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V. S. Naipaul

Vidiadhar Surajprasad Naipaul (17 August 1932 - 11 August 2018) was a British writer of Indo-Nepalese descent born and raised in Trinidad. He was awarded the Nobel Prize for Literature in 2001.

Quotes

 * A writer is in the end not his books, but his myth. And that myth is in the keeping of others.
 * "Steinbeck in Monterey" (1970), in Daily Telegraph Magazine (3 April 1970), later published in The Overcrowded Barracoon, and other articles (1972)

 * India has been very lucky in the Nehru family. Nehru was unique in recent world history: a colonial protest figure, a folk hero who did not appeal to fanaticism but was a reasonable, reasoning man. A man committed to science, religious tolerance, the rule of law and the rights of man. Indira Gandhi, his daughter, carried on this way of looking at things. In Britain, she might have had the reputation of being domineering, harsh, even ruthless. And you can easily make a case for her being authoritarian, antidemocratic, stamping out protest. But it isn't enough just to do that. One must consider what was on the other side. In 1975, some opposition parties wanted India to go back to some pre-industrial time of village life. Piety can take odd forms.
 * "India After Indira Gandhi" in The Daily Mail, and The New York Times (3 November 1984)

 * Everybody is interesting for an hour, but few people can last more than two.
 * As quoted in "Wanderer of Endless Curiosity" by R. Z. Sheppard in Time magazine (10 July 1989)

 * One isn't born one's self. One is born with a mass of expectations, a mass of other people's ideas — and you have to work through it all.
 * As quoted in "V.S. Naipaul in Search of Himself: A Conversation" with Mel Gussow, The New York Times, (24 April 1994)

 * One always writes comedy at the moment of deepest hysteria.
 * As quoted in "V.S. Naipaul in Search of Himself: A Conversation" with Mel Gussow, The New York Times, (24 April 1994)

 * To this day, if you ask me how I became a writer, I cannot give you an answer. To this day, if you ask me how a book is written, I cannot answer. For long periods, if I didn't know that somehow in the past I had written a book, I would have given up.
 * As quoted in "V.S. Naipaul in Search of Himself: A Conversation" with Mel Gussow, The New York Times, (24 April 1994)

 * What is happening in India is a mighty creative process.... But every other Indian knows precisely what is happening. Deep down he knows that a larger response is emerging to their historical humiliation. … It is not enough to abuse these youths or use that fashionable word from Europe, 'fascism'… There is a big, historical development going on in India. Wise men should understand it and ensure that it does not remain in the hands of fanatics.
 * As quoted in International Herald Tribune (8 May 1996); also quoted in The Saffron Swastika (2001) by K Elst, Ch 1

 * What matters in the end in literature, what is always there, is the truly good. And — though played out forms can throw up miraculous sports like The Importance of Being Earnest or Decline and Fall — what is good is always what is new, in both form and content. What is good forgets whatever models it might have had, and is unexpected; we have to catch it on the wing.
 * Reading and Writing : A Personal Account (2000), p. 62

 * I have told people who ask for lectures that I have no lecture to give. And that is true. It might seem strange that a man who has dealt in words and emotions and ideas for nearly fifty years shouldn't have a few to spare, so to speak. But everything of value about me is in my books. Whatever extra there is in me at any given moment isn't fully formed. I am hardly aware of it; it awaits the next book. It will — with luck — come to me during the actual writing, and it will take me by surprise. That element of surprise is what I look for when I am writing.
 * "Two Worlds," Nobel lecture (7 December 2001)

 * It [Islam] has had a calamitous effect on converted peoples. To be converted you have to destroy your past, destroy your history. You have to stamp on it, you have to say 'my ancestral culture does not exist, it doesn't matter'... This abolition of the self demanded by Muslims was worse than the similar colonial abolition of identity. It is much, much worse in fact... You cannot just say you came out of nothing.
 * As quoted in VS Naipaul launches attack on Islam" in The Guardian (4 October 2001)

 * We knew nothing but despotism. That is why the very rich Mughal empire could break up into nothing. Turn to dust at the merest touch of a foreign power. There was no institution, there was no creative nation, no university, no printing press, there was nothing but personal power. … How do you ignore history? But the nationalist movement, independence movement ignored it. You read the Glimpses of World History by Jawaharlal Nehru, it talks about the mythical past and then it jumps the difficult period of the invasions and conquests. So you have Chinese pilgrims coming to Bihar, Nalanda and places like that. Then somehow they don't tell you what happens, why these places are in ruin. They never tell you why Elephanta island is in ruins or why Bhubaneswar was desecrated. So history has to be studied, it is very painful history. But it is not more painful than most countries have had. … It isn't India alone that has had a rough time, that has to be understood. But the rough time has to be faced and it cannot be glossed over. There are tools for us to understand the rough time. We can read a man like Ibn Battuta who will tell you what it was like to be there in the midst of the fourteenth century, terrible times. An apologist of the invaders would like to gloss that over. But it would be wrong to gloss that over, that has to be understood. … But I would like to see this past recovered and not dodged.
 * "How do you ignore history?" Interview with Urmi Goswami (14 January 2003)

 * If a writer doesn’t generate hostility, he is dead.
 * As quoted from, "VS Naipaul: A controversial author who crafted his lines and insults", Indian Express (12 August 2018)

 * I have to stress that I was traveling in the non-Arab Muslim world. Islam began as an Arab religion; it spread as an Arab empire. In Iran, Pakistan, Malaysia, Indonesia—the countries of my itinerary—I was traveling, therefore, among people who had been converted to what was an alien faith. I was traveling among people who had to make a double adjustment—an adjustment to the European empires of the nineteenth and twentieth centuries; and an earlier adjustment to the Arab faith. You might almost say that I was among people who had been doubly colonized, doubly removed from themselves.
 * V. S. Naipaul, New York Review of Books (January 31, 1991) quoted in Why I Am Not a Muslim (1995), Ibn Warraq

 * It turns out now that the Arabs were the most successful imperialists of all time; since to be conquered by them (and then to be like them) is still, in the minds of the faithful, to be saved.
 * quoted in Why I Am Not a Muslim (1995), Ibn Warraq

An Area of Darkness (1964)

 * It is like reading of a land periodically devastated by hordes of lemmings or locusts; it is like turning from the history of a coral reef, in which every act and every death is a foundation, to the depressing chronicle of a succession of castles built on the waste sand of the sea-shore. This is Woodruff on the difference between European history and Indian history. He has chosen his images well. But the sandcastle is not quite exact. The sandcastle is flattened by the tide and leaves not trace, and India is above all the land of ruins.

In a Free State (1971)

 * The only lies for which we are truly punished are those we tell ourselves.

India: A Wounded Civilization (1977)

 * India is for me a difficult country. It isn’t my home and cannot be my home; and yet I cannot reject it or be indifferent to it; I cannot travel only for the sights. I am at once too close and too far.

 * While the Ottomans moved into South-East Europe, the Moghul invasion of India destroyed much of Hindu and Buddhist civilization there. The recent destruction by Moslems in Afghanistan of colossal Buddhist statues is a reminder of what happened to temples and shrines, on an enormous scale, when Islam took over.

Among the Believers (1981)

 * The time before Islam is a time of blackness: that is part of Muslim theology. History has to serve theology.”

The Enigma of Arrival (1987)

 * Vintage, 1988, ISBN 0-394-75760-2

 * I also bought a copy of The New York Times, the previous day's issue of which I had seen the previous day in Puerto Rico. I was interested in newspapers and knew this paper to be one of the foremost in the world. But to read a newspaper for the first time is like coming into a film that has been on for an hour. Newspapers are like serials. To understand them you have to take knowledge to them; the knowledge that serves best is the knowledge provided by the newspaper itself. It made me feel a stranger, that paper.
 * "The Journey", p. 115

 * Men need history; it helps them to have an idea of who they are. But history, like sanctity, can reside in the heart; it is enough that there is something there.
 * "The Ceremony of Farewell"

A Turn in the South (1989)

 * Vintage, 1990, ISBN 0-679-72488-5

 * The family feuds or the village feuds often had to do with an idea of honor. Perhaps it was a peasant idea; perhaps this idea of honor is especially important to a society without recourse to law or without confidence in law.
 * Ch. 5, p. 162

The frontier had ceased to exist. And the religions it had bred were beginning slowly to die. In the old days, when men, often of little education, had needed only to declare themselves ministers, people would have seen themselves reflected in the expounders of the Word. This quality of homespun would have made the religions appear creations of a community, personal and close and inviolable. Now a certain distance was needed.
 * Religion now had to have its compartment, almost its social place.
 * Ch. 6, p. 244

Our Universal Civilization (1990)

 * "Our Universal Civilization". V. S. Naipaul, The New York Times (5 November 1990)

I thought I would be traveling among people who would be like the people of my own community, the Trinidad Indian community. A large portion of Indians were Muslims; we both had a similar 19th century imperial or colonial history. But it wasn't like that. Despite the history we had in common, I had traveled a different way. Starting with the Hindu background of the instinctive, ritualized life; growing up in the unpromising conditions of colonial Trinidad; I had gone through many stages of knowledge and self-knowledge. I had been granted the ideas of inquiry and the tools of scholarship. I could carry four or five or six different cultural ideas in my head. Now, traveling among non-Arab Muslims, I found myself among a colonized people who had been stripped by their faith of all that expanding cultural and historical knowledge of the world that I had been growing into on the other side of the world.
 * I never formulated the idea of the universal civilization until 11 years ago, when I traveled for many months in a number of non-Arab Muslim countries — Iran, Indonesia, Malaysia and Pakistan — to try to understand what had driven them to their rage. That Muslim rage was just beginning to be apparent.

In the 100 years since that story, the wealth of the world has grown, power has grown, education has spread; the disturbance, the "philosophical shriek" of men at the margin (to use Conrad's words), has been amplified.
 * One of Joseph Conrad's earliest stories of the East Indies, from the 1890's, was about a local raja or chieftain, a murderous man, a Muslim (though it is never explicitly said), who, in a crisis, having lost his magical counselor, swims out one night to one of the English merchant ships in the harbor to ask the sailors, representatives of the immense power that had come from the other end of the world, for an amulet, a magical charm. The sailors are at a loss; but then someone among them gives the raja a British coin, a sixpence commemorating Queen Victoria's Jubilee; and the raja is well pleased. Conrad didn't treat the story as a joke; he loaded it with philosophical implications for both sides, and I feel now that he saw truly.

In Trinidad I grew up in the last days of that kind of racialism. And that, perhaps, has given me a greater appreciation of the immense changes that have taken place since the end of the war, the extraordinary attempt to accommodate the rest of the world, and all the currents of that world's thought. Because my movement within this civilization has been from Trinidad to England, from the periphery to the center, I may have felt certain of its guiding principles more freshly than people to whom these things were everyday. One such realization — I suppose I have sensed it most of my life, but I have understood it philosophically only during the preparation of this talk — has been the beauty of the idea of the pursuit of happiness. Familiar words, easy to take for granted; easy to misconstrue.  This idea of the pursuit of happiness is at the heart of the attractiveness of the civilization to so many outside it or on its periphery. I find it marvelous to contemplate to what an extent, after two centuries, and after the terrible history of the earlier part of this century, the idea has come to a kind of fruition. It is an elastic idea; it fits all men. It implies a certain kind of society, a certain kind of awakened spirit. I don't imagine my father's Hindu parents would have been able to understand the idea. '''So much is contained in it: the idea of the individual, responsibility, choice, the life of the intellect, the idea of vocation and perfectibility and achievement. It is an immense human idea. It cannot be reduced to a fixed system. It cannot generate fanaticism. But it is known to exist, and because of that, other more rigid systems in the end blow away.'''
 * The universal civilization has been a long time in the making. It wasn't always universal; it wasn't always as attractive as it is today. The expansion of Europe gave it for at least three centuries a racial taint, which still causes pain.

Beyond Belief: Islamic Excursions Among the Converted Peoples (1998)

 * Islam is in its origins an Arab religion. Everyone not an Arab who is a Muslim is a convert. Islam is not simply a matter of conscience or private belief. It makes imperial demands. A convert’s worldview alters. His holy places are in Arab lands; his sacred language is Arabic. His idea of history alters. He rejects his own; he becomes, whether he likes it or not, a part of the Arab story. The convert has to turn away from everything that is his. The disturbance for societies is immense, and even after a thousand years can remain unresolved; the turning away has to be done again and again. People develop fantasies about who and what they are; and in the Islam of converted countries there is an element of neurosis and nihilism. These countries can be easily set on the boil.
 * Prologue

It was Muslim insecurity that led to the call for the creation of Pakistan. It went at the same time with an idea of old glory, of the invaders sweeping down from the northwest and looting the temples of Hindustan and imposing the faith on the infidel. The fantasy still lives; and for the Muslim converts of the subcontinent it is the start of their neurosis, because in this fantasy the convert forgets who or what he is and becomes the violator.
 * The Hindus, especially in Bengal, welcomed the New Learning of Europe and the institutions the British brought. The Muslims, wounded by their loss of power, and out of old religious scruples, stood aside. It was the beginning of the intellectual distance between the two communities. This distance has grown with independence; and it is this—more even than religion now — that at the end of the twentieth century has made India and Pakistan quite distinct countries. India, with an intelligentsia that grows by leaps and bounds, expands in all directions. Pakistan, proclaiming only the faith and then proclaiming the faith again, ever shrinks.

 * To the convert his land is of no religious or historical importance; its relics are of no account; only the sands of Arabia are sacred.

Half a Life (2001)

 * Life doesn't have a neat beginning and a tidy end, life is always going on. You should begin in the middle and end in the middle, and it should be all there.

 * I could scarcely bear to look at her eyes. They promised such intimacies.

 * I thought how terrible it would have been if, as could so easily have happened, I had died without knowing this depth of satisfaction, this other person that I had just discovered within myself. It was worth any price, any consequence.

 * And whenever I saw Luis, Graça's husband, I dealt with him with a friendship that was quite genuine, since it was offered out of gratitude for Graça's love.

 * Before comfort had been squeezed out of the hard land, like blood out of stone.

Quotes about V. S. Naipaul

 * In alphabetical order by author or source.

 * Naipaul is essentially a writer of discovery. He tries on occasion to look into the past through the evidence of the present. That’s what he did in writing about the ruins of Vijayanagar in India: A Wounded Civilisation. He is not a professional historian, but his insights and perspectives on Indian history are unique and as startling in their accuracy as the observations of his travel.
 * Farrukh Dhondy, in "Does Willy Get It Wilfully Wrong?", Outlook India (28 April 2004)

 * (TB: Do you read V. S. Naipaul? Do you like Naipaul?) NH: I read his earlier short story collection Miguel Street over and over when I was a kid. I really liked it. I think it still holds up fairly well, but I haven't read his newer work. He is, of course, notorious amongst his fellow Caribbean writers and everyone else for his outrageously racist and sexist statements. I don't like those. But I find him easy to ignore.
 * 2012 interview included in Conversations with Nalo Hopkinson edited by Isiah Lavender III

 * Naipaul seems to have made himself the spokesman for the permanent, and one's tempted to say, the professional, expatriate from the Third World. His characters savour their marginality. I write about New Americans and New Canadians, about belated homesteaders from nontraditional countries. My characters grow and change with the change in citizenships.
 * 1987 interview in Conversations with Bharati Mukherjee Edited by Bradley C. Edwards (2009)87

 * Naipaul’s legacy will never be entirely straightforward – which does not mean he should not be read, enjoyed, debated and critiqued. Salman Rushdie’s brief tribute to Naipaul indicates the complexities: “We disagreed all our lives, about politics, about literature, and I feel as sad as if I just lost a beloved older brother,” he wrote on Twitter. In an era that yearns to render life in black and white, the complications of VS Naipaul are a reminder that it is more wisely seen in shades of grey.
 * "The Guardian view on VS Naipaul: a complicated man and a complicated legacy" in The Guardian (12 August 2018)

 * I think that there are writers who I don’t necessarily agree with in terms of their politics, but whose writings are sort of a baseline for how to think about certain things — VS Naipaul, for example. … His A Bend in the River starts with the line, "The world is what it is; men who are nothing, who allow themselves to become nothing, have no place in it." And I always think about that line, and I think about his novels when I’m thinking about the hardness of the world sometimes, particularly in foreign policy, and I resist and fight against sometimes that very cynical, more realistic view of the world. And yet, there are times where it feels as if that may be true.
 * Barack Obama, as quoted from "His Portion of the Earth" by Patrick French, Indian Express (26 August 2018)

 * Let us add one more complication success brings: the illusion of predestination. In this regard I cannot help recalling a long conversation with V. S. Naipaul in which he insisted that he could not have failed as an author, and that recognition, even immediate recognition, of his genius was inevitable, simply because he was so good. I could not persuade him to accept that he only believed this because he had in fact been successful and that it must have been possible, given the world’s perversity, for recognition to have eluded him. The conviction of predestination came after the event.
 * Tim Parks, in "Stifled by Success", The New York Review of Books (12 March 2015)

 *  The World Is What It Is was a fitting title for the biography of a writer who struggled all his life between poles. On the one hand, there was social and personal anomie, on the other a commitment to vocation. He had a mutated Hindu view that all the world was illusion and only the self was real, and yet his writing showed him observing and reporting the external world with precision. He was a difficult man to get to know. His meaning for the island of his birth, and for the world after the centuries of empires and colonies, “everything of value”, as he put it in his Nobel lecture, was in his books: "I am the sum of my books." In time, that will be seen as his most appropriate epitaph.
 * "VS Naipaul obituary" by Kenneth Ramchand, in The Guardian (12 August 2018)

title: V. S. Naipaul


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User talk:Enlightenedsista

There will always be difficulties that arise in Life. Know that the difficulty will not shape who you are, but rather, your response to the difficulty that truly defines who you are! ~Angelique~ the EnlightenedSista

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Joseph Beuys

Joseph Beuys (May 12, 1921 – January 23, 1986) was a German conceptual artist, who produced work in a number of forms including sculpture, performance art, video art and installations. He was inspired by the ideas of Rudolf Steiner and the French artist Yves Klein. Beuys was an important teacher of famous neo-expressionist German artists as Jörg Immendorff, Walter Dahn, Anselm Kiefer and Blinky Palermo. Beuys held a lot of lectures in the U.S. Beuys enlarged the area of art to the whole life of mankind; everybody is an artist. He introduced the notion of social sculpture.

1960s

 * To be a teacher is my greatest work of art. The rest is the waste product, a demonstration. If you want to express yourself you must present something tangible. But after a while this has only the function of a historic document. Objects aren't very important any more. I want to get to the origin of matter, to the thought behind it.
 * Art alone makes life possible – this is how radically I should like to formulate it. I would say that without art man is inconceivable in physiological terms.
 * Even the act of peeling a potato can be an artistic act if it is consciously done.
 * Three quotes of Joseph Beuys, in 'An interview with Joseph Beuys,', Willoughby Sharp, published in 'Artforum,' November 1969; as quoted in Six Years: The Dematerialization of the Art Object from 1966 to 1972, Lucy R. Lippard, University of California Press, 1973, p. 121

 * my art cannot be understood primarily by thinking. My art touches people who are in tune with my mode of thinking. But it is clear that people cannot understand my art by intellectual processes alone, because no art can be experienced in that way.
 * Quote in interview with Willoughby Sharp, 1969; as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, Victoria Walters, LIT Verlag Münster, 2012, p. 212, note vii

1970s

 * 'Fat' traverses the path from a chaotically dispersed, undirected energy form to a form. Then it appears in the famous fat corner.. ..now [a wedge of fat in the angle between seat and back of the wooden old Chair, Beuys used in the fat-sculpture, like 'Stuhl mit Fett' (Fet Chair), 1964] intersects the human body in the region that houses certain emotional forces [Beuys laughed, and so did everyone else of the public].
 * In a public debate at the Kunstring (Artcircle) Folkwang in Essen, 1972; (Stachelhaus 1991, p. 71); as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, Victoria Walters, LIT Verlag Münster, 2012, p. 29

 * Creativity is not limited to people practising one of the traditional forms of art, and even in the case of artists, creativity is not confined to the exercise of their art. Each one of us has a creative potential, which is hidden by competitiveness and success-aggression. To recognize, explore and develop this potential is the task of the School. Creation – whether it be a painting, sculpture, symphony or novel – involves not merely talent, intuition, powers of imagination and application, but also the ability to shape material that could be expanded to other socially relevant spheres.
 * Quote of Joseph Beuys and Heinrich Böll (1972), as cited in Joseph Beuys, exh. cat., Caroline Tisdall, Solomon R. Guggenheim Museum, New York 1979. p. 278

 * It is a special kind of secret how these Asiatic elements [of American Indians] came over the Bering Strait long ago. It's the same with the coyote. When I worked with the coyote [this quote refers to the performance by Beuys when he was locked up together with a coyote in a cage for a few days in René Block Gallery, New York City in 1974], I had the idea that it was not an indigenous animal. It came as a wolf with the Indians over the Bering Strait. And this Asiatic wolf, or step wolf, changed his whole biological configuration and behavior. Then it was my idea to import the coyote once more back to Europe, and you could see it [the coyote] change back to the European wolf or Siberian wolf. It is a transformed European wolf, the coyote, how it came to the character of a brush wolf.
 * Quote of Beuys in an interview with Alan Moore and Edit deAk, 1974; as cited in: Joseph Beuys in America: Energy Plan for the Western Man., Carin Kuoni; New York, 1993, p. 213

 * For instance the idea of intuition, imagination, inspiration.. ..is related in the principle to an invisible world..  ..when I call these drawings 'The Secret Block' then I try to stress this part of reality as the most important part because spiritual existence is firstly..  .I find if we are only confronted with this hard part of the world, this already done part of the world, we are not..  ..related to the whole idea of reality..  ..the mission of the art is to make  visible the whole reality..
 * Quote from 'A. Beuys in the wilderness', 1974 (lecture at the Ulster Museum); as cited in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, Victoria Walters, LIT Verlag Münster, 2012, p. 198

 * I try to go further on over the threshold where modern art ends and anthropological art has to start.
 * Quote by Furlang, 1974, p. 7; as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, Victoria Walters, LIT Verlag Münster, 2012, p. 206
 * I am interested in the creativity of the criminal attitude because I recognize in it the existence of a special condition of crazy creativity. A creativity without morals fired only by the energy of freedom and the rejection of all codes and laws. For freedom rejects the dictated roles of the law and of the imposed order and for this reason is isolated.
 * Quoted by Germano Celant, Beuys, tracce in Italia, Amelio, 1978

 * My objects are to be seen as stimulants for the transformation of the idea of sculpture.. ..or of art in general. They should provoke thoughts about what sculpture can be and how the concept of sculpting can be extended to the invisible materials used by everyone.
 * THINKING FORMS – how we mold our thoughts or
 * SPOKEN FORMS – how we shape our thoughts into words or
 * SOCIAL SCULPTURE – how we mold and shape the world in which we live:
 * Sculpture as an evolutionary process; everyone an artist.
 * That is why nature of my sculpture is not fixes and finished. Processes continue in most of them: chemical reactions, fermentations, color changes, delays, drying up. Everything is in a STATE of CHANGE.
 * Beuys' quote from Theory of Social Sculpture, 1979, as cited in: Chris Thompson. Felt: Fluxus, Joseph Beuys, and the Dalai Lama. 2011. p. 88-89

 * QUESTION: A well-known saying of yours asserts that 'Every man is an artist.' If every man is an artist, then why have art academies and art professors at all?
 * BEUYS: To be sure, 'every man is an artist' in a general sense: one must be an artist for example, to create self-determination. But at a certain stage in his life every man becomes a specialist in a certain way; one studies chemistry, another sculpture or painting, a third becomes doctor, and so on. For this reason we understandably need special schools.
 * Götz Adriani, Joseph Beuys, Winfried Konnertz (1979) Joseph Beuys, life and works. p. 255

 * It is a kind of vehicle, you know. It's a kind of making, spreading out ideas, that is what I think. It spreads out the idea. You must care for information and I personally try to make information available not only in a written way.. .I try also to work with images, with fantasy, with jokes, with humor. It accelerates the discussion of the problem of a new society..  ..so I work coming from the idea of art as the most important means to transform the society.
 * Quote from 'I put me on this train', interview with Art Papier, 1979; as cited in: Joseph Beuys in America: Energy Plan for the Western Man, Carin Kuoni; New York, 1993, p. 44

 * For me it is the WORD that produces all images. It is the key sign for all processes of moulding and organizing. When I use language, I try to induce the impulses of this power..  ..the power of evolution. But language is not to be understood simply in terms of speech and words. That is our current, drastically reduced, understanding of language.. .Beyond language as verbalization lies a world of sound and form impulses, a language of primary sound without semantic content, but laden with completely different levels of information.
 * Quote of Caroline Tisdall, 1979, p. 210; as cited in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, Victoria Walters, LIT Verlag Münster, 2012, p. 180

'Every Man an Artist: Talks at Documenta 5', 1972

 * 'Every Man an Artist: Talks at Documenta 5', (1972), by Joseph Beuys; ed. Clara Bodenmann-Ritter, Frankfurt, Ullstein 1972, 6th edition 1997, pp. 5-20; first published by I. B. Tauris & Co. Ltd, ed. Claudia MNesch and Viola Michely, 2007. Beuys talks about his contribution on the Documenta 5 in Kassel: the 'Office for Direct Democracy'

 * Yes, now we are at the starting-point again. Now we are at our real issue: that we understand ourselves first as sites of education, for information for democracy, for tree-part structure, and so on.

 * We have to ensure that it is structured organically, so that it functions like a person functions internally, like the organs function.. .First in the examination of the matter. Secondly in that one develops a concept of..  ..a social order that have never existed before. That simply means: to realize freedom, democracy and socialism – free democratic socialism.

 * For example, when we leave [The Documenta in] Kassel, a working group or maybe two working groups will work on things here at Kassel. We want to cause a snow-ball effect. We want to build a network throughout Europe that will work on these things, right? I can only say: we can only do it as well as possible.

 * I want to found a free school for creativity and interdisciplinary research in Düsseldorf [where Beuys was teaching at the Art Academy]. I hope that I will succeed. Everyone can come to me. This school has a legal status.. .First a school is there to develop ability, that is consciousness, then the children will recognize what a future social structure should look like; that means that one can learn a social feeling or a social sense...

 * School is universal. That means, on the street – when you talk about these things with people at the grocer's; the school is at the grocer's at that moment.

 * I just want to encourage everyone to take this into their own hands, the educational process.. .We don't need a brilliant talent somewhere. Precisely the ability that one has at the moment must be put to work.

 * I go to the typical state school and try to infiltrate it. Yes!.. .One can do something in the institutions in trying to infiltrate them, and outside one can do something to set a model in place..  .One must work with divers methods anyway. One must always carry on with what is possible.

 * No area of life will be free from this concept in the future. That means that people will recognize the social organism, and they must think within this context. They must not only think about schools but also about the legal system and economic structures. They must always think through the entire social organism...

'I Am Searching For Field Character,' 1973/74

 * I Am Searching For Field Character, 1973; translated in: Caroline Tisdall, Art Into Society, Society Into Art: Seven German Artists : Albrecht D., Joseph Beuys.., Institute of Contemporary Arts, London, 30 October - 14 November 1974, London, 1974

 * Only on condition of a radical widening of definitions will it be possible for art and activities related to art [to] provide evidence that art is now the only evolutionary-revolutionary power. Only art is capable of dismantling the repressive effects of a senile social system that continues to totter along the death-line: to dismantle in order to build 'A SOCIAL ORGANISM AS A WORK OF ART'.
 * p. 48

 * This most modern art discipline - Social Sculpture / Social Architecture - will only reach fruition when every living person becomes a creator, a sculptor, or architect of the social organism.

 * Only then would the insistence on participation of the action art of FLUXUS and Happening be fulfilled; only then would democracy be fully realized. Only a conception of art revolutionized to this degree can turn into a politically productive force, coursing through each person, and shaping history.

 * EVERY HUMAN BEING IS AN ARTIST who -
 * from his state of freedom -
 * the position of freedom that he experiences at first-hand -
 * learns to determine the other positions in the TOTAL ARTWORK OF THE FUTURE SOCIAL ORDER!

 * I think art is the only political power, the only revolutionary power, the only evolutionary power, the only power to free humankind form all repression. I say not that art has already realized this, on the contrary, and because it has not, it has to be developed as a weapon, at first there are radical levels, then you can speak about special details.
 * Quoted in: Robert C. Morgan (1978). The Role of Documentation in Conceptual Art: : An Aesthetic Inquiry. p. 176.

'Joseph Beuys... Public Dialogue' 1974

 * 'Joseph Beuys... Public Dialogue' 1974, in: ''Avalanche Newspaper,' May 1974, p. 5-7; as cited in Supporting Documents online, Beuys

 * I was invited to come here to speak about my idea of art, which is to enlarge the effectivity of art beyond the idea of art as coming out of art history — an art idea which contains the well-known disciplines like sculpture, architecture, painting, music, dancing, poetry and so on. I would like to declare why I feel that it's now necessary to establish a new kind of art, able to show the problems of the whole society, of every living being — and how this new discipline — which I call social sculpture — can realize the future of humankind. It could be a guarantee for the evolution of the earth as a planet, establish conditions for other planetarians too, and you can control it with your own thinking.
 * p. 5; Lead paragraph of article

 * Art is the only power to free humankind from all repression.
 * p. 5

 * Here my idea is to declare that art is the only possibility for evolution, the only possibility to change the situation in the world. But then you have to enlarge the idea of art to include the whole creativity. And if you do that, it follows logically that every living being is an artist – an artist in the sense that he can develop his own capacity. And therefore it's necessary at first that society cares about the educational system, that equality of opportunity for self-realization is guaranteed.
 * p. 5

Interviews with Caroline Tisdall, 1974 & 1978

 * Interviews with Louwrien Wijers, 1974 + 1978

 * The outward appearance of every object I make is the equivalent of some aspect of inner human life.. .My feelings then had this special kind of darkness – almost black like this mixture of rubber and tar. It is certainly an equivalent of the pathological state mentioned before, and expresses the need to create a space in the mind from which all disturbances were moved: an empty insulated space.
 * As cited in: Joseph Beuys, Dia Art Foundation. Joseph Beuys, Dia Art Foundation, 1988. p. 23 ; Statement about the 'Rubberized Box' by Joseph Beuys, 1957

 * My first concert - apart from Beethoven at School and Erik Satie at the opening of my exhibition in Kleve in 1960 - was at the gallery Parnass in Wuppertal in 1963. Dressed like a regular pianist in dark grey flannel, black tie and no hat, I played the piano all over – not just the keys – with many pairs of old shoes until it disintegrated. My intention was neither destructive nor nihilistic. 'Heal like with like' – similia similibus curantur – in the homeopathic sense. The main intention was to indicate a new beginning..  ..or simply a revolutionary act. This was my first public Fluxus appearance.
 * Quoted in: Joseph Beuys, Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993, p. 128; Comment on his first Fluxus performance in 1963 'Heal like with like'.

Interview with Louwrien Wijers, 1979

 * Interview with Louwrien Wijers, 22nd November 1979 - in Beuys' studio in Düsseldorf, Germany; as quoted in: Joseph Beuys, Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993

 * I don't know what they call mysticism, it is in truth perhaps the interest of the spirit; that the work expresses the spirit, and not the formal aspect. While in the United States a lot of art production runs along the line of formalist art; what one could call the post-modernism, a kind of formalist intention like Don Judd, Carl Andre, Robert Morris, and these.
 * p. 243; Also cited in: Louwrien Wijers (1996). Writing as Sculpture: 1978 - 1987. p. 38

 * People who say: 'Ah, this Beuys will go back to the middle ages, or to the stone dwellers, cliff dwellers.' No, there is a misunderstanding. I have nothing against the materialistic methodology of analytics, but I think we have to enlarge this thing, not to get caught in a very restricted one-sidedness in our way of looking towards life. Because the problems of life, soul, humankind's spirit, the problems of intuition, imagination, and inspiration, the problems of birth and death, the problems of survival in a bigger shape, and to bring in the image of the meaning of man.
 * p. 249; Also cited in: Louwrien Wijers (1996). Writing as Sculpture: 1978 - 1987. p. 40

1980s

 * I wished to go completely outside and to make a symbolic start for my enterprise of regenerating the life of human kind within the body of society and to prepare a positive future in this context... I can see such a use for the future as representing the really progressive character of the idea of understanding art when it is related to the life of humankind within the social body in the future.
 * Quote of Beuys, in Studio International Vol. 195, (1981), p. 46

 * I believe that planting these oaks is necessary not only in biospheric terms, that is to say, in the context of matter and ecology, but in that it will raise ecological consciousness-raise it increasingly, in the course of the years to come, because we shall never stop planting.
 * Quote of Joseph Beuys (1982), as cited in: Land and environmental art, Jeffrey Kastner, Brian Wallis (1998), p. 164 - about his 7.000 Oaks [see there the image].

 * I think the tree is an element of regeneration which in itself is a concept of time. The oak is especially so because it is a slowly growing tree with a kind of really solid heartwood. It has always been a form of sculpture, a symbol for this planet.
 * Joseph Beuys (1982), cited in: Claudia Mesch (2013) Art and Politics: A Small History of Art for Social Change Since 1945. p. 160

 * Let's finally try to talk about a system that transforms all the social organism into a work of art, in which the entire process of work is included, whether it's work by Francisco Goya or Kounellis or mine, as well as agriculture, the sciences, or education or technology, something in which the principle of production and consumption really takes on a form of quality. One must not only transform the creation of paintings or sculptures, but the entire social form. It's a gigantic program.
 * Quote of Joseph Beuys, from The felt hat: Joseph Beuys, a life told, Lucrezia De Domizio Durini, p. 201

 * This is why we believe that a well-ordered idea of ecology and professionalism can stem only from art – art in the sense of the sole, revolutionary force, capable of transforming the earth, humanity, the social order etc.. ..Art is, then, a genuinely human medium for revolutionary change in the sense of completing the transformation from a sick world to a healthy one. In my opinion only art is capable of doing it.
 * In: Times Thermic Machine, 1982

 * The idea of creativity is for me the problem of the future. Since the creative power is not a simple thing. It has a rich structure. It is divided into a lot of different principles and represented by figures, and these figures you can also write down in a kind of symbolic mantra. It is important to work on every point of creativity and see how the human being stands in the energy that comes out from the surrounding world.
 * Quote in a conversation between Lama Sogyal Rinpoché and Joseph Beuys, 1982; republished in: Joseph Beuys, Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993. p. 197
 * In discussing his work [the art of Marcel Duchamp, ] it is necessary to avoid overrating his silence. I hold him in a very high esteem, but I have to reject his silence. Duchamp was simply finished. He had run out of ideas; he was unable to come up with anything important.. .I would say that even the bourgeois tendencies in Duchamp's work – i.e., a form of provocative, bohemian behavior intended to 'épater le bourgeois'- follow the same path. Duchamp started out from here and wanted to shock the bourgeoisie, and because of that he destroyed his creative powers..  .The content of Duchamp's silence refers to the aim of leaving the subconscious passive, of developing it. This is the aspect of Duchamp, which is related to Surrealism. The surrealists asserted that they could live with their subconscious; they thought they were above reality, but instead they were beneath it. They thought they could fish in muddy waters..  ..but to my mind, the images which emerged have a repressive effect.
 * Quote in an interview with, 1986; republished in: Joseph Beuys, Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993.pp. 169-170
 * Beuys refers in his quote to the so-called 'Silence of Marcel Duchamp', the period that Duchamp stopped creating art

Interview with Kate Horsefield, 1980

 * 'Interview with Kate Horsefield, 1980': Republished in: Joseph Beuys, Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993

 * I had the feeling that another kind of life -- perhaps in a transcendental area -- would give me a better possibility to influence, or to work, or to act within this contradiction. So, this was my general feeling: on the one side, this beautiful undamaged nature form which I took a lot and had a lot of possibilities for contemplation, meditation, research, collecting things, making a kind of system; and on the other side, this social debacle that I felt already as a coming dilemma.
 * p. 62; also quoted in: Video Data Bank, School/Art Institute Chicago, (1981) Profile, Volume 1

 * But I saw the relationship between people, I saw their thoughts, I saw their kind of expressionistic behavior in every difficult situation. I saw all the time the unclearness in the psychological condition of the people. You know, that was the time called the 'Roaring Twenties' and I felt that this expressionistic behavior, this unformed quality of soul power and emotion of life.. .I saw it, that it would lead to a kind of catastrophe. That was my general feeling.
 * pp. 62-63; Also cited in: Video Data Bank, School/Art Institute Chicago, (1981) Profile, Volume 1

Interview with Louwrien Wijers, 1981

 * 'Joseph Beuys and the Dalai Lama'; Interview with Louwrien Wijers, 1981," in: Kuoni (n.5), pp. 183-90; republished in: Joseph Beuys, Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993

 *  'Intro' of Louwrien Wijers:

 * Directly after the interviews his holiness the 14th Dalai Lama of Tibet had given me [Louwrien Wijers] in Dharamsala, I enthusiastically informed Joseph Beuys how struck I was by the similarity in the viewpoint of His Holiness the Dalai Lama and the ideas that he himself had been working towards in his 'Social Sculpture' for the last fifteen years. I was able to come to this conclusion because my questions in the first interview with his Holiness had for a large part been inspired by the subjects Joseph Beuys had put to discussion first through his 'Organisation for a Direct Democracy', and then through his 'Free international University,' the ecological 'Green movement' and the political party 'The Greens'. The immediate reply from Joseph Beuys to my remark was that 'he would very much want to set up a permanent co-operation with His Holiness the Dalai Lama'.
 * To the request whether a meeting could be arranged for Joseph Beuys with His Holiness the Dalai Lama a positive answer was received from the Office of His Holiness the Dalai Lama. To prepare the ground thoroughly for a fruitful audience with his holiness the Dalai Lama, '27' she arranged for Beuys to meet Lama Sogyal Rinpoche in Paris on January 29, 1982.

 * Quotes of Beuys:

 * He [the Dalai Lama] asked me for my participation and I rejected the plan to make a kind of sculpture there in this old way, to make in a kind of special place this special modern sculpture. I told him that my idea would be this time to plant seven thousand oaks in Kassel, seven thousand trees. And to mark every tree with a little stone, so that everybody after three, two, five or six hundred years can still see that in 1982 there was an activity. After the radical destruction of the forests here in Germany for all this technological nonsense, that there was an impulse that came in the same time, to plant seven thousand oaks. This is such a kind of activity during the Documenta [in Kassel], that has to do with the 'Documenta', but is a real other thing in the conventional understanding of art.
 * p. 185 - Beuys' statement on planting seven thousand oaks in Kassel, in 'Joseph Beuys and the Dalai Lama'
 * I think he [ Andy Warhol ] would be very interested in the moment that the Dalai Lama appears, being involved in such a kind of idea. Andy has always difficulties with this kind of political activities, because he works in another kind of world, but he is always.. .Also when he was here [in Germany] last week, he is very interested to hear a lot of new information. He has a kind of observing sense in the back of his mind. So, he is always interested to follow the development, and there is really a kind of imaginative process going on, I think.
 * p. 189 - in 'Joseph Beuys and the Dalai Lama'

Quotes after 1984, posthumous published

 * My intention: healthy chaos, healthy amorphousness in a known medium which consciously warmed a cold, torpid form from the past, a convention of society, and which makes possible future forms.
 * Quote of Donald Kuspit, The Cult of the Avant-garde Artist, New York: Cambridge University Press, 1993, p. 93

 * This is precisely what the shaman does in order to bring about change and development: his nature is therapeutic.
 * Quote of Donald Kuspit, The Cult of the Avant-garde Artist, New York: Cambridge University Press, 1993, p. 95

 * He [ Marcel Duchamp ] entered this object [the 'Urinal' ready-made] into the museum and noticed that its transportation from one place to another made it into art. But he failed to draw the clear and simple conclusion that every man is an artist.
 * as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, by Victoria Walters, LIT Verlag Münster, 2012, p. 206

 * People are very shortsighted when they argue that way, when they say: Beuys makes everything with felt, so he's trying to say something about the concentration camps [of the German Nazi regime]. Nobody bothers to ask whether I might not be more interested in evoking a very colorful world as an anti-image inside people with the help of this element, felt. So it's a matter of evoking a lucid world, a clear, lucid, perhaps transcendentally spiritual world through something which looks quite different, through an anti-image.
 * Beuys, 1997, p. 11, xix); as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, by Victoria Walters, LIT Verlag Münster, 2012, p. 192

Quotes about Joseph Beuys

 * I mean artists like Joseph Beuys, who is really a tough, strong artist. B E U Y S. He's been working in Germany for years. He doesn't bother with the burden of ideas. What he desires to do is fill your house with margarine. Let you live encased in fat, die encased in fat. He would take three hundred pounds of margarine and put it exactly where Pat Kelly is now, and then leave it there. That's sort of the tenor of his work.
 * Carl Andre, as quoted in 'Artists talks 1969 – 1977', ed. Peggy Gale, The Press N.S.C.A.D, Nova Scotia, Canada 2004, p. 25

 * The milieu in which creativity can be developed is principally the field of culture, and Beuys starts his sociopolitical program in the area of culture, in order to develop from this special angle the concept of equality as well as of democracy and socialism as a genetic process. The intellectual life, which education must should be structured, stands most definitely at the beginning of this evolutionary process of development. Next to it is equality as the democratic principle of law, meaning concrete socialism and fraternity in relation to the economic area. Within these three areas there is no qualitative ranking system. The primary necessity in Beuys' concept of direct democracy is freedom, meaning that every man should be able to completely realize his liberty, for example, his right to a free and equal unfolding of his personality, as is firmly established as a fundamental law in the organization's statutes.
 * Götz Adriani, (1979), Winfried Konnertz and Karin Thomas, in Joseph Beuys: Life and Works, New York 1979, pp.221-2; as quoted in: (1988). The Tate Gallery, 1984-86: Illustrated Catalogue of Acquisitions : Including Supplement to Catalogue of Acquisitions 1982-84. p. 490 (text online at tate.org, 2015)

 * Beuys complained that the [art] teachers didn't exhibit [during the winter semester's Open Week, 1964] any of their own works. He then brought along an old kitchen chair and a large quantity of margarine and patted the margarine on the seat of the chair with a wooden paddle so that it sloped like a wedge. We [students of Düsseldorf Art Academy, 1964] saw nothing unusual in this and none of us realized that we had before us a incunabulum of art. At that time Beuys had told us nothing about his 'energy-concept' or the like. We simply considered the making of this 'Fat Chair' to be a rather unspectacular action.
 * Hans Beck, (1964) - one of Beuys' students then - in an interview with Petra Richter; as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, by Victoria Walters, LIT Verlag Münster, 2012, p. 25

 * Unlike his European peers from the late 1950's — Piero Manzoni, Arnian, or even Yves Klein — Beuys does not change the state of the object with the discourse itself. Quite to the contrary, he dilutes and dissolves the conceptual precision of Marcel Duchamp's readymade by reintegrating the object into the most traditional context of literary and referential representation: this object stands for that idea, and that idea is represented in this object.
 * Benjamin H. D. Buchloh, (2003). Neo-avantgarde and Culture Industry: Neo-avantgarde and Culture Industry: Essays on European and American Art. p. 52

 * Considering that Beuys was born in a small German town called Kleve and I was born in another small German town called Bad Oldesloe, I believe that even an airport can be an inspiring place for an artist.
 * Isa Genzken, (2014) in: 'Isa Genzken, the artist who doesn't do interviews', interview by Emily Wasik, 15 May 2014

 * Once again the lack of a convenient language makes for the creation of a series of separate versions or myths, and it is this difficulty of precise description or discussion that leads to the 'Beuys cult'. His actions do have the quality of myths, the same invisible logic as a myth and one must, I think, accept the performance as it stands rather than inquiry into its origins.
 * Alastair Mackintosh, (1970); as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, by Victoria Walters, LIT Verlag Münster, 2012, p. 23

 * The Fluxus movement.. ..developed its 'anti-art', anti-commercial aesthetics under the leadership of George Maciunas. Fluxus staged a series of festivals in Paris, Copenhagen, Amsterdam, London and New York, with avantgarde performances often spilling out into the street. Most of the experimental artists of the period, including Joseph Beuys, Yoko Ono and Nam June PaikNam June Paik, took part in Fluxus events. The movement, which still continues, played an important role in the opening up of definitions of what art can be.
 * Anon. 'Nam June Paik: Section 2: Fluxus, Performance, Participation', Tate Online, n.d.

title: Joseph Beuys


text: User:Timwi

title: User:Timwi


text: User talk:Timwi

title: User talk:Timwi


text:
To Catch a Predator

Dateline NBC: To Catch a Predator (2004 – 2007) is a series of hidden camera investigations by the television newsmagazine Dateline NBC devoted to the subject of identifying and detaining potential child sexual abusers who attempt to contact children over the internet. The stories, which have all been done by Dateline NBC correspondent Chris Hansen, are conducted as an undercover sting operation with the help of online watchdog group Perverted Justice. Since the third installment, law enforcement officials have also been involved in the operation, leading to many arrests.

About the series

 * Media has done a tremendous service to our nation by bringing awareness to the issue. Proactive online investigations are effective in identifying and ultimately catching child sexual predators, when conducted by proper law enforcement authorities
 * John Shehan, the Cyber Tipline program manager at the National Center of Missing and Exploited Children
 * Gallego, Daniella (2006). "'Gotcha' Shows Aimed at Nabbing Sexual Predators Raise Controversy" FoxNews.com (Accessed August 14, 2006)

 * The issues "To Catch A Predator" raises are tied to larger journalistic questions too important to be ignored. It should be left to the law to decide how the men exposed on the program should be dealt with. But it is up to media to police its own behavior, even when the topic is distasteful and satisfying answers are not easy to come by.
 * Brian Monotopoli from PublicEye
 * Montopoli, Brian (2006). "Does 'Dateline' Go Too Far 'To Catch A Predator?'" CBSNews.com (accessded August 14, 2006)

 * Our next guest is host of the funniest comedy on television. It's called To Catch a Predator. If you've never seen it, it's like Punk'd for pedophiles. It's a great show and you can watch it this Wednesday night on NBC. Please say hello to Chris Hansen.
 * Jimmy Kimmel introducing Chris Hansen to his audience on Jimmy Kimmel Live

Predator Quotes
Decoy: Hey, ya out there?!

Robert Lyons: Hi

Decoy: Hey, let me finish brushing my teeth real fast, OK?!

Robert Lyons: What happened?

Decoy: I'm have crap stuck in my teeth!

Robert Lyons: Your feet?

title: To Catch a Predator


text:
User talk:ZwickauDeluxe~enwikiquote

Why do you continue to alter the formatting of articles to a form that is not consistent with established templates? ~ UDScott 15:29, 14 August 2006 (UTC)
 * I was merely copying the format used for the articles on Tony Blair and Paul Keating. There is no uniform template. ZwickauDeluxe
 * Actually there is a uniform template. Take a look at the front page, then click on 'Templates'. You'll see that there are templates for each type of page, including people. ~ UDScott 15:40, 14 August 2006 (UTC)
 * Then maybe you'd like to edit the entries on Tony Blair and Paul Keating in order to ensure conformity. ZwickauDeluxe

 * Thank you for bringing this problem to our attention. I can assure you that UDScott regularly does quite a bit of this kind of work. Please understand that en:Wikiquote has only about a dozen regular editors and about 8000 articles, many of which have legacy formatting problems. Any assistance you can provide in helping us fix them would be greatly appreciated. Thanks. ~ Jeff Q (talk) 05:30, 15 August 2006 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called ZwickauDeluxe. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name ZwickauDeluxe~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

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Renamed
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title: User talk:ZwickauDeluxe~enwikiquote


text:
User talk:JippoUK

~ UDScott 15:50, 14 August 2006 (UTC)

title: User talk:JippoUK


text:
The Devil's Own

The Devil's Own is a 1997 American film about a police officer who uncovers the real identity of his house-guest, an IRA terrorist in hiding.
 * Directed by Alan J. Pakula. Written by Kevin Jarre.

One man trapped by destiny, and another bound by duty. They're about to discover what they're willing to fight, and to die for. taglines

Rory Devaney

 * All the same, Mr. Fitzsimmoms, if you're not confused, you don't know what's goin' on.
 * They say the word peace, but at the end of the day, all they want is surrender.
 * [Looking at a dilapidated boat] Here it is: the Irish Republican Navy.
 * You're a stupid man, Mr. Burke. You only see me standing between you and your money. You're forgetting about the thousand men standing behind me. That's a mistake.
 * Don't look for a happy ending. It's not an American story. It's an Irish one.

Tom O'Meara

 * It's good to have somebody around here who can pee standing up.
 * I understand why he's doin' what he's doin'. If I had to endure what he's endured—if I was eight years old and saw my father gunned down in front of my family—I'd be carryin' a gun too, and I wouldn't be wearin' a badge.
 * [last lines] We never had choice... You and me.

Dialogue

 * Edwin Diaz: When are you gonna let me drive?
 * Tom O'Meara: I don't know, tomorrow.
 * Edwin Diaz: You've been saying that for three years.

 * [Referring to the men who shot Rory's father]
 * Tom O'Meara: Did they catch the fuckers?
 * Rory: They were the fuckers.

 * Annie O'Meara: Rory, are you married?
 * Rory: No.
 * Annie O'Meara: You marry me?
 * Rory: [laughs] I'll have to ask your dad first.

 * Tom O'Meara: What's the money for? I was thinkin' guns. I was thinkin' IRA.
 * Rory: I need that money Tom!
 * Tom O'Meara: Why? So other eight-year-olds can watch their fathers gunned down in front of 'em? If this money leaves here, more people will die. Can you tell me that won't happen?

Taglines

 * One man trapped by destiny, and another bound by duty. They're about to discover what they're willing to fight, and to die for.
 * They come from different worlds. They fight for different causes. Now, two men from opposite sides of the law are about to go to war.

Cast

 * Harrison Ford - Sergeant Tom O'Meara
 * Brad Pitt - Francis "Frankie" McGuire/Rory Devaney
 * Margaret Colin - Sheila O'Meara
 * Rubén Blades - Edwin Diaz
 * Treat Williams - Billy Burke
 * George Hearn - Peter Fitzsimmons
 * Mitchell Ryan - Deputy Chief Jim Kelly
 * Natascha McElhone - Megan Doherty
 * Paul Ronan - Sean Phelan
 * Simon Jones - Harry Sloan
 * Julia Stiles - Bridget O'Meara
 * David O'Hara - Martin MacDuf

title: The Devil's Own


text:
User talk:Xan0808

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 16:56, 14 August 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
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 * Be bold.

title: User talk:Xan0808


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User talk:Andercee~enwikiquote

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 16:56, 14 August 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Andercee. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Andercee~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:18, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:41, 19 April 2015 (UTC)

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User talk:Nicholastoomey~enwikiquote

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Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:53, 19 April 2015 (UTC)

title: User talk:Nicholastoomey~enwikiquote


text:
User talk:Reader814

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 16:56, 14 August 2006 (UTC)
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title: User talk:Reader814


text:
User talk:Vimpa~enwikiquote

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 16:56, 14 August 2006 (UTC)
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Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Vimpa. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Vimpa~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:38, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 06:00, 19 April 2015 (UTC)

title: User talk:Vimpa~enwikiquote


text:
User talk:Gusiman~enwikiquote

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 16:56, 14 August 2006 (UTC)
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Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Gusiman. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Gusiman~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

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Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:23, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:48, 19 April 2015 (UTC)

title: User talk:Gusiman~enwikiquote


text:
User talk:Brighteyes~enwikiquote

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 16:56, 14 August 2006 (UTC)
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Your account will be renamed
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The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Brighteyes. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Brighteyes~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

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Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:19, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:43, 19 April 2015 (UTC)

title: User talk:Brighteyes~enwikiquote


text:
User talk:Shani1977

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 16:56, 14 August 2006 (UTC)
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title: User talk:Shani1977


text:
User talk:Ngoah89~enwikiquote

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 16:56, 14 August 2006 (UTC)
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Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Ngoah89. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Ngoah89~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

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Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:30, 17 March 2015 (UTC)

Renamed
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title: User talk:Ngoah89~enwikiquote


text:
Wikiquote:Votes for deletion archive/Samuel Lee Smith and Sam Smith

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: Delete. — Robert 17:04, 14 August 2006 (UTC)

Samuel Lee Smith and Sam Smith
No quotes. —LrdChaos 15:00, 31 July 2006 (UTC)
 * Vote closed. Result: delete (5 deletes, no dissent). -- Robert 17:04, 14 August 2006 (UTC)

 * Delete. —LrdChaos 15:00, 31 July 2006 (UTC)
 * Delete. — No quote, and it appears of only local interest Jawesq 16:03, 31 July 2006 (UTC)
 * Delete unless evidence of notability provided. I added Sam Smith to LrdChaos's nomination of Samuel Lee Smith because they were both created by the same anonymous user and appear to be about the same person. (I have no idea why they made one an intro-less quote article and the other a quoteless intro article.) I think they should be considered together, as it's at least possible that one solid article could be made from them. Currently, there is no WP article for "Samuel Lee Smith", "Samuel L. Smith", or "Sam L. Smith", and "Sam Smith" redirects to Samuel Smith, which does not include anyone as described in our current "Samuel Lee Smith" article. The Faith Christian Church link provided in SLS is just its main page; it doesn't include any info on "Pastor Sam". It took some digging, but I found an article on the Center (that mentions Smith) at SouthCoastToday.com, the online face of The Standard Times, a New Bedford, Massachusetts newspaper. I found no source for the sole quote in SS. All in all, it sounds like a relative unnotable, however fond of him his parishioners may have been. ~ Jeff Q (talk) 16:25, 31 July 2006 (UTC)
 * Delete both articles. - InvisibleSun 16:35, 31 July 2006 (UTC)
 * Delete both. ~ UDScott 18:32, 10 August 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Talk:Augustus

The bold and Unbold are inconsistent. Let us make it the same throughout.

Unsourced

 * Young men, hear an old man to whom old men hearkened when he was young.

 * Practice, the master of all things.

 * Hasten deliberately.
 * Variant: Make haste slowly.

 * You cheer my heart, who build as if Rome would be eternal.

 * Nothing common can seem worthy of you.
 * Said of Julius Caesar

 * Two Caesars is one too many.
 * Said upon ordering the death of Caesarion, son of Cleopatra and (allegedly) Julius Caesar.

 * If Agrippa and Maecenas had been alive, they never would have allowed it.
 * Said after having lost his temper during a meeting of the Senate

 * The birds will soon settle that question
 * Said after a request was made by a father and son to have an honorable burial

title: Talk:Augustus


text:
Ben 10 (2005 TV series)

 * Seasons: 1 2 3 4 | Main | Alien Force (1 2 3) / Ultimate Alien (1 2 3) / Omniverse (1 2 3 4 5 6 7 8) / Ben 10 (2017 Reboot)

Ben 10 (retroactively known as Ben 10 Classic) is an American animated series that aired on Cartoon Network. The series is about a 10-year-old boy named Ben Tennyson who gets a watch-style alien device called the "Omnitrix". Attached to his wrist, it allows him to transform into 10 different alien creatures with different abilities, allowing him to fight evil from Earth and space with his cousin Gwen and grandfather Max.

Seasons

 * Season 1
 * Season 2
 * Season 3
 * Season 4

Catchphrases

 * Ben: It's Hero Time!

title: Ben 10 (2005 TV series)


text:
The Chumscrubber

The Chumscrubber is a 2005 film about the prevalence of prescription drugs in American society and the lack of communication between teenagers and their parents.
 * Directed by Arie Posin. Written by Arie Posin and Zac Stanford.

Meet Generation Rx

The Chumscrubber

 * [on a morbid cartoon everyone is watching] I live in a city, but in an apartment high above the cloud left by the blast. I'm one of the lucky ones. One morning, I awoke to find my head was no longer attached to my body. I'm not dead, but who could call this a life? So I do what I can, in this city of freaks and subhuman creatures. I became... The Chumscrubber.

Other

 * Crystal Falls: Don't pretend you're someone you're not, because after a while you forget you were acting, and so will everyone else.
 * Various Teens: [repeated line] It's for school.
 * Dean Stiffle: I read this statistic once, that the average kid sees something like 10,000 dead bodies on TV before he turns 18.
 * Dean Stiffle: Can/Will somebody pick up THE GOD DAMN PHONE!
 * Mrs. Johnson: [repeated line to everyone] I just thought you should know that, in no way whatsoever, do I blame you for Troy's death.
 * Terri Bratley: [after noticing officer Lou Bratley watching her from the other side of the street] I see you, Lou! Don't you think I can't see what you're doing, Lou! Can't you see I just don't fucking love you anymore!
 * Billy: [talking to dean in the phone] Hello? Ask for Dean. Is Dean there, please?
 * Billy: [playing Charley's "Chumscrubber" video game] Ah! Come on! Let's see some fucking gore/blood already.

Dialogue

 * Dean Stiffle: [talking to Billy in the phone] What do you want? What are you talking about, man? Who?
 * Billy: We got Charlie. Your brother. We kidnapped your brother. I got him right now. He's scared shitless.
 * Dean Stiffle: Why did you kidnap my brother?
 * Billy: So you know I'm not fucking around. I want the stuff from Troy.
 * Dean Stiffle: I already told you...
 * Billy: I don't think you're listening. You are going to get me Troy's drugs.
 * Dean Stiffle: Or what?
 * Billy: Don't push me, psycho.
 * Dean Stiffle: Or what?
 * Billy: I'll kill him. That's what I'm gonna kill him. I'm not fucking around, man. I swear to God! I'll cut off his fucking head!
 * Dean Stiffle: Fine. Kill him. [hangs up]
 * Crystal Falls: Billy, what did he say?
 * Billy: He said for us to kill him. Maybe he is crazy.

 * Charlie Stiffle: [playing a video game] Son of a bitch!
 * Mrs. Stiffle: Charlie! I am doing Veggie Force!

 * Dr. Bill Stiffle: How do you feel about the suicide of your best friend in the world?
 * Dean Stiffle: [pause] Real shitty.

 * Dr. Bill Stiffle: Mrs. Johnson suspects that Troy might have been selling drugs to some other kids at school.
 * Dean Stiffle: Yeah?
 * Dr. Bill Stiffle: How do you feel about that?
 * Dean Stiffle: I feel that it must have been unfulfilling for him.
 * Dr. Bill Stiffle: That's very interesting. Why do you say that?
 * Dean Stiffle: Because he killed himself.

 * Dean Stiffle: Dad, if you write about me again in another one of your stupid books, I'm going to kill you.
 * Dr. Bill Stiffle: Stupid? There are several major book chains around this country that will disagree with you on that point.

 * Crystal Falls: [after Crystal's friends have mocked Troy's death to humiliate Dean] Look, I just wanted to apologize for what happened back there.
 * Dean Stiffle: Why? Did you do it?
 * Crystal Falls: No, but my friends did.
 * Dean Stiffle: Some pretty nice friends you got there.
 * Crystal Falls: What are you saying? It's better to have no friends at all?
 * Dean Stiffle: Actually, yes.

 * Mr. Parker: Those kids again, Lee?
 * Lee: We're doing a group project.
 * Mr. Parker: With them, Lee? You think they care what grades you get?
 * Lee: Mom...
 * Mr. Parker: Look, son, you let your grades go now, maybe you don't get into a top tier school.
 * Lee: Yeah.
 * Mr. Parker: You don't get into a top tier school, maybe you settle for a second-rate job. Maybe you don't have the life you want. Maybe each and every day you wake up and wanna crawl back into bed and tell the world to go to hell.
 * Mrs. Parker: We're just saying, you've worked too hard to blow it in your last year.
 * 'Mr. Parker: We've all worked hard together.

 * Crystal Falls: I don't think you're crazy.
 * Dean Stiffle: You know, there are several major book chains that would be willing to disagree with you on that point.

 * Crystal Falls: How do you eat that?
 * Dean Stiffle: In pretty much the standard way.
 * Crystal Falls: You know, if I ate that everyday, I would get a big fat ass.
 * Dean Stiffle: Is that your greatest fear?
 * Crystal Falls: No, but it's my mother's greatest wish.
 * Dean Stiffle: What? That you be fat?
 * Crystal Falls: No, just fatter than her.

 * Mrs. Johnson: [at Troy's memorial] It's my fault. I know it is.  I didn't even know him.  I didn't know my own son.
 * Dean Stiffle: Try wanted to play guitar in a rock band -be famous- but he knew he wasn't any good and he felt stupid for wishing that.  He had a crush on this girl since he was 13, that he'd never talked to.  But he probably wished he would've.  He liked you, but he felt sorry for you.  He was afraid he'd be like his dad.  He was really, really smart, but he kept all his ideas to himself, unless you asked.  He took great pictures of people without them even knowing.  I miss him, you know?  He was my friend.  He was my best friend.  And I hate myself that I didn't even know he was about to do this.
 * [pause]
 * Mrs. Johnson: Thank you.

 * Crystal Falls: [Billy is playing Charlie's tuba] What are you doing?
 * Billy: I was thinking of going out for marching band. It seems to be what all the chicks are into, you know?
 * Crystal Falls: Yeah, Charlie nailed me all night long. It was unreal.
 * [Billy throws down the tuba, destroying it]
 * Crystal Falls: Oh my god, Billy - why would you do that?
 * Billy: Because I'm a stupid bastard?

 * Billy: [to Charlie] Hey, shitballs, come here. I want to show you something. Now, when you get to high school, if anyone tries to kick your ass - well, you're probably gonna get your ass kicked anyways, but if you weren't such a pussy, you could try this. Come at me, hit me in the chest.
 * [Charlie weakly hits him]
 * Billy: No, really come at me like you got a pair.
 * [Charlie lunges at Billy, who tosses him across the room]
 * Billy: Good! That was good!
 * Crystal Falls: Oh, my God, Billy! Are you hurt, Charlie?
 * Lee: He's about half your size, man.
 * Billy: Are you fucking kidding me? We fucking kidnapped this fucking kid! Am I the only person who fucking remembers that?
 * Lee: You're such a dick.

 * Crystal Falls: I probably would have ended up with a football player if I hadn't met you. And I'm not gonna lie - you've really kept it interesting, but I'm done.
 * Billy: What the fuck are you talking about?

 * Mr. Peck: Who put that knife in the wall?
 * Billy: I did.
 * Mr. Peck:You're gonna fix that.
 * Billy: It's my room.
 * Mr. Peck: No this is not your room. This is a room in my house. This is my room.
 * Billy: So then you can fix it.

 * Lee: He won't die!
 * Billy: You wuss!
 * Lee: He's stronger than he looks!
 * Billy: Here! Stab him!
 * Lee: Where?
 * Billy: I don't know! In the stomach or something!
 * Lee: [stabs Charlie] Shit!
 * Charley Bratley: You stabbed me in the stomach!
 * Billy: Is it deep?
 * Lee: [to Charlie] Is it deep?
 * Charley Bratley: [pause] Fuck you!
 * Billy: [sighs] No, it's not deep.
 * Lee: Well, fucking pardon me!

Taglines

 * Fear. Trust. Love.
 * Meet Generation Rx

Cast

 * Jamie Bell - Dean Stifle
 * Camilla Belle - Crystal Falls
 * Justin Chatwin - Billy
 * Glenn Close - Carrie Johnson
 * Rory Culkin - Charlie Stiffle
 * Thomas Curtis - Charlie Bratley
 * William Fichtner - Mr. Bill Stiffle
 * Ralph Fiennes - Mayor Michael Ebbs
 * John Heard - Officer Lou Bratley
 * Lauren Holly - Boutique Owner
 * Jason Isaacs - Mr. Parker
 * Allison Janney - Allie Stiffle
 * Josh Janowicz - Troy
 * Carrie-Anne Moss - Jerri Falls
 * Lou Taylor Pucci - Lee Parker
 * Rita Wilson - Terri Bratley

title: The Chumscrubber


text:
Talk:Tom Hurndall

Absolute Courage
His courage and commitment towards life is undoubtedly matchless. Islam preaches just the kind of attitude. Thank you Tom.

title: Talk:Tom Hurndall


text:
User talk:146.145.37.154

- InvisibleSun 19:06, 14 August 2006 (UTC)

title: User talk:146.145.37.154


text:
User:Ranger2006

I am an academic psychologist, with a special interest in the philosophy of mind in general, and the mind/body problem in particular.

Retrieved from "http://en.wikipedia.org/wiki/User:Ranger2006"

title: User:Ranger2006


text:
User talk:71.10.16.2

~ Kalki 21:46, 14 August 2006 (UTC)

title: User talk:71.10.16.2


text:
User:Steel359

I don't intend to be particularly active on Wikiquote (at least not for a while). I made this account in case I ever need it. -- Steelen:Steel 22:05, 14 August 2006 (UTC)

See also: w:User:Steel359

title: User:Steel359


text:
User talk:24.11.112.47

No matter what opinions one might have of a person, Wikiquote exists for the collecting of notable quotations of famous people and famous works, not for personal comments upon them. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 22:48, 14 August 2006 (UTC)

title: User talk:24.11.112.47


text:
Talk:The Chumscrubber

Cleanup needed
The lines under "other" need to be moved to sections for individual characters, or to dialog. Currently it is impossible to tell which lines are independent of others. --Ubiquity 14:23, 28 March 2008 (UTC)

title: Talk:The Chumscrubber


text:
Talk:Return to the Blue Lagoon

Parenthetical remarks
These quotes are heavily padded with directions and explanations in parentheses. Is there a screenplay that provides all these comments, or are they added by contributors to give the quotes some more context? - InvisibleSun 02:31, 15 August 2006 (UTC)

 * I would agree that there are ways to many stage directions in this page. Most, if not all, should probably be removed. ~ UDScott 13:11, 15 August 2006 (UTC)

title: Talk:Return to the Blue Lagoon


text:
Murder in the First

Murder in the First is a 1995 film about a petty criminal named Henri Young who is unjustly sent to Alcatraz. The man is put into solitary confinement for 3 years (when the maximum is 19 days) making him go mad, and causing him to kill another inmate. A young lawyer is assigned to his case and defends him, while putting Alcatraz on trial by pointing out that the incredible brutality his client endured was in a sense the real killer.
 * Directed by Marc Rocco. Written by Marc Rocco and Dan Gordon.

The trial that brought down Alcatraz.taglines

James Stamphill

 * The definition of rehabilitate: To restore to a state of physical, mental, and moral health through treatment and training.

 * When you try to win, sometimes you lose sight of the goal.

 * Unlike many men who lived long after, Henri Young did not die in vain. In the end he was not afraid. He lived and he died in triumph. If only we could all do that.

 * Charles Dickens once said that solitary confinement was inhumane. Seven months later, the Supreme Court agreed. As a a result of the facts brought out in the trail of The People vs. Young, the dungeons of Alcatraz were closed forever. Associate warden Glenn was brought up on charges of mistreatment. He was found guilty. He would never work in the penal system again. I remained in private practice. I also became a baseball fan. You did it, Henri!

Henri Young

 * Action: I won. Reaction: you can't never take that away from me.

 * I got nothin'. I got nobody. I don't need a lawyer, I need a friend.

Milton Glenn

 * Some men are broken by the laws that they break, unable to resist the forces that are pulling them down. Other men live by the rules that society sets down. You're not one of them.

Other

 * Judge Clawson: I do not need you to tell me what is, or is not okay. In this courtroom, I am the one who decides what is, or is not okay. Okay?

 * Blanche, Hooker: Honey, you're gonna have to get it up first. It's like trying to stick an oyster into a slot machine.

Dialogue

 * James Stamphill: I was wondering if I could talk to you, sir, about a continuance.
 * D.A. William McNeil: No.
 * James Stamphill: You don't understand, sir, he just sits there. I can't even get him to speak.
 * D.A. William McNeil: Well maybe he's practicing for the gas chamber. Tell him to take deep breaths.

 * James Stamphill: Did you kill Rufus McCain?
 * Henri Young: I was the weapon, but I ain't no killer.

 * James Stamphill: How do you think the Yankees will do against the Redskins this year?
 * Henri Young: The Yankees are a baseball team. The Redskins are a football team. Personally, I think the Redskins would kick the shit out of them.

 * James Stamphill: I will ask you what I want to ask you.
 * Henri Young: And I answer what I want to answer.
 * James Stamphill: Fine.
 * Henri Young: Fine.

 * Milton Glenn: ln life for every action there is a definite and distinct reaction. Action... [cuts his hand with his razor] reaction.
 * Henri Young: Yes, Mr. Glenn.
 * Milton Glenn: Now, if you escape, action: I lose my job... Reaction: I have a family that I will not be able to provide for! Now, knowing this information, can you tell me why you would possibly want to escape and jeopardize my family? I've done nothing to you but my job. And instead of letting you learn by breaking the rules, I feel I need to show you how to obey them. Tolerance. Tolerance for pain. My tolerance of you. But tolerance can be mistaken for kindness. And kindness can be mistaken for weakness. And we can't have weakness, can we, Henri?

Taglines

 * They locked him up. They crushed his spirit. But they couldn't hide the truth.
 * One was condemned. The other was determined. Two men whose friendship gave them the will to take on the system.
 * The trial that brought down Alcatraz.
 * "I accuse Alcatraz of crimes against humanity." – The lawyer "I was a weapon, but I ain't no killer." – The accused "I am not on trial here." – The warden
 * One broke his silence. The other broke the system.

Cast

 * Kevin Bacon – Henri Young
 * Christian Slater – James Stamphill
 * Gary Oldman – Milton Glenn
 * Embeth Davidtz – Mary McCasslin
 * William H. Macy – D.A. William McNeil
 * Stephen Tobolowsky – Mr. Henkin
 * Brad Dourif – Byron Stamphill
 * R. Lee Ermey – Judge Clawson
 * Mia Kirshner – Adult Rosetta Young
 * Ben Slack – Jerry Hoolihan
 * Stefan Gierasch – Warden James Humson
 * Kyra Sedgwick – Blanche, Hooker

title: Murder in the First


text:
User talk:Mor Z

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 05:33, 15 August 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
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title: User talk:Mor Z


text:
User talk:Jasedit

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 05:33, 15 August 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Jasedit


text:
User talk:Poeticallyxxpatheticxx

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 05:33, 15 August 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Poeticallyxxpatheticxx


text:
User talk:Aj curosys

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 05:33, 15 August 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Aj curosys


text:
User talk:Hrvoje Simic~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 05:33, 15 August 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Hrvoje Simic. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Hrvoje Simic~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:25, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:49, 19 April 2015 (UTC)

title: User talk:Hrvoje Simic~enwikiquote