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Antony Flew

Antony Flew (born 11 February 1923 - 8 April 2010) was a British philosopher.

Quotes

 * What would have to occur or to have occurred to constitute for you a disproof of the love of, or the existence of, God?
 * Theology and Falsification, 1950

 * I would never regard Islam with anything but horror and fear because it is fundamentally committed to conquering the world for Islam.
 * Did the Resurrection Happen?: A Conversation with Gary Habermas and Antony Flew (2009), p. 88

 * [Still an atheist at the time] For Heaven's sake...sorry, perhaps I should have said something else.
 * Craig Vs Flew, University of Wisconsin, 1st January 1998

 * The God Delusion by the atheist writer Richard Dawkins, is remarkable in the first place for having achieved some sort of record by selling over a million copies. But what is much more remarkable than that economic achievement is that the contents – or rather lack of contents – of this book show Dawkins himself to have become what he and his fellow secularists typically believe to be an impossibility: namely, a secularist bigot. (Helpfully, my copy of The Oxford Dictionary defines a bigot as ‘an obstinate or intolerant adherent of a point of view’).
 * Flew's review of The God Delusion

 * A less important point which needs to be made in this piece is that although the index of The God Delusion notes six references to Deism it provides no definition of the word ‘deism’. This enables Dawkins in his references to Deism to suggest that Deists are a miscellany of believers in this and that. The truth, which Dawkins ought to have learned before this book went to the printers, is that Deists believe in the existence of a God but not the God of any revelation. In fact the first notable public appearance of the notion of Deism was in the American Revolution.
 * Flew's review of The God Delusion

 * The Koran calls for belief and consequent obedience. It is, surely, calculated to inspire fear, indeed abject terror, rather than love.
 * "The Terrors of Islam", Atheist Notes No. 6, 2004, ISBN 1856372928

 * The term 'fundamentalist', which was coined in 1920, derives from the title of a series of tracts - The Fundamentals - published in the United States from 1910 to 1915. It has since been implicitly defined as meaning a person who believes that, since The Bible is the Word of God, every proposition in it must be true; a belief which, notoriously, is taken to commit fundamentalist Christians to defending the historicity of the accounts of the creation of the Universe given in the first two chapters of Genesis. On this understanding a fully believing Christian does not have to be fundamentalist. Instead it is both necessary and sufficient to accept the Apostles' and/or The Nicene Creed. In Islam, however, the situation is altogether different. For, whereas only a very small proportion of all the propositions contained in the Old and New Testaments are presented as statements made directly by God in any of the three persons of the Trinity, The Koran consists entirely and exclusively of what are alleged to be revelations from Allah (God). Therefore, with regard to The Koran, all Muslims must be as such fundamentalists; and anyone denying anything asserted in The Koran ceases, ipso facto, to be properly accounted a Muslim. Those whom the media call fundamentalists would therefore better be described as revivalists. This conceptual truth not only places a tight limitation upon the possibilities of developmental change within Islam, as opposed to the tacit or open abandonment of one or more of its original particular claims, but also opens up the theoretical possibility of falsifying the Islamic system as a whole by presenting some known fact which is inconsistent with a Koranic assertion.
 * Turning away from Mecca (The Salisbury Review, Spring 1996) quoted from Goel, Sita Ram (editor) (1998). Freedom of expression: Secular theocracy versus liberal democracy.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Antony Flew


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Talk:Apocalypse Now

Errors and other Notes
The quote about "standing on my face" is NOT Willard.

If you are going to include the "Who is in charge here, soldier? -- Ain't you?" quote, you should also include (and pair it with) the OTHER quote immediately following, where Willard asks the grenade launcher dude (Roach) the same question. "Do you know who is in charge here?" -- "Yep."

Note (lacks attribution)
I added a brief quote where Willard asks the soldiers who's in charge. I think this is an important contribution as it adds to the fray, to the impossibility of authority in Vietnam. How can soldiers be responsible for their actions when they don't know who is issuing the orders? Further, I think the fact that Roach replies only with the answer "yeah" brings up a whole slew of ideas and questions. Asking Roach who he thinks is in charge is important: does he think it is the enemy who is in charge here? Is it Sheen's character Willard or Brando's character Kurtz that he thinks is in charge? Or is it God (that is, if we think there is a place for God in Coppola's film)? Who do we think is in charge? This moment in the movie is also the most clearly impressionistic and hypnotizing: light flickers on and off Sheen's face, his voice has the measure of a slow and even breath, while underneath all this seeming tranquility the soldiers in the bunker are in danger of dying. This is very much the eye of the storm, the climax of the movie.

Copyright status
This page contains almost every quote in the film. Viriditas (talk) 07:14, 8 July 2012 (UTC)
 * You're quite right, and indeed it has been flagged for copyright review for over two years. If you'd like to try your hand at pruning it, that would be much appreciated.--Collingwood (talk) 07:34, 8 July 2012 (UTC)

Fair use for education purposes --

4.2.2 Text Material Up to 10% or 1000 words, whichever is less, in the aggregate of a copyrighted work consisting of text material may be reproduced or otherwise incorporated as part of a multimedia project created under Section 2 of these guidelines

they were stronger than me because they could stand it
Most sources list the quote as "And then I realized they were stronger than we. Because they could stand that these were not monsters. These were men… trained cadres."

But "they could stand that" makes no sense, unless it reads "could stand that." - "that" referring to the act of cutting off arms.

Then I came across this:

02:54:12 And then I realized...

02:54:14 they were stronger than me because they could stand it.

02:54:18 These were not monsters. These were men--

02:54:21 trained cadres.

02:54:23 These men who fought with their hearts...

http://www.subzin.com/quotes/Apocalypse+Now/These+were+not+monsters.+These+were+men

76.117.51.107 22:47, 19 February 2013 (UTC)

title: Talk:Apocalypse Now


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User:RoboAction/templates

 * used at Wikipedia

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Talk:Annie Hall

Alvy Singer: There's an old joke. Uh, two elderly women are at a Catskills mountain resort, and one of 'em says, "Boy, the food at this place is really terrible." The other one says, "Yeah, I know, and such small portions." Well, that's essentially how I feel about life. Full of loneliness and misery and suffering and unhappiness, and it's all over much too quickly.

Copyright notice
As part of the Copyright Cleanup Project, this article has been trimmed to a maximum of eight quotes for a 93-minute film. Additional quotations could be added so long as an equal number are deleted. See Limits on quotations for guidelines. - InvisibleSun 01:54, 10 May 2009 (UTC)

title: Talk:Annie Hall


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Breakfast at Tiffany's (film)

Breakfast at Tiffany's is a 1961 film about a young New York socialite who becomes interested in a young man who has moved into her apartment building.
 * Directed by Blake Edwards. Written by George Axelrod, based on Truman Capote's eponymous novella.

Audrey Hepburn plays that daring, darling Holly Golightly to a new high in entertainment delight!

Holly Golightly

 * [to Paul "Fred" Varjak] It should take you exactly four seconds to cross from here to that door. I'll give you two.
 * [to Paul "Fred" Varjak] But I am mad about Jose. I honestly think I'd give up smoking if he asked me.
 * [to Paul "Fred" Varjak] You could always tell what kind of a person a man thinks you are by the earrings he gives you. I must say, the mind reels.
 * Quel rat!
 * [to Paul "Fred" Varjak] There are certain shades of limelight that can wreck a girl's complexion.
 * But oh golly! Gee damn!
 * [to Paul "Fred" Varjak] I've got to do something about the way I look. I mean a girl just can't go to Sing Sing with a green face.
 * I'm like Cat, here. We're a couple of no-name slobs.
 * [to Paul "Fred" Varjak] It's useful being top banana in the shock department!
 * [to Paul "Fred" Varjak] Ahh . . . Do I detect a look of disapproval in your eye? Tough beans buddy, 'cause that's the way it's gonna be.

Paul "Fred" Varjak

 * [to Holly Golightly] You know what's wrong with you, Miss Whoever-you-are? You're chicken, you've got no guts.  You're afraid to stick out your chin and say, "Okay, life's a fact, people do fall in love, people do belong to each other, because that's the only chance anybody's got for real happiness."  You call yourself a free spirit, a "wild thing", and you're terrified somebody's gonna stick you in a cage.  Well baby, you're already in that cage.  You built it yourself.  And it's not bounded in the west by Tulip, Texas, or in the east by Somali-land.  It's wherever you go.  Because no matter where you run, you just end up running into yourself.
 * [to Holly Golightly] I don't think I've ever drunk champagne before breakfast before. With breakfast on several occasions, but never before, before.
 * [to Holly Golightly] And I always heard people in New York never get to know their neighbors.

Dialogue

 * Holly: He's all right! Aren't you, cat?  Poor cat!  Poor slob!  Poor slob without a name!  The way I see it I haven't got the right to give him one.  We don't belong to each other.  We just took up one day by the river.  I don't want to own anything until I find a place where me and things go together.  I'm not sure where that is but I know what it is like.  It's like Tiffany's.
 * Paul: Tiffany's? You mean the jewelry store.
 * Holly: That's right. I'm just crazy about Tiffany's!

 * Holly: You know those days when you get the mean reds?
 * Paul: The mean reds, you mean like the blues?
 * Holly: No. The blues are because you're getting fat and maybe it's been raining too long, you're just sad that's all.  The mean reds are horrible.  Suddenly you're afraid and you don't know what you're afraid of.  Do you ever get that feeling?
 * Paul: Sure.
 * Holly: Well, when I get it the only thing that does any good is to jump in a cab and go to Tiffany's. Calms me down right away.  The quietness and the proud look of it.  Nothing very bad could happen to you there.  If I could find a real-life place that'd make me feel like Tiffany's, then - then I'd buy some furniture and give the cat a name!

 * Holly: Thursday! It can't be!  It's too gruesome!
 * Paul: What's so gruesome about Thursday?
 * Holly: Nothing, except I can never remember when it's coming up.

 * Holly: How do I look?
 * Paul: Very good. I must say, I'm amazed.

 * Holly: What do you do, anyway?
 * Paul: I'm a writer, I guess.
 * Holly: You guess? Don't you know?
 * Paul: Okay, positive statement. Ringing affirmative.  I'm a writer.

 * Paul: They're not the kind of stories you can really tell.
 * Holly: Too dirty?
 * Paul: Yeah, I suppose they're dirty, too, but only incidentally. Mainly they're angry, sensitive, intensely felt, and that dirtiest of all dirty words - promising.  Or so said The Times Book Review, October 1, 1956.

 * O. J. Berman: Hey, Fred-baby!
 * Paul: No, no. It's Paul-baby.

 * Doc Golightly: I love you, Lula Mae.
 * Holly Golightly: I know you do, and that's just the trouble. It's the mistake you always made, Doc, trying to love a wild thing.  You were always lugging home wild things.  Once it was a hawk with a broken wing . . . and another time it was a full-grown wildcat with a broken leg.  Remember?
 * Doc: Lula Mae there's something . ..
 * Holly: You musn't give your heart to a wild thing. The more you do, the stronger they get, until they're strong enough to run into the woods or fly into a tree.  And then to a higher tree and then to the sky.

 * Holly: Do you think she's talented? [Paul turns toward her] Deeply and importantly talented?
 * Paul: No. Amusingly and superficially talented, yes, but . . . deeply and importantly, no.
 * The stripper continues taking off her clothes until she has nothing left on except her bra, which she then removes. Holly raises her sunglasses.
 * Holly: Gracious! Do you think she's handsomely paid?
 * Paul: Hm? Oh!  Indeed.
 * Holly: Well let me tell you something, mister. If I had her money, I'd be richer than she is!
 * Paul: How do you figure that?
 * Holly: Because I keep the candy store.
 * Paul: Hm?
 * Holly: Oh, Sally Tomato. That's my candy store.  I'll always keep Sally.  And that's why I'd be richer than she is! [She laughs.]
 * Paul: We'd better get a little more air.

 * Holly: I'll tell you one thing, Fred, darling . . . I'd marry you for your money in a minute. Would you marry me for my money?
 * Paul: In a minute.
 * Holly: I guess it's pretty lucky neither of us is rich, huh?
 * Paul: Yeah.

 * Paul: Actually, it was purchased concurrent with . . . well, actually, it came inside of . . . well, a box of Cracker Jack.
 * Salesman: I see. Do they still really have prizes in Cracker Jack boxes?
 * Paul: Oh, yes.
 * Salesman: That's nice to know. It gives one a feeling of solidarity, almost of continuity, with the past, that sort of thing.

 * Holly: Did I tell you how divinely and utterly happy I am?
 * Paul: Yes.

 *  Paul:  I love you.
 *  Holly: So what.
 *  Paul:  So what?  So plenty!  I love you, you belong to me!
 *  Holly: [tearfully] No.  People don't belong to people.
 *  Paul:  Of course they do!
 *  Holly: I'll never let anybody put me in a cage.
 *  Paul:  I don't want to put you in a cage, I want to love you!
 *  Holly: It's the same thing!

title: Breakfast at Tiffany's (film)


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Amélie

Amélie (aka Le fabuleux destin d'Amélie Poulain, or The Fabulous Destiny of Amélie Poulain) is a 2001 French romantic comedy film about a shy waitress who decides to change the lives of those around her for the better, while struggling with her own isolation.
 * Directed by Jean-Pierre Jeunet. Written by Jean-Pierre Jeunet and Guillaume Laurant.

She'll change your life.

Amélie Poulain

 * It's better to help people than garden gnomes.
 * I had two heart attacks, an abortion because I smoked crack while I was pregnant. Besides that, I'm fine. [to her father, who is not paying attention]
 * Je n'aime pas dans les vieux films américains quand les conducteurs ne regardent pas la route.
 * [whispering in theater] I like to look for things no one else catches. I hate the way drivers never watch the road in old American movies.
 * Vous au moins, vous ne risquez pas d'être un légume, puisque même un artichaut a du cœur.
 * You couldn't even be a vegetable — even artichokes have a heart.

Hipolito

 * Sans toi, les émotions d'aujourd'hui ne seraient que la peau morte des émotions d'autrefois.
 * Without you, the emotions of today would be the dead skin of another time.
 * Et de ratage en ratage, on s'habitue à ne jamais dépasser le stade du brouillon. La vie n'est que l'interminable répétition d'une représentation qui n'aura jamais lieu.
 * Failure teaches us that life is but a draft, an endless rehearsal of a show that will never play.
 * C'est l'angoisse du temps qui passe qui nous fait tant parler du temps qu'il fait.
 * It is the fear of time (french: "temps") going by, that make one speak so much about today's weather (french "temps").
 * In the English subtitles, this was translated as "We pass the time of day to forget how time passes."

Raymond Dufayel

 * Voilà, ma petite Amélie, vous n'avez pas des os en verre. Vous pouvez vous cogner à la vie. Si vous laissez passer cette chance, alors avec le temps, c'est votre cœur qui va devenir aussi sec et cassant que mon squelette. Alors, allez y, nom d'un chien!
 * So, little Amelie, your bones aren't made of glass. You can take life's knocks. If you let this chance go by, eventually your heart will become as dry and brittle as my skeleton. So... Go and get him, for pete's sake!

Narrator

 * In the apartment downstairs from Amélie lives Raymond Dufayel; they call him "The Glass Man." He was born with bones as brittle as crystal. All his furniture is padded. A handshake could crush his fingers. He's stayed inside for twenty years. Time has changed nothing.
 * Nino is late. Amelie can only see two explanations. 1 - he didn't get the photo. 2 - before he could assemble it, a gang of bank robbers took him hostage. The cops gave chase. They got away... but he caused a crash. When he came to, he'd lost his memory. An ex-con picked him up, mistook him for a fugitive, and shipped him to Istanbul. There he met some Afghan raiders who took him to steal some Russian warheads. But their truck hit a mine in Tajikistan. He survived, took to the hills, and became a Mujaheddin. [Increasingly angry] Amelie refuses to get upset for a guy who'll eat borscht all his life in a hat like a tea cozy.
 * In such a dead world, Amelie prefers to dream until she's old enough to leave home
 * Amelie still seeks solitude. She amuses herself with silly questions about the world below... such as, "how many couples are having an orgasm right now?"
 * [shots of several couples having an orgasm]
 * Amelie: "Fifteen!"

Other

 * Eva: Les temps sont durs pour les rêveurs.
 * Times are hard for dreamers.
 * Newsstand Woman: Une femme sans amour, c'est comme une fleur sans soleil, ça dépérit.
 * A woman without love wilts like a flower without the sun, it rots.
 * Little boy:  Quand le doigt montre le ciel, l' imbécile regarde le doigt
 * When a finger is pointing up to the sky, only a fool looks at the finger.

Dialogue

 * [Mme. Wallace is reading an old letter from her long-deceased husband.] Mme. Wallace: "When my sweet little weasel appears at the station…" Did anyone ever write you like that? Amélie: No. I'm nobody's little weasel [Je ne suis la belette de personne].

About Amélie

 * Jean-Pierre Jeunet's Amelie is a delicious pastry of a movie, a lighthearted fantasy in which a winsome heroine overcomes a sad childhood and grows up to bring cheer to the needful and joy to herself. You see it, and later when you think about it, you smile. Audrey Tautou, a fresh-faced waif who looks like she knows a secret and can't keep it, plays the title role, as a little girl who grows up starving for affection. Her father, a doctor, gives her no hugs or kisses and touches her only during checkups—which makes her heart beat so fast he thinks she is sickly. Her mother dies as the result of a successful suicide leap off the towers of Notre Dame, a statement which reveals less of the plot than you think it does.
 * Roger Ebert, “Amelie”, Rogerebert.com (November 9, 2001).

"This period is more cynical, especially in France," says Jeunet from his Parisian office. "Fifteen years ago I showed the film in Toronto and the day after the screening it was 9/11. I was stunned like everybody, and I thought – Amélie is finished in the USA. But it was the opposite. People need positive stories, they need something with joy, something light. "Just two days ago it was screening in a theatre in Paris packed full of young people. Everybody had seen the film before – only two people hadn't – but when you have something positive in a story, it's always a success because it's not easy to write a positive story without it being sugary like stupid American films."
 * The titular heroine's search for love and meaning in Montmartre made the world fall for her and the city as viewed through her eyes. Amélie, released in 2001, is one of the UK's highest-grossing foreign language films. But 15 years later, does its director Jean-Pierre Jeunet (pictured below) think he could make the film today given the tragic events the city has faced?
 * Jean-Pierre Jeunet cited by Steven MacKenzie in "Amélie director Jean-Pierre Jeunet: 'People need positive stories'", The Big Issue (March 14, 2016).

JEUNET: I tried to work outside as if I was on a stage. We modified a lot of the reality. But it was important that the film take place in the Paris of today, not in some kind of timeless dimension. For example, we changed things on the walls, got rid of graffiti, added signs. We made sure there were modern objects, ugly things in the corners of rooms. Then in postproduction, if we did not like a face in one corner, "Bye-bye people." FILMMAKER: Again, the idea of every frame like a painting. JEUNET: Yes. I hate white skies.
 * FILMMAKER: In Amélie, you are working with locations and exteriors for the first time, but the way you've manipulated the images in postproduction "interiorizes" it all in a way.
 * Jean-Pierre Jeunet, "Magnificent Obsession", Film Maker (Fall, 2001).

Jeunet: We have several strong ideas in Amélie, but the main of course is the story of someone helping other people and not wanting something in return. Amélie does that for free. It's about generosity and I think especially in this crazy world we need some positive stories. Also, everything Amélie loves – like putting her hand in the grains – these small details are touching for everybody.
 * Q: Why do you think Amélie resonates so well with audiences?
 * Jean-Pierre Jeunet in "Jean-Pierre Jeunet: "It was easy to make Amélie" by Simon Bland, The Skinny (March 9, 2016).

 * Of the rapturous reception that Amélie has garnered among fans, Jeunet remembers that "when I was writing it, I was thinking 'who will be interested in this bullshit?'" but, "at the end of the film, we could feel something, it was special, there was something in the air, a buzz, you know?" Many fans feel a deep connection to the character, which he says is, "a dream for every director, every creator. Because you make something so personal and it becomes a huge success, it was a perfect win." Jeunet says that "it's difficult to understand, but there is something about generosity, Amélie doesn’t want anything in return, and I think that is one of the secrets, and it speaks about the little pleasures in life." He also attributes the post-9/11 release in the U.S. to the way in which audiences wanted to connect to a film like this.
 * Katie Walsh, "Interview: Jean-Pierre Jeunet Talks Amélie, Creative Freedom On Alien: Resurrection, Harvey Weinstein, And Much More", Indie Wire, (December 18, 2015).

Cast

 * Audrey Tautou — Amélie Poulain
 * Mathieu Kassovitz — Nino Quincampoix
 * Rufus — Raphaël Poulain, Amélie's Father
 * Yolande Moreau — Madeleine Wallace, the Concierge
 * Arthus de Penguern — Hipolito, the Writer
 * Urbain Cancelier — Collignon, the Grocer
 * Jamel Debbouze — Lucien
 * Serge Merlin — Raymond Dufayel

title: Amélie


text:
User talk:On the hill

Hey, how can I add a accent to a movie title?

Headline text

 * How do I add an accent mark to words? -- On the hill 03:20, 10 Dec 2004

Sorry for the delay in responding. I've been having Internet connection troubles. Based on your different phrasing of this question on your and my Talk pages, I assume you're interested both in how to insert accented characters and how to create an article whose title includes such characters.

First, there are two basic ways in Wikidom to add accented characters to text. The "proper" way is to use Unicode special characters (e.g., &eacute; for é). You can find lists of these character labels in many places, including WebReference's HTML Character Reference. Just start the character name with an ampersand (&) and end it with a semicolon. This is supposed to work with all modern browsers and avoids character encoding problems with non-Windows and/or non-English computers, but some very old browsers don't handle this too well.

The other way, if you're using a Microsoft Windows computer, is to insert the accented character either through the keyboard (which I don't have time to explain at the moment) or by using the Character Map utility (go to Start->Run, enter "charmap", select the character you want, and press copy to get it in your clipboard; then paste it into place in the Wiki page.) This is not the preferred way, but is in common use.

As far as creating articles with accented characters in the titles goes, you can do it the same way you'd create any article referenced in another page. For your cited interest in films, you can go to List of films, add the title (e.g., Amélie) to it, and then click on the resulting red link. This will bring up an edit page for that article title.

Incidentally, I noticed that you seemed to be asking this question precisely because of Amélie (which happened to be the first relevant film I thought of — one of my favorite foreign films). I went ahead and moved the Amelie quote page to Amélie, corrected the accent mark in the text, and added it to List of films. Amelie is now a redirect to the actual article (always a good idea when dealing with accent marks). — Jeff Q 19:44, 15 Dec 2004 (UTC)

title: User talk:On the hill


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User talk:219.82.149.199

This IP has been blocked from editing at Wikiquote because it has been used by a persistent vandal to post unwanted commercial advertisements here. Wikiquote is a non-profit, non-commercial, public service site, not a place for gratuitous advertising. If you are not this vandal, you can notify your Internet service provider of this activity, so that this violation of ethical standards, internet etiquette, and in some places the legal statutes can be addressed by the proper authorities. If you are this vandal and this behavior persists much longer, notifications can be sent to the contacts available to the Internet service providers at the "HangZhou City Netcom Info Port Co" and complaints to abuse@chinahcn.com. If this behavior ends, no notice will be sent to any ISP by me, and after a period of two weeks these notices that have been posted here will be removed. ~ Kalki

title: User talk:219.82.149.199


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User talk:219.134.99.206

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title: User talk:219.134.99.206


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Morrissey

Steven Patrick Morrissey (born 22 May 1959), known usually by his family name alone, is an English singer and songwriter, and was the frontman for The Smiths.

From songs

 * It's so easy to laugh, it's so easy to hate, it takes strength to be gentle and kind.
 * from the 1986 song "I Know It's Over", co-written with Johnny Marr.

 * And if a double-decker bus crashes into us, to die by your side is such a heavenly way to die. And if a ten ton truck kills the both of us, to die by your side, the pleasure, the privilege is mine.
 * from the 1986 song "There Is a Light That Never Goes Out", co-written with Johnny Marr.

 * So when you say it's gonna happen now. Well when exactly do you mean? See I've already waited too long. And all my hope is gone!
 * from the 1984 song "How Soon Is Now?", co-written with Johnny Marr.

 * I've been dreaming of a time when The English are sick to death of Labour and Tories And spit upon the name Oliver Cromwell and denounce this royal line that still salutes him And will salute him forever.
 * from the 2004 song , co-written with

 * Why pamper life's complexity when the leather runs smooth on the passenger's seat?
 * from the 1984 song "This Charming Man", co-written with Johnny Marr.

 * In my life Why do I smile At people who I'd much rather kick in the eye ?
 * from the 1984 song "Heaven Knows I'm Miserable Now", co-written with Johnny Marr.

 * I decree today that life is simply taking and not giving, England is mine and it owes me a living
 * from the song "Still Ill", co-written with Johnny Marr.

 * You shut your mouth, How can you say I go about things the wrong way? I am human and I need to be loved Just like everybody else does
 * from the song "How Soon Is Now?", co-written with Johnny Marr.

 * There's a club if you'd like to go, you could meet somebody who really loves you, so you go and you stand on your own, and you leave on your own, and you go home and you cry and you want to die
 * from the song "How Soon Is Now?", co-written with Johnny Marr.

 * Hand in glove, the good people laugh, yes we may be hidden by rags, But we've something they'll never have
 * from the song "Hand In Glove", co-written with Johnny Marr.

 * There's more to life than books you know, but not much more
 * from the song "Handsome Devil", co-written with Johnny Marr.

 * Oh, the alcoholic afternoons when we sat in your room they meant more to me than any, than any living thing on earth
 * From the song "These Things Take Time", co-written with Johnny Marr.

 * I'm here with the cause, I'm holding the torch In the corner of your room- can you hear me? And when you're dancing and laughing, and finally living, Hear my voice in your head and think of me kindly.
 * From the song "Rubber Ring", co-written with Johnny Marr.

 * Most people keep their brains between their legs
 * From the song "Such a Little Thing Makes Such a Big Difference", co-written with

 * But sometimes I'd feel more fulfilled making Christmas cards with the mentally ill. I want to live and I want to love. I want to catch something that I might be ashamed of.
 * From the song "Frankly Mr. Shankly", co-written with Johnny Marr.

 * And when I'm lying in my bed, I think about life and I think about death. And neither one particularly appeals to me.
 * From the song "Nowhere Fast", co-written with Johnny Marr.

 * Does the body rule the mind or does the mind rule the body? I dunno...
 * From the song , co-written with Johnny Marr.

 * And now I know how Joan of Arc felt Now I know how Joan of Arc felt As the flames rose to her And her  started to melt
 * Variation in : "And her IPod started to melt."
 * ,  (1986), co-written with Johnny Marr.

 * As Anthony said to Cleopatra as he opened a crate of ale: "Oh, I say, some girls are bigger than others, Some girls' mothers are bigger than other girls' mothers.
 * From the song , co-written with Johnny Marr.

 * There is no such thing in life as normal
 * From the song "The Youngest Was the Most Loved" co-written with.

 * So I broke into the palace, with a sponge and a rusty spanner She said "eh, I know you and you cannot sing" I said "that's nothing you should hear me play piano"
 * From the song  , co-written with Johnny Marr.

 * And you're standing on our streets where Hector was the first of the gang with a gun in his hand and the first to do time The first of the gang to die / oh my
 * From the 2002 song , co-written with

 * And you even spoke to me, and said : "If you're so funny Then why are you on your own tonight ? And if you're so clever Then why are you on your own tonight ? If you're so very entertaining Then why are you on your own tonight ? If you're so very good-looking Why do you sleep alone tonight ? I know... 'Cause tonight is just like any other night That's why you're on your own tonight With your triumphs and your charms While they're in each other's arms..."
 * From the 1986 song "I Know It's Over"

 * Last night I dreamt That somebody loved me No hope, no harm Just another false alarm Last night I felt Real arms around me No hope, no harm Just another false alarm So, tell me how long Before the last one? And tell me how long Before the right one? The story is old - I know But it goes on The story is old - I know But it goes on Oh, goes on And on Oh, goes on And on
 * From the 1987 song '', co-written with Johnny Marr.

 * I wear black on the outside 'Cause black is how I feel on the inside
 * From the 1987 song Unloveable, co-written with Johnny Marr.

Autobiography

 * London: Penguin Classics, 2013. On Google Books.

 * It was probably nothing, but it felt like the world.

 * You either approve of violence or you don't, and nothing on earth is more violent or extreme than the meat industry.

 * The British judiciary continues to label animal protectionists as 'extremists', whilst being unable to consider the Holocaust carnage inside every abattoir to be extreme.

 * The brain speculates but the heart knows.

 * Nobody can possibly be so hungry that they need to take a life in order to feel satisfied – they don't after all, take a human life, so why take the life of an animal? Both are conscious beings with the same determination to survive. It is habit, and laziness and nothing else.

 * I shake like a ship in a storm. It is a fact that even warming moments overwhelm me with despair, and this is why I am I.

About interviews

 * I say a lot of things I don’t mean.
 * interview by Andrew Harrison, Word Magazine (June 2003)

 * I think the main thing is that I very rarely recognise the actual interview in print. To me, it's like being painted by an artist. And then you see the picture, and they've painted someone else.
 * From Oor magazine (February 1987)

About himself and his work

 * I don't perform. Seals perform.
 * From an interview with Russell Brand in December 2006, also quoted in the March 2007 issue of Uncut.

 * Well, I think when I was a child, more than anything else I wanted not to be ordinary. And I wanted to be considered to be a bit peculiar. When I was at school I wanted to be peculiar and I was delighted when I was at secondary school and I was actually thought to be peculiar (laughs). It was fantastically good for me because I looked around me and I thought, 'Well, however you are I don't want to be like you, so if you think I'm unbalanced then I'm delighted.' That really stayed with me.
 * From "Morrissey speaks to NME", interview by Alex Needham, NME (17 April 2004).

 * I normally live in Los Angeles, if you can call it normal living.
 * From the TV documentary The Importance of Being Morrissey (2003); also quoted in "Return of the lone stranger" by Mark Simpson in Guardian Unlimited (31 May 2003)

 * That's why I do this music business thing, it's communication with people without having the extreme inconvenience of actually phoning anybody up.
 * From the TV documentary The Importance of Being Morrissey (2003)

 * Not everybody is absolutely stupid. Why on earth would I be racist, what would I be trying to achieve?
 * From the TV documentary The Importance of Being Morrissey (2003)

 * I left my fingerprints somewhere - that's good enough. I am my own person - that's good enough. I stand my ground - that's good enough.
 * From the TV documentary The Importance of Being Morrissey (2003)

 * JU: Are you thin still? M: Um, in a crowd, yes. In a crowd of very heavy people.
 * From "LA Confidential", interview by Jaan Uhelszki, Mojo (April 2001)

 * Lots of people make the stage and it can seem very violent and over the top, but it's not really. It's always a kind of gentle ballet.
 * From "LA Confidential", interview by Jaan Uhelszki, Mojo (April 2001)

 * I never enjoyed life in my twenties, not one minute of it. It was a test of endurance that I'm surprised I survived. Professionally, of course, I was doing very well but personally it couldn't have been worse or more difficult for me if I'd been living in a mud hut in Leeds.
 * from an interview with Q magazine (1995)

 * I was quite advanced when I was at school, and when I left school it seemed that all these really oafish clods from school were making tremendous progress and had wonderfully large cars and lots of money, and I seemed to be constantly waiting for a bus that never came.
 * from "Oxford Road Show", BBC2 (March 1985)

 * DK: How often does the seriousness end and the irony begin in your work? M: Many times. I have a grand and endless capacity to find myself slightly ridiculous. I'm not pretending to be some wallowing prophet, for heaven's sake. I think we all have to sit down and look in the mirror and think, What is that absurd monstrosity?
 * from "Homme alone 2" by David Keeps, Details (December 1992)

 * I know I've reached the stage where other artists would bleach their hair or buy a fancy costume, but, inexcusably, I can only be me, which is a full-time occupation and causes terrible backaches.
 * From "I’ll astonish you", interview by Len Brown, Details (March 1991).

 * M: If you cannot impress people simply by being part of the great fat human race, then you really do have to develop other skills. And if you don't impress people by the way you look, then you really do have to develop other skills. And if you are now going to ask is everything I did just a way to gain some form of attention, well that's not entirely true. It is in a small way, but that's in the very nature of being alive. PM: Wanting to be loved? M: To be seen, above all else. I wanted to be noticed, and the way I lived and do live has a desperate neurosis about it because of that. All humans need a degree of attention. Some people get it at the right time, when they are 13 or 14, people get loved at the right stages. If this doesn't happen, if the love isn't there, you can quite easily just fade away. … In a sense I always felt that being troubled as a teenager was par for the course. I wasn't sure that I was dramatically unique. I knew other people who were at the time desperate and suicidal. They despised life and detested all other living people. In a way that made me feel a little bit secure. Because I thought, well, maybe I'm not so intense after all. Of course, I was. I despised practically everything about human life, which does limit one's weekend activities
 * From "Wilde child", interview by Paul Morley, Blitz (April 1988).

 * PM: What annoys you most about yourself? M: Practically everything. I miss not being able to stand up straight. I tend to slide into rooms and sit on the chair behind the door.
 * From "Wilde child", interview by Paul Morley, Blitz (April 1988).

 * I think I'm a realist. Which people who don't like me consider to be pessimism. It isn't pessimism at all. If I was a pessimist I wouldn't get up, I wouldn't shave, I wouldn't watch Batman at 7:30 a.m. Pessimists just don't do that sort of thing.
 * from "Stop me if you've heard this one before", interview by Len Brown in NME (20 February 1988)

 * I once bought a Manchester United hat, which I think was 12 shillings, and somebody ran up behind me and pulled it off and just ran ahead. I thought, 'It's a very cruel world, I'm not prepared for this'. And I decided to get my revenge on society.
 * from "Stop me if you've heard this one before", interview by Len Brown in NME (2h February 1988)

 * When The Smiths began it was very important that I wouldn't be that horrible, stupid, sloppy Steven. He would have to be locked in a box and put on top of the wardrobe. l needed to feel differently and rather than adopt some glamorous pop star name, I eradicated Steven which seemed to make perfect sense. Suddenly I was a totally different person. Now when I meet pre-Smith people who call me Steven, I sit there and wonder who they're talking about. I always despised the name Steven, though being spelt with a 'v' rather than a 'ph' made life slightly more tolerable. But it was very important that Steven be drowned nonetheless.
 * from an interview by Elissa Van Poznak in The Face (1984)

 * I think if I'd led an acceptably frivolous teenage life I wouldn't be singing in this group. I'm sure if you have a great time and get everything you want, all the friends you want, then you tend not to be so ambitious. If you're deprived of certain things it makes you very resilient and you kick very hard for what you want. And I wanted something very special because I'd led such an unspecial life previous to the Smiths.
 * From "Keep young and beautiful", interview by Bill Black, Sounds (19 November 1983).

About The Smiths

 * GQ: “Who’ll be the first of the Smiths to die?” M: “Me. I’ll be shot – probably by one of the ex-Smiths.”
 * From an interview by Adrian Deevoy in GQ, October 2005, p. 278

 * GQ: “Were you in love with Johnny Marr?” M: “Sexually? Absolutely not. There was a love and it was mutual and equal but it wasn’t physical or sexual. There are lots of people post-Smiths who would like to make some dramatic homosexual story. There never was one. It’s often said that Johnny rescued me but he was also bobbing about in his own lifeboat.”
 * From an interview by Adrian Deevoy in GQ, October 2005, p. 278

About pop culture

 * Music that is in the charts today is quite dreadful. I find it a great honour that I have never been considered for awards, such as NME etc. It is a personal victory. All awards shows should be banned!
 * Speaking on Radio 2 in 2009

 * (About Pop Idols) Obviously, it's designed by record company executives who want a cheap success, and they don't want to give money to anybody and they don't want to give contracts, so they've created this world of very bubbly teenagers who want to be "idols" and they think all they have to do is mime quite well and they've made it. … But it's not the problem of the kids, it's the problem of the record companies, because it's just an inexpensive way for them to have so-called, I won't say "artists", but erm...You're nodding, you know what I mean.
 * From a radio interview with Janice Long (2002)

 * I listen to the radio now that we seem to be on it quite a lot, but before that, I didn't really listen a great deal. I gave up for a while. But other groups... without really trying to sound terribly down on modern music, much of it really doesn't affect me a great deal. It seems tragically tidy, and everybody has their little safety nets and their little life rafts, and once people seem to get a hit they seem to just dilute the formula constantly and there's no risk involved, and it's really so desperately tidy, that... I want to change things. But I don't want to imply that The Smiths are a high-risk situation anyway, of course they're not. They're immediately listenable. But it just needs somebody with some heart and some brain. I think popular music needs brains at the moment.
 * From a radio interview with David Jensen in 1983

 * It (synthesizers and drum machines) has contributed greatly (to an 'antiseptic' sound). And the fact is, when I look back on the last few years I really can't remember that much of the music, such is its lasting effect. I think it's instantly forgettable and it horrifies me in many respects. It's so sterile and non-human. I don't understand why people play non-human music. It really mystifies me when we're human beings. It's strange. I hate it.
 * From a radio interview with David Jensen in 1983

 * Well, the problem I've had with all the interviews I've had in America - I had meetings with about nine labels - and they all say to me "Will your new songs fit in with what is popular and what is in the chart?" And I say "Good God, I hope not!"
 * From a radio interview with Janice Long (2002)

 * I think that when you make a record, an album, it has to be a discovery for the person listening to it, so you don't want to pat everything out and say "this was that, this is definite, that's how it happened and that's what you should feel and that's what you should like or dislike". It's personal discovery."
 * From an interview with Russell Brand in 2009

About life and death

 * Well, I think the way you feel as a teenager stays with you, forever. I really believe that. And we try to change and we hope that we change, but we don't really in big ways, in serious ways. I think the personality is formed at that time, for the good and for the bad. … We all want to grow up and move on and appear to be different to people. And we want people to see us in a different way. But, I don't know, I think the personality is very, very strongly cemented, and we just bear whatever shortcomings we have and learn to live with it.
 * From a radio interview by Jed the fish (1997)

 * MS: Have you ever turned to religion? M: At no time. I am a seriously lapsed Catholic. It was at the usual time, 10, 11, 12, after being forced to go to church and never understanding why and never enjoying it, seeing so many negative things, and realising it somehow wasn't for me. I can only have faith in things I see. I could never be converted to Buddhism.
 * From The soft touch", interview by Mat Snow, Q (December 1989)

 * I'm bereft of spiritual solutions. I do believe that there has to be a better world, but that's rather simple. I'm quite obsessed with death. I've gone through periods of intense envy for people who've died. Yes, I have a dramatic unswayable unavoidable obsession with death. I can remember being obsessed with it from the age of eight and I often wondered whether it was quite a natural inbuilt emotion for people who're destined to take their own lives, that they recognise it and begin to study it. If there was a magical beautiful pill that one could take that would retire you from this world, I think I would take it and I suppose that's the extremity of the obsessiveness.
 * from "Stop me if you've heard this one before", interview by Len Brown in NME (20 February 1988)

 * I could never really make the connection between Christian and Catholic. I always imagined that Christ would look down upon the Catholic church and totally disassociate himself from it. I went to severe schools, working class schools, where they would almost chop your fingers off for your own good, and if you missed church on Sunday and went to school on a Monday and they quizzed you on it, you'd be sent to the gallows. It was like 'Brush you teeth NOW or you will DIE IN HELL and you will ROT and all these SNAKES will EAT you'. And I remember all these religious figures, statues, which used to petrify every living child. All these snakes trodden underfoot and blood everywhere. I thought it was so morbid. I mean the very idea of just going to church anyway is really quite absurd. I always felt that it was really like the police, certainly in this country at any rate, just there to keep the working classes humble and in their place. Because of course nobody else but the working class pays any attention to it. I really feel quite sick when I see the Pope giving long, overblown, inflated lectures on nuclear weapons and then having tea with Margaret Thatcher. To me it's total hypocrisy. And when I hear the Pope completely condemning working class women for having abortions and condemning nobody else... to me the whole thing is entirely class ridden, it's just really to keep the working classes in perpetual fear and feeling total guilt.
 * from "All men have secrets and these are Morrissey’s", interview by Neil McCormick,Hot Press (4 May 1984)

 * Age shouldn't affect you. It's just like the size of your shoes - they don't determine how you live your life! You're either marvellous or you're boring, regardless of your age.
 * from "The cradle snatchers", article by Frank Worrall, Melody Maker (3 September 1983)

 * The reports of my death have been greatly understated.
 * from "Message from Morrissey," True To You (31 January 2013). Twist on a quote by Mark Twain.

 * If I die, then I die. And if I don’t, then I don’t. Right now I feel good. I am aware that in some of my recent photos I look somewhat unhealthy, but that’s what illness can do. I’m not going to worry about that, I’ll rest when I’m dead.
 * from an interview for El Mundo (2014), regarding the announcement of Morrissey's cancer diagnosis

About politics and society

 * Actually I despise royalty. I always have done. It's fairy story nonsense. The very idea of their existence in these days when people are dying daily because they don't have enough money to operate one's radiator in the house, to me is immoral. As far as I can see, money spent on royalty is money burnt. I've never met anyone who supports royalty, and believe me I've searched. Okay, so there's some deaf and elderly pensioner in Hartlepool who has pictures of Prince Edward pinned on the toilet seat, but I know streams of people who can't wait to get rid of them. It's a false devotion anyway. I think it's fascist and very, very cruel. To me there's something dramatically ugly about a person who can wear a dress for £6,000 when at the same time there are people who can't afford to eat. When she puts on that dress for £6,000 the statement she is making to the nation is: "I am the fantastically gifted royalty, and you are the snivelling peasants." The very idea that people would be interested in the facts about this dress is massively insulting to the human race.
 * from "This Charming Man", interview by Simon Garfield, Timeout March 1985

 * TW: I must ask you, what right does the fact that you are a popular and successful popstar give you to comment on political and… M: Well, I feel that, if popular singers don’t say these things, who does? We can’t have any faith in playwrights any more, we can’t have any faith in filmstars, young people don’t care about those things, they’re dying arts. And if you say, what ‘right’ do you have, the implication there to me is that popular music is quite a low art, it should be hidden, it can be there but let’s not say anything terribly important, let’s just make disco records or whatever. So I really feel that we do have an obligation and I know that people respect it and they want it and it’s working to great effect.
 * from "Granada Reports", interview by Tony Wilson, Granada TV February 1985

 * I am unable to watch the Olympics due to the blustering jingoism that drenches the event. Has England ever been quite so foul with patriotism? The "dazzling royals" have, quite naturally, hi-jacked the Olympics for their own empirical needs, and no oppositional voice is allowed in the free press. It is lethal to witness. As London is suddenly promoted as a super-wealth brand, the England outside London shivers beneath cutbacks, tight circumstances and economic disasters. Meanwhile the British media present 24-hour coverage of the "dazzling royals", laughing as they lavishly spend, as if such coverage is certain to make British society feel fully whole. In 2012, the British public is evidently assumed to be undersized pigmies, scarcely able to formulate thought. As I recently drove through Greece I noticed repeated graffiti seemingly everywhere on every available wall. In large blue letters it said WAKE UP WAKE UP. It could almost have been written with the British public in mind, because although the spirit of 1939 Germany now pervades throughout media-brand Britain, the 2013 grotesque inevitability of Lord and Lady Beckham (with Sir Jamie Horrible close at heel) is, believe me, a fate worse than life. WAKE UP WAKE UP.
 * from a statement on the website 'True To You' 2012

 * The modern Loony Left seem to forget that Hitler was Left wing!
 * from an interview to John Riggers (www.morrisseycentral.com) — April 16, 2018

 * That’s the key to modern Britain … only the mentally castrated are eligible for praise and awards. It’s against the law to be intelligent! The dumb have inherited the earth. Because of this, British arts are controlled by completely limited possibilities, and the same faces appear everywhere.
 * CULTURE Pop Icon Morrissey Says Diversity is Not a Strength, June 24 2019

 * I didn’t vote in the referendum [Brexit] although I can see how there is absolutely nothing attractive about the EU. My view has always been that the result of the referendum must be carried through. If the vote had been remain there would be absolutely no question that we would remain. In the interest of true democracy, you cannot argue against the wish of the people. Without the people, nobody in high office gets paid.
 * CULTURE Pop Icon Morrissey Says Diversity is Not a Strength, June 24 2019

About gender

 * It's hard to be a man. It's made to be hard and I don't know why. I think it's easier to be a woman. The women's movement has been so successful; the men's movement has never been accepted. I think it's not wanted. I think the expectation that men be stoic and strong is so enormous that finally they decide that this is the attractive way to be. There's more to life than being macho - such an ugly word - which is something that I realized at the age of one.
 * from "Homme alone" by David Keeps, Details (December 1992)

About race

 * Interviewer: do you think people are innately racist? Morrissey: Yes. I don't want to sound horrible or pessimistic but I don't really think, for instance, black people and white people will ever really get on or like each other. I don't really think they ever will. The French will never like English. The English will never like the French. That tunnel will collapse.
 * Interview with Q Magazine, 1992.

About love

 * When you’re a teenager and in your early twenties it seems desperately eternal and excruciatingly painful. Whereas as you grow older you realise that most things are excruciatingly painful and that is the human condition. Most of us continue to survive because we’re convinced that somewhere along the line, with grit and determination and perseverance, we will end up in some magical union with somebody. It’s a fallacy, of course, but it’s a form of religion. You have to believe. There is a light that never goes out and it’s called hope.
 * from "I've always felt like an exile" by Andrew Billen in The Times (30th May 2006)

 * TF: At which point did you stop being celibate, why and who with? M: I don't see how anyone would benefit from seeing that kind of information in print. Least of all me.
 * From "The Face Q&A", The Face (November 1999).

 * When you're young, you're afraid of being alone. Solitude is a burden and you try to escape from it. You always wonder when it's going to come to an end. Sometimes you can't get rid of it. At the age of 38, you use it in a different way. You've learned how to live with it, and you don't try to get rid of it by all means anymore. After all you may call this resignation, but I don't think it's harmful. You're not just standing there, in pain, asking yourself 'Why am I alone? Why don't I go out?' etc. You don't ask yourself these questions anymore. You adapt yourself. Living alone does not mean living in nothingness.
 * From "My gilded prison", interview by J. C. Panek, L'Indic magazine (November 1997).

 * M: I don't have relationships at all. It's out of the question. NK: Why? M: Partly because I was always attracted to men or women who were never attracted to me. And I was never attracted to women or men who were attracted to me. So that's the problem. I've never met the right person.
 * From "The deep end", interview by Nick Kent, The Face (March 1990).

About vegetarianism and animals

 * (Eating meat) is really on the same moral level as child abuse. It’s the same thing. Animals are like children, they look to us for protection. We should protect them. I really feel quite smug about mad cow disease and foot and mouth and so forth, and I just think ‘Well, what do you expect? People have been saying it for years.'
 * From the TV documentary The Importance of Being Morrissey (2003)

 * I think animals need all the help they can get, because they have none. They have no rights. They have no protection. And so I think animals need help. And I think animals look to humans for protection, and of course humans lead them into slaughterhouses, which to me is just like an image of leading children into a slaughterhouse. There’s no difference. That level of trust and… But it’s a very cruel world.
 * From a Norwegian TV interview (2002)

About other artists

 * Because he (Elton John) is pushing his face in all the time, and telling us about his private life. Nobody's interested, he's incredibly rich, he should just go away, and he's just hoisting his problems onto everybody and working them out publicly and...I've said enough.
 * From an radio interview with Janice Long (2002)

 * Strangely, I liked them (the Sex Pistols) until they made records. I saw them quite a few times before they actually made records. And when they did, it just became... suddenly punk had this enormous scope and was everywhere. Obviously it lost everything. And looking back, I don't really have that much affection for the whole punk thing. It really didn't mean so much to me at all. But of course, I would rather it have been there than not.
 * From a radio interview with David Jensen (1983)

 * But, ultimately, I don't have very cast iron opinions on black music other than black modern music which I detest. I detest Stevie Wonder. I think Diana Ross is awful. I hate all those records in the Top 40 - Janet Jackson, Whitney Houston. I think they're vile in the extreme. In essence this music doesn't say anything whatsoever.
 * From "Home thoughts from abroad", article by Frank Owen, Melody Maker (27 Sep 1986)

Sexuality

 * "I don't recognise such terms as heterosexual, homosexual, bisexual, and I think it's important that there's someone in pop music who's like that. These words do a great deal of damage, they confuse people and they make people feel unhappy, so I want to do away with them."

About the Notre Dame fire

 * Let’s be realistic … it’s arson. Everybody knows that. You can judge it by the speed by which the corporate media rushed to call it an accident even though the fire had just started and no one was in any position to know anything. Brainwashing! It’s a bit like hearing the full reason behind a plane crash even though the plane has yet to hit the ocean.
 * The Interview, June 24 2019, morrisseycentral.com

Odds and ends

 * Jools Holland: "Knock Knock!" Morrissey: "I'm not in!" Jools: "Oh, come on." Morrissey: "I refuse to open the door."
 * On Later With Jools Holland (21 May 2004)

 * DK: Have you ever been to a rave? M: Rave is the refuge for the mentally deficient. It's made by dull people for dull people.
 * from "Homme alone 2" by David Keeps, Details (December 1992)

 * CH: Have you told many fibs today? M: I lie a lot - it's really useful - but everything I've said today has been the whole truth and nothing but the truth. So help me... er... Trevor...
 * Interview by Chris Heath, Star Hits (1987)

 * Cleavage Sister: "What do you feel about erotic art?" Morrissey:"I don't know much about rotting art?" Cleavage Sister: "What about erotic music?" Morrissey:"I know a great deal about rotting music."
 * Interview at a concert (RPLA - whose singer James Maker is a friend of Morrissey)

In concert

 * I can't believe I'm 29. Where did the years go? Why did the years go?
 * From Who Put The 'M' In Manchester? (2004)

 * It's the nicest birthday I've ever had. You've made a happy man very old.
 * From Who Put The 'M' In Manchester? (2004)

 * I find Christmas very difficult
 * Morrissey's reply to a fan's question "What do you think of Christmas?" at Earl's Court 18th December 2004

 * I'll try to sing as fast as I can, I know you all can't wait to see U2.
 * Glastonbury Festival, 2011

 * Hello you little charmers... We're The Smiths...
 * The Smiths, live at the Hacienda (1983)

 * I have so much pride and love for the songs of The Smiths. However, I must ask you, if you come across any Smiths CDs, don't buy them, because all the money goes to that wretched drummer.
 * Live at Edinburgh, (2008)

 * I suppose you have work tomorrow? That's quite sad, really.
 * live in Claremont, California (1997)

 * I can smell burning flesh … and I hope to God it's human.
 * "… midway through his performance, he was overcome with fumes from the backstage barbecue." - Tim Jonze Guardian. Live at Coachella festival, California (2009)

Music industry

 * Noel Gallagher: "I used to piss myself laughing out loud on a bus going into town to buy the NME when he was on the cover and there was an interview. Laugh out loud, fucking side-splitting. His lyrics are incredible. I've seen him live a few times. He's one of the best. I've seen him live recently, last year in Australia, and he's still one of the best."

 * Johnny Marr: "The truth of it is, I absolutely encouraged and backed up everything that Morrissey did and was really, really happy to do so. All his words, everything he said in the press. When we cancelled gigs, I backed him up to the hilt."

 * Jeremy Vine: "He took all the things that pop music's about, which is being sun-tanned and handsome and getting all the girls and he reversed them."

 * David Cameron: "I'm sure that when Morrissey finds that he's getting an endorsement from the leader of the Conservative Party, he will think "heaven know's I'm miserable now". I'm a big fan, I'm afraid. Sorry about that."

title: Morrissey


text:
John Romero

Alfonso John Romero (born October 28, 1967) is an American director, designer, programmer, and developer in the video game industry. He is best known as a co-founder of id Software and designer for many of their games, including Wolfenstein 3D, Dangerous Dave, Hexen, Doom, Doom II and Quake. His game designs and development tools, along with new programming techniques created and implemented by id Software's lead programmer John D. Carmack, led to a mass popularization of the first-person shooter, or FPS, in the 1990s.

Quotes

 * It has to be well timed. It needs to have the right components that maybe contain emerging technologies or something like, say, when Doom came out -- the Network play -- there weren't many games like that. There was a really great 3D world that a lot of people hadn't seen. It was light-years ahead of Wolfenstein. It was shareware, so it had Internet distribution. We used the Internet to get it all over the place. So it used a lot of stuff that was just becoming popular at that time. id just capitalized on it.
 * In response to the question, "What makes a classic game?" (quoted from Romero's own webpage)

 * Doom 2 is just such a bigger, badder, better version of Doom
 *

Ads

 * Design is Law
 * Ion Storm website and ad phrase.

 * John Romero's About to Make You His Bitch.

 * Suck it Down.
 * Quotes from the ads for Daikatana three years before it came out. Written by advertiser Mike Wilson. Source: Gamespy

title: John Romero