being that 'this is it.' I bought into that fully. I really explored in depth the Chabad ideology.
I haven't always been confident. I actually suffered with low self-esteem growing up. Eventually, I got to a point where I was just like, 'OK, this is taking too much energy.' After that, I started accepting myself for who I was, and I was like, whoever is not going to accept it, they weren't really meant to be in my life in that way.
I started writing prose before I started writing television. Then 'Breaking Bad' came around, and to me, writing 'Breaking Bad' is like writing a novel each season. So it's been very creatively satisfying writing for the show.
We didn't know anything about comedy duos - Abbot and Costello, Martin and Lewis - we didn't know anything about that. Kim Fields showed us a tape of Martin and Lewis and their old shows and they come through the curtain so we started doing research on them.
After the '96 Olympics, we all started believing that this is bigger than we thought, and we were willing to do the work. We knew that it was up to us, the players, to make soccer successful.
And I have a message for the liberals and the defenders of the status quo: we're just getting started.
