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Talk:Glen Quagmire

I would creat this article, but I'm a wikipedia contributor and I don't know the desired layout of wikiquote articles for nonfictional characters. The quotes list from 'Pedia for Glen Quagmire is getting pretty long and I thought it would be better to drop it off here: Insert non-formatted text here

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

title: Talk:Glen Quagmire


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User talk:68.39.68.183

Awful 'quotes'. Do not add these, please.

title: User talk:68.39.68.183


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John Cleese

John Marwood Cleese (born 27 October 1939) is an English comedian and actor best known for being one of the members of the comedy group Monty Python and for co-writing the TV series Fawlty Towers in which he played Basil Fawlty.

Quotes

 * Four hundred years ago, we would have been burnt for this film. Now, I'm suggesting that we've made an advance.
 * Defending the film Life of Brian on BBC chat show Friday Night Saturday Morning (9 November 1979)

 * If I like chocolate it won't surprise you that I have a few chocolates in my fridge, but if you find out I've got 16 warehouses full of chocolate, you'd think I was insane. All these rich guys are insane, obsessive compulsive twits obsessed with money — money is all they think about — they're all nuts.
 * On Fresh Air with Terry Gross, promoting Fierce Creatures, which Cleese says is a satire about Rupert Murdoch's greed. (1997)

 * Basil Fawlty was an easy character for me. For some reason, portraying a mean, uptight, incompetent bully comes naturally to me.
 * On Fresh Air with Terry Gross (1997)

 * If I had not gone into Monty Python, I probably would have stuck to my original plan to graduate and become a chartered accountant, perhaps a barrister lawyer, and gotten a nice house in the suburbs, with a nice wife and kids, and gotten a country club membership, and then I would have killed myself.
 * On Fresh Air with Terry Gross (1997)

 * He who laughs most, learns best.
 * As quoted in Creating Emotionally Safe Schools: A Guide for Educators and Parents (2001) by Jane Bluestein, p. 215

 * I'm struck by how laughter connects you with people. It's almost impossible to maintain any kind of distance or any sense of social hierarchy when you're just howling with laughter. Laughter is a force for democracy.
 * From The Human Face, BBC Television (2001)

 * If you want creative workers, give them enough time to play.
 * As quoted in Best New Games (2002) by Dale N. LeFevre, p. 9

 * Technology frightens me to death. It's designed by engineers to impress other engineers, and they always come with instruction booklets that are written by engineers for other engineers — which is why almost no technology ever works.
 * BBC interview on Die Another Day (20 November 2002)]

 * If God did not intend for us to eat animals, then why did he make them out of meat?
 * As quoted in W.T.F.? : (What Is Wrong With Tom Faerie?) (2006) by H. M. Leathem

 * You see, you could never do a sketch like that these days. The audience is too uninformed. I blame the Americans. Nation of obese, violent, pig-ignorant, bible-thumping morons contaminating world culture. That’s why I spend most of my time here in France. … Beautiful, isn’t it? Just look at those olive trees. [Interviewer: This is Santa Barbara.]
 * From PBS series Monty Python's Personal Best: John Cleese's Personal Best (2006), playing role of senile old man.

 * My biggest regret? Not being knighted by the Queen. I should have been a knight, and I would have been knighted, if I hadn't written one horrible horrible Python sketch which I deeply deeply regret — [cue Python sketch: "Upper Class Twit of the Year"]
 * From PBS series Monty Python's Personal Best: John Cleese's Personal Best (2006), playing role of senile old man.

 * When you get to my age, and I'm 66 now, you realize that the world is a madhouse and that most people are operating in fantasy anyway. So once you realise that, it doesn't bother you much.
 * From Channel 4 documentary The Secret Life of Brian (2007)

 * Because these people are operating at a very very low level of mental health, they are incapable of understanding the teaching.
 * From Channel 4 documentary The Secret Life of Brian (2007)

 * A wonderful thing about true laughter is that it just destroys any kind of system of dividing people.
 * From an interview with The A. V. Club (2008)

 * Aping Urbanity, Oozing with Vanity Plump as a Manatee, Faking Humanity Journalistic Calamity, Intellectual Inanity Fox News Insanity, You're a profanity Hannity
 * "Ode To Sean Hannity", sent by Cleese to Keith Olbermann, and read publicly on Countdown with Keith Olbermann (8 August 2009)

 * When I was teaching, the headmaster told me "You know, the sad thing about true stupidity is that you can do absolutely nothing about it."
 * A "tweet" by John Cleese on his @JohnCleese [verified] Twitter account (4 April 2017)

 * All humans are stupid, but the smarter ones at least have a handle on their own ignorance.
 * In conversation with Matthew Syed. Matthew Syed, "When dogma beats data, reason is lost", The Sunday Times (27 September 2020), p. 21

 * History is a history of crime. It’s a history of people who were stronger beating up people who were weaker, and it’s always been that. It’s deeply, deeply distasteful. But to pretend that one lot were worse than another — you do know the British have been slaves twice, right?
 * “John Cleese Had Thoughts on Slavery at SXSW and It Was Super Cringey”, The Hollywood Reporter, James Hibberd (12 March 2022)

 * [People] get competitive about this business of being oppressed,… We were oppressed, the English, by the Romans for 400 [years], from about 0 to 400.
 * Cleese Had Thoughts on Slavery at SXSW and It Was Super Cringey”, The Hollywood Reporter, James Hibberd (12 March 2022)

 * I want reparations from Italy,… and then the Normans came over in 1066 … they were horrible people from France, and they came and colonized us for 30 years — we need reparations there too, I’m afraid.
 * “John Cleese Had Thoughts on Slavery at SXSW and It Was Super Cringey”, The Hollywood Reporter, James Hibberd (12 March 2022)

 * There's always been limitations on what they're allowed to say. Why you go to Molière and Louis XIV. I mean Molière had to be a bit careful. And there will always be limitations. I mean in England, until some ridiculous late date like 1965, all plays had to be submitted to what used to be a part of the palace called the Lord Chamberlain, and he would read it and there were hilarious letters used to go back was saying 'you may only say f--- once,' this sort of- ‘and you cannot say bugger. But you can say-' this sort of ridiculous negotiating letters.
 * “John Cleese says wokeness has a 'disastrous' impact on comedy” Fox News (20 July 2022)
 * But I think it's particularly worrying at the moment because you can only create in an atmosphere of freedom, where you're not checking everything you say critically before you move on. What you have to be able to do is to build without knowing where you're going because you've never been there before. That's what creativity is—you have to be allowed to build. And a lot of comedians now are sitting there and when they think of something, they say something like, 'Can I get away with it? I don't think so. So and so got into trouble, and he said that, oh, she said that.' You see what I mean? And that's the death of creativity. So I would say at the moment, this is a difficult time, particularly for young comedians, but you see, my audience is much older, and they're simply not interested in most of the woke attitudes. I mean, they just think that you should try and be kind to people and that's no need to complicate it, you know?
 * “John Cleese says wokeness has a 'disastrous' impact on comedy” Fox News (20 July 2022)
 * You can do the creation and then criticize it, but you can't do them at the same time. So if you're worried about offending people and constantly thinking of that, you are not going to be very creative. So I think it has a disastrous effect.
 * “John Cleese says wokeness has a 'disastrous' impact on comedy” Fox News (20 July 2022)

Quotes about John Cleese

 * Cleese, who enjoyed a fairly traditional, upper-middle-class upbringing, has dedicated his career to subverting the very same traditional British society which both molded him and projected him into the limelight. He has been enormously popular, in part because the British middle and upper class tend to enjoy that small moral relief which they experience through laughing at themselves. Christianity, nationalism and class have all come under Cleese’s satirical gaze while he continued to enjoy the fruits of the middle-class existence that he so tenaciously and profitably chipped away at. Now, like so many Boomers, he finds himself in the crumbling ruins of that same soppy-stern society, wishing that it would return, if only partially, and has begun a late-life declaration of war against political correctness, multiculturalism and the ‘loony left’ for which he is partly responsible.
 * William Guppy, Boomers: A Review, IM-1776 (September 2021)

title: John Cleese


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Wikiquote:Transwiki log

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Articles moved out of Wikiquote

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title: Wikiquote:Transwiki log


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Talk:Dutch proverbs

Missing Sayings
(Sorry if my English is bad) I am looking for a couple of Dutch sayings which are absent on this page. 1. Alles weer op een rijtje krijgen. 2. De druppel die de emmer doet overlopen. I thought i'd just mention them to contribute something to this page! ;) Thanks for reading!

Translating
The difficulty with translating proverbs is: Do you find a relevant proverb in the other language or do you provide the meaning as exactly as possible?210.49.192.179 01:10, 21 Dec 2003 (UTC)

The English Equivalent for Bossen and bomen: You/he/she cannot see the forest for the trees

Being Dutch this one was new for me: After reading the English explanation I still don't get the meaning. Erik Zachte
 * ''Wie zijn neus schendt, schendt zijn aangezicht."
 * Literal translation: "He who hurts his nose, hurts his face."
 * Meaning: "Cutting off your nose to harm your face."

 * That's because:
 * That's not the meaning, but an English alternative.
 * This saying ought to be "To cut off one's nose to spite one's face".
 * A saying rarely has the exact same meaning as a proverb, as a proverb usually comments on a state, while a saying usually comments on an action. A better English alternative would be: Don't cut your nose off to spite your face, but this is less popular than the saying.

 * Anyway, the non-literal meaning of the proverb is that harming your relatives will reflect on you as well. As can be seen from the use of "face" it's especially about reputation: Accusing a close relative will usually damage your own reputation as well.

 * In general, should this page be more strict in the difference between English (non-literal) meaning and English alternatives? Aliter 16:20, 24 Oct 2004 (UTC)

 * * Een half ei is beter dan een lege dop.

o Literal translation: "Half an egg is better than an empty shell". o Meaning: "Half a loaf is better than no bread".

The meaning of this proverb is a bit different then the meaning given here. It means: The inside matters more then the outside.

=
This page contains both proverbs and sayings. In the Dutch Wikipedia they have been separated. It is sometimes difficult to provide an exact translation from Dutch. Moreover a history behind the proverb or saying is sometimes useful. For instance: the No money, no Swiss originates from the Middle Ages when Swiss soldiers hired themselves out to fight wars. A left over from this is the Papal Swiss Guard. Adamhawk 02:57, 31 Mar 2005 (UTC)

Sorry to butt in, but the Cruyff proverb = Elk nadeel heb z'n voordeel. Which is a twist to "Elk voordeel heeft zijn nadeel" The Cruyff twist actually means to look for an advantage in a situation that seems bad. (Didn't know where else to leave this comment. Thanks for the work so far though!)

is this a traditionally Dutch one?

 * De weg naar de hel is geplaveid met goede voornemens -> it seems like a literal translation of an English one and I have never encountered it in classic Dutch works. I suggest deletion from this list. -ovvldc 08:28, 24 Jun 2005 (UTC)
 * Hmmm, if so, I would like to remove it. But before doing this, I prefer to listen to the others' opinions. On Japanese Wikiquote, I met some people who prefered to keep such "borrowed" proverbs. --Aphaia 08:32, 24 Jun 2005 (UTC)
 * On this website religious preaching people do use it, and state too that it is very old. It sounds to me (dutch) very Dutch.... and very calvinstic. And "good intentions" is not the right translation of "goede voornemens" "juist/goede intenties" is more like "good intentions", "voornemens" are things you plan to do. "Intenties" are moral plans and are mostly not something you think about and can`t be objects. 80.143.2.102 10:13, 21 July 2005 (UTC)

What does this Mean?
Een boom zonder bos is als een bos zonder bomen

Does Anyone know what the following means?

I found it on a forum by this person http://forums.jolt.co.uk/member.php?userid=520660

 * A tree without a forest is like a forest without trees 80.143.2.102 10:04, 21 July 2005 (UTC)

 * It means: You can't live without any friends ('boom zonder bos'), it's an inevitable fact of life (='bos zonder bomen'). Not commonly used though.

Van het zelfde laken een pak
Van het zelfde laken een pak Literal Translation: from the same cloth a suit English: "A chip off the old block"

it means: they are the same (2 persons), not really positive...
 * The english translation isn't right. It does not refer to children at all. It simply means "(treated) the same (way)". Kleuske (talk) 00:08, 29 August 2013 (UTC)

Just added, (confirmed)
I just added the entry Een ezel stoot zich (in 't algemeen) geen twee maal aan dezelfde steen. Could someone please check the literal translation and english meaning? My dutch is far from perfect.

Literal translation: A donkey (in general) does not bumb himself twice against the same rock.

Meaning: That was pretty stupid to make the same mistake twice.

_____________________________________________________________________________

Answer from a Dutch fellow:

Your translation is correct. By the way, the proverb is also expressed as:

een ezel in het algemeen stoot zich niet tweemaal aan dezelfde steen.

But this is nitpicking...

A regular reaction of people when this is used against them: "See, it shows I'm not a donkey..."

Not nitpicking, it doesn't rhyme without the word "algemeen" !
 * I usually hear it said like ‘(zelfs) een ezel stoot zich in 't gemeen / geen twee {maal|keer} aan dezelfde steen’, probably because it scans better than the variants already given on this page. 82.139.87.39 15:49, 26 December 2011 (UTC)

huik
Today, a huik is a sail-cover but the 1811 Weiland dictionary (available online as Google scan) gives two other meanings, one of which is a womans veil or hooded cloak. See: nl:wikt:huik nl:wikt:Gebruiker:Jcwf

 * Weiland's dictionary has been on a dialect, known as 'Nederduits' in Dutch or 'Low German' in English (written 'Nederduitsch' in his dictionary). See: http://en.wikipedia.org/wiki/Low_German Renierius (talk) 20:17, 20 October 2012 (UTC)

Dutch sayings
Does anyone have a good English equivalent of these Dutch sayings?: - baasje spelen - ja zeggen, nee doen - eigen straatje schoonvegen

 * Respectively:
 * - '(To) boss (a person) around' (Literally: 'playing boss')
 * - 'Saying one thing, doing another' ((To) do the opposite of what you said you would, or literally: 'saying yes, doing no')
 * - 'Solving your own problems first' / 'Mind your own business (first)' (Literally: 'sweeping your own street (clean)')
 * Renierius (talk) 16:07, 17 October 2012 (UTC)

 * "Eigen straatje schoonvegen" means producing a version of events which frees yourself from blame or guilt. It's advocacy on your own behalf. Typical strategies are "everybody does it", "it's true I was formally responsible but really could't have done anything about it", "he did something far worse", etc.

Meet driemaal eer gij eens snijd
The meaning of this proverb might be unclear to some,but it is actually a common saying in any language. In our family of Dutch origin, when spoken aloud in english, we said, "Measure twice and cut once." It was used often when building some project or other and someone would cut a 2x4 lumber three inches too short. You have to check your measurements twice as you can't uncut the wood.

It seems more like an expression, versus a proverb.

 * I must admit, I am not familiar with this line of work, and found some more info when I double checked:
 * This expression is mentioned in a 1870 book about Dutch proverbs, called Spreekwoordenboek der nederlandsche taal, of verzameling van nederlandsche spreekwoorden en spreekwoordelijke uitdrukkingen van vroegeren en lateren tijd by Pieter Jacob Harrebomée... so it does is an old Dutch saying.
 * There seems to be a similar English and Irish sayings: Measure thrice and cut once.
 * Also there could be a reason, why Google didn't show any/much results the first time: because this is the first time this search-term is requested. If I am not mistaken, in this case Google just doesn't give any results, because it has no search results buffered.
 * For example the search for "Meet driemaal" (see here) already give more results to the same expression.
 * It would be interesting to check in a week or so, if more search results occur... Anyway it seems fair enough to restore the entry again (as old Dutch saying). It just needs some more effort to find the exact meaning. -- Mdd (talk) 19:58, 18 February 2013 (UTC)
 * If it has the same meaning as "Measure thrice and cut once", then don't worry. :) --Spannerjam (talk) 22:03, 18 February 2013 (UTC)
 * Yes, it has very likely that it has the same meaning. Shouldn't that be listed as idiomatic translation (here) in stead of A closed mouth catches no flies? -- Mdd (talk) 22:40, 18 February 2013 (UTC)
 * Done :-) --Spannerjam (talk) 08:36, 19 February 2013 (UTC)

Attempt to treat briefly a rather gloomy subject
Being a native speaker of Dutch, I have studied this list for an hour or so, out of interest and curiosity. I must confess that apart from the efforts that must have been spent to create it, I see little merit in this list. Some of the sources are compiled one or more centuries ago, and - to put it mildly - not all of them are particularly notable. I think the spelling and syntax of forty percent of the proverbs is more than two hundred years old - and mind you: Dutch is less stable than English! At least a similar percentage of the proverbs is totally unknown to any literate native Dutch speaker with a university degree. Fatal errors are to be found everywhere, starting from the very first proverb in the list: "Aan de vruchten kent men den boom" does not mean "The apple does not fall far from the tree." (the article 'den' in "den boom" - the tree - is very oldfashioned). And so forth. For those of you who are able to read Dutch, I have treated this gloomy subject more extensively here. Theobald Tiger (talk) 21:29, 22 August 2014 (UTC)

 * Hi! Thanks for taking an interest on this page. There are custom made translations and original research meanings which I admit is a mistake on my part. I do believe people find enjoyment in the archaic proverbs, both for their curiosity and content. But I also understand your point that you would like to see proverbs used in modern everday life. I suggest to you to be be bold and make the updates you deem necessary. Spannerjam (talk) 06:27, 23 August 2014 (UTC)

 * All the proverbs were dialect in the beginning - so the more archaic, the better!--Risto hot sir (talk) 00:26, 26 July 2018 (UTC)

title: Talk:Dutch proverbs


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Brennus

Brennus (ca. 391 BC) (or Brennos) was a chieftain of the Senones. He defeated the Romans at the Battle of the Allia (18 July 390 BC). In 387 BC he led an army of Cisalpine Gauls in their attack on Rome and captured most of the city, holding it for several months. Brennus's sack of Rome was the only time the city was occupied by a non-Roman army before the fall of the city to the Goths in 410 AD.

Quotes

 * Vae Victis!
 * Latin: Woe to the Defeated
 * See Livy v. 33-49; Plutarch, Camillus, 17, 22, 28; Polybius i. 6, ii. 18; Dion. Halic. xiii. 7
 * Variant translation: Down with the defeated!
 * His statement to the conquered Romans following the capture of Rome (circa 390 BC), as quoted in Livy Ab urbe condita, bk. 5, ch. 48, section 9 (reference taken from 1997's Chambers Dictionary of Quotations, p. 187).

title: Brennus


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Kalpana Chawla

Kalpana Chawla (March 17, 1962 – February 1, 2003) was an Indian-born American astronaut and space shuttle mission specialist. She was one of seven crewmembers who died aboard Space Shuttle Columbia during mission STS-107 when the shuttle disintegrated on re-entry into the Earth's atmosphere.

Quotes

 * I would say if you have a dream, follow it.

 * There are so many people who are arguing or fighting over issues which don't have much relevance. We must all realise it is not worth it.

 * Take the time to figure out how to get there. The quickest way may not necessarily be the best. The journey matters as much as the goal.
 * "The path from dreams to success does exist. May you have the vision to find it, the courage to get on it and the perseverance to follow it." Kalpana Chawla
 * "The path from dreams to success does exist. May you have the vision to find it, the courage to get on it and the perseverance to follow it." Kalpana Chawla

Asian Week Feb. 7 - Feb 13, 2003

 * The coolest thing for me is the experience of floating and not feeling my weight. And hanging by a window just after sunset and watching the stars in the big black dome of the sky as the earth moves underneath.

 * It was starting to get dim outside, so you got to see your own reflection. And there is the Earth, and you can still see the Earth’s surface and the dark sky overhead. And I could then see my reflection in the window and in the retina of my eye the whole earth and the sky could be seen reflected. So I called all the crew members one by one and they saw it, and they said, 'oh wow'.

 * YOU ARE YOUR INTELLIGENCE.

title: Kalpana Chawla


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Talk:Donald Rumsfeld

Soviet Union
recently came across the following quote from Rumsfeld, but i can't find the source - does anyone know where it's from? it's in The Power Of Nightmares, episode 1. didn't want to add it until it could be properly cited.

''The Soviet Union has been busy. They’ve been busy in terms of their level of effort; they’ve been busy in terms of the actual weapons they ’ve been producing; they’ve been busy in terms of expanding production rates; they’ve been busy in terms of expanding their institutional capability to produce additional weapons at additional rates; they’ve been busy in terms of expanding their capability to increasingly improve the sophistication of those weapons. Year after year after year, they’ve been demonstrating that they have steadiness of purpose. They’re purposeful about what they’re doing. Now, your question is, what ought one to be doing about that?''

seems significant, as it's hauntingly similar to some of the talk about Iraq prior to the invasion in 2003.

Reverted addition of footnote formatting
The existing formatting is not optimal, but it is better than moving a mass of links to a footnote section. Links to sources generally should be provided in interlinear form, and not as footnotes. Please see Village_pump. ~ Kalki 00:00, 16 July 2008 (UTC)

Quote - Does anyone know where it's from?
I remember seeing this on TV live way back when, and it's all over the internet now, but I can't find a reliable reference to where/when he said it. If anyone knows how to reference it, Donald said with respect to the location of Osama: "He's either alive and in Afghanistan or somewhere else, or he's dead." 66.183.69.201 03:45, 9 June 2009 (UTC)

Just a thought...
It seems like most of these quotations have been chosen to portray Donald Rumsfeld in a negative light. However distasteful an individual he may be, I have a hard time believing that these quotations are entirely representative of his memorable public statements.

-- The bolding appears extremely arbitrary at the very least.

Unsourced

 * That just couldn't be any more wrong than spreading marmalade on a steaming pile of flapjacks.
 * Response to the suggestion that "your planning (or lack thereof) has created utter disaster zones in both those countries (Afghanistan and Iraq)".

 * Here in the Bush Administration, we're all grown-up enough to not let little things like Ivy League rivalries get in the way of work.

 * This war has been marked by so many lies and evasions that it is not right to have the war end with one last lie.
 * "Rumsfeld versus Rumsfeld" by James Mann, LA Times, 2006-05-03 (accessed 2006-05-05)
 * supposedly correcting Henry Kissinger's erroneously early claim that all Americans had left Vietnam, c. April 1975

 * Some have argued that the nuclear threat from Saddam Hussein is not iminent, that he is 5-7 years away from having a nuclear weapon. I would not be so certain.
 * Face the Nation

 * You may find people who will contend that patriotism is something to be a little bit embarrassed about or that honor is somewhat outdated as a notion and that concentrating on America's imperfection makes you a realist. Not so. That's the sign of a cynic. Being a cynic is easy. You can just sit back, heckle from the cheap seats, while others serve, storm beaches, build nations, meet their destinies. Idealists write history's stirring chapters; cynics read those chapters and seem not to understand. Choose to be an idealist. There have always been those who contend that what's wrong with the world is America. Don't believe it.

title: Talk:Donald Rumsfeld


text:
A Beautiful Mind (film)

A Beautiful Mind is a 2001 film about the life of John Forbes Nash, an asocial but brilliant mathematician who develops schizophrenia.

 * Directed by Ron Howard, screenplay by Akiva Goldsman, based on the book by Sylvia Nasar.

John Nash

 * There has to be a mathematical explanation for how bad your tie is.
 * Find a truly original idea. It is the only way I will ever distinguish myself. It is the only way I will ever…matter.
 * Classes will dull your mind, destroy the potential for authentic creativity.
 * I find you very attractive. Your aggressive moves towards me indicates that you feel the same way. However, ritual requires that we engage in a number of platonic activities before we have sex. I am proceeding with those activities when, in point of actual fact, all I really want to do is have intercourse with you as soon as possible. You going to slap me now?
 * There's no point in being nuts if you can't have a little fun.
 * [In his Nobel acceptance speech] I've always believed in numbers and the equations and logics that lead to reason. But after a lifetime of such pursuits, I ask: 'What truly is logic?' 'Who decides reason?' My quest has taken me through the physical, the metaphysical, the delusional…and back. And I have made the most important discovery of my career, the most important discovery of my life: It is only in the mysterious equations of love that any logic or reasons can be found. [Looking at Alicia] I'm only here tonight because of you. You're the only reason I am…you are all my reasons.
 * Perhaps it is good to have a beautiful mind, but an even greater gift is to discover a beautiful heart.

Others

 * Helinger: Mathematicians won the war. Mathematicians broke the Japanese codes, and built the A-bomb. Mathematicians … like you. The stated goal of the Soviets is global Communism. In medicine or economics, in technology or space, battle lines are being drawn. To triumph, we need results. Publishable, applicable results. Now, who among you will be the next Morse? The next Einstein? Who among you will be the vanguard of democracy, freedom, and discovery? Today, we bequeath America's future into your able hands. Welcome to Princeton, gentlemen.
 * Dr. Rosen: Imagine if you suddenly learned that the people, the places, the moments most important to you were not gone, not dead, but worse, had never been. What kind of hell would that be?
 * Dr. Rosen: [to Alicia] John has schizophrenia, people with this disease are often paranoid.

Dialogue

 * Woman: Maybe you want to buy me a drink.
 * John: I don't exactly know what I'm required to say in order for you to have intercourse with me, but could we assume that I said all that? I mean, essentially we're talking about fluid exchange, right? So, could we just go straight to the sex?

 * [John has been in the library for two days]
 * Charles: You've been in here for two days.
 * John: You know Hansen's just published another paper? I can't even find a topic for my doctorate.
 * Charles: Well, on the bright side, you've invented window art.
 * John: [points] This is a group playing touch football. This is a cluster of pigeons fighting over bread crumbs. And this here is a woman who is chasing a man who stole her purse.
 * Charles: John, you watched a mugging. That's weird.
 * John: In competitive behavior, someone always loses.
 * Charles: Well, my niece knows that, John, and she's about this high.
 * John: See, if I derive an equilibrium where prevalence is a non-singular event where nobody loses, can you imagine the effect that would have on conflict scenarios, arm negotiations …
 * Charles: When did you last eat?
 * John: … currency exchange?
 * Charles: When did you last eat? You know, food.
 * John: You have no respect for cognitive reverie, you know that?
 * Charles: Yes. But pizza – now, pizza I have enormous respect for. And of course beer.
 * [He leaves]
 * John: [throws stuff down and follows] I have respect for beer. [shouts] I have respect for beer!

 * John: I can't fail. This is all I am.
 * Charles: Come on, let's go out. I got to get something done. John!
 * John: - I can't keep staring into space.
 * Charles: -John, enough!
 * John: Got to face the wall, follow their rules, read their books
 * Charles: You want to do some damage? Fine
 * Charles: Come on! Go on, bust your head! Kill yourself. Go do it. Don't mess around. Bust your head! Go on, bust that worthless head wide open.
 * John: Goddamn it, Charles!

 * Hansen: Recall the lessons of Adam Smith, the father of modern economics. "In competition …"
 * Everybody: "… individual ambition serves the common good."
 * John: Adam Smith needs revision.
 * Hansen: What are you talking about?
 * John: Adam Smith said the best result comes from everyone in the group doing what's best for himself. Right? That's what he said, right?
 * Hansen: Right.
 * John: Incomplete. Incomplete, okay? Because the best result will come from everyone in the group doing what's best for himself … and the group.
 * Hansen: Nash, if this is some way for you to get the blonde on your own, you can go to hell.
 * John: Governing dynamics, gentlemen. Governing dynamics. Adam Smith...he was wrong.

 * [John bangs his head against the window pane, cutting his forehead]
 * Charles: Jesus Christ, John.
 * John: I can't fail. This is all I am.
 * Charles: Come on, let's go out.
 * John: I got to get something done.
 * Charles: John!
 * John: I can't keep staring into space.
 * Charles: John, that's enough!
 * John: Got to face the wall, follow their rules, read their books …
 * Charles: You want to do some damage, fine! But don't mess around!
 * John: … do their classes.
 * Charles: Come on! Go on, bust your head! Kill yourself. Don't do it. Don't mess around. Bust your head! Go on, bust that worthless head wide open!
 * John: Goddamn it, Charles! What the hell is your problem?!
 * Charles: It's not my problem. And it's not your problem. It's their problem. Your answer isn't face the wall. It's out there, where you've been working.

 * John: You knew Oppenheimer?
 * Parcher: His project was under my supervision.
 * John: Which project? … That project.
 * Parcher: It's not that simple.
 * John: Well, you ended the war.
 * Parcher: We incinerated over a hundred thousand people.
 * John: Well, great deeds come at great costs.
 * Parcher: Well, conviction, it turns out, is a luxury of those on the sidelines, Mr. Nash.
 * John: I'll try and keep that in mind.

 * Colonel: General, this is Wheeler team leader Dr. John Nash.
 * General: Glad you could come, Doctor.
 * John Nash: Hello.
 * General: Right this way.
 * General: We've been intercepting radio transmissions from Moscow.
 * General: The computer can't detect a pattern, but I'm sure it's code.
 * John Nash: Why is that, General?
 * General: Ever just know something, Dr. Nash?
 * John Nash: Constantly.

 * Charles: God, that's wonderful! There's no accounting for taste, is there?
 * John: Should I marry her?
 * Charles: Oh, Gosh.. Right.
 * John: I mean, everything's going well. The job is fine, I have enough money
 * Charles: It all seems to add up, doesn't it John?
 * John: ... but how do you know for sure?
 * Charles: Nothing's ever for sure, John. That's the only sure thing I do know.

 * Alicia: How big is the universe?
 * John: Infinite.
 * Alicia: How do you know?
 * John: I know because all the data indicates it's infinite.
 * Alicia: But it hasn't been proven yet.
 * John: No.
 * Alicia: You haven't seen it.
 * John: No.
 * Alicia: How do you know for sure?
 * John: I don't, I just believe it.
 * Alicia: It's the same with love, I guess.

 * John: Have you met Harvey? [points to the empty seat Sol is about to sit in]
 * Sol: [startled, and worried] John, there's no...
 * John: Relax, it's okay. There's no point in being nuts if you can't have a little fun.
 * Sol: Jesus Christ. I should have known...

 * Dr. Rosen: You can't reason your way out of this!
 * John: Why not? Why can't I?
 * Dr. Rosen: Because your mind is where your problem is in the first place!

 * Alicia: You want to know what's real? This. This. This. This is real. Maybe the part... that knows the waking from the dream, maybe it isn't here.
 * John: Maybe it's here.

 * Parcher: Is this what you are, soldier? Some useless ghoul? The local madman?
 * John: I'm not a soldier.
 * Parcher: You're gonna end up in a cell! Old, worthless, discarded.
 * John: There's no mission.
 * Parcher: And while you rock and drool, the world will burn to ashes!
 * John: You are not real! You are not real!
 * Parcher: You're still talking to me, soldier!
 * John: There's no mission! I'm not a soldier!
 * [Hansen rushes to John's side]
 * Hansen: John? John? John, John, John, John. Hey, hey, hey. John, John! It's okay. I just heard what happened, I'm sorry. John--
 * John: I'm not a soldier.
 * Hansen: John. Hey, Nash. Nash, hey. Hey, you're all right.
 * [John walks off]
 * Parcher: Ladies and gentlemen, the great John Nash!

Cast

 * Russell Crowe – John Forbes Nash
 * Ed Harris – William Parcher
 * Jennifer Connelly – Alicia Larde Nash
 * Christopher Plummer – Dr. Rosen
 * Paul Bettany – Charles Herman
 * Josh Lucas – Martin Hansen

Taglines

 * The Only Thing Greater Than the Power of the Mind Is the Courage of the Heart
 * He Saw the World in a Way No One Could Have Imagined.
 * I need to believe that something extraordinary is possible …
 * It is only in the mysterious equation of love that any logical reasons can be found.

title: A Beautiful Mind (film)


text:
Orson Welles

George Orson Welles (May 6, 1915 – October 10, 1985) was an American actor, director, writer and producer who worked in theater, radio and film. He is best remembered for his innovative work in all three media: in theatre, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar; in radio, the 1938 broadcast "The War of the Worlds", one of the most famous in the history of radio; and in film, Citizen Kane (1941), consistently ranked as one of the all-time greatest films.

 * See also: Category:Orson Welles films, The War of the Worlds (radio drama)

Quotes

 * This is Orson Welles, ladies and gentlemen, out of character, to assure you that The War of the Worlds has no further significance than as the holiday offering it was intended to be; The Mercury Theatre's own radio version of dressing up in a sheet and jumping out of a bush and saying "Boo!" Starting now, we couldn't soap all your windows and steal all your garden gates by tomorrow night, so we did the next best thing. We annihilated the world before your very ears and utterly destroyed the CBS. You will be relieved, I hope, to learn that we didn't mean it, and that both institutions are still open for business. So goodbye everybody, and remember please for the next day or so the terrible lesson you learned tonight. That grinning, glowing, globular invader of your living room is an inhabitant of the pumpkin patch, and if your doorbell rings and nobody's there, that was no Martian, it's Halloween.
 * The on-air statement he gave at the end of "The War of the Worlds" broadcast (October 30, 1938).

 * Take myself as a good-will ambassador. I'm great — I'm taking myself as a character — for the intellectuals and the man on the street. I'm great where Douglas Fairbanks, Jr. leaves off. I'm not so good with high society, in either North or South America, because I'm highly unconventional. Perhaps I bewilder people by being at once the esthete, the intellectual and the vulgarian.
 * Quoted by Chan Norris, "Orson Welles on Latin America". PM (September 13, 1942), p. 17.

 * I have only one real enemy in my life that I know about, and that is John Houseman. Everything begins and ends with that hostility behind the mandarin benevolence.
 * Quoted by Richard Meryman in Mank: The Wit, World, and Life of Herman Mankiewicz. New York: Morrow, 1978, p. 255.

 * If you want a happy ending, that depends, of course, on where you stop your story.
 * From the published screenplay for "The Big Brass Ring" (Santa Barbara, Calif.: Santa Teresa Press, 1987)

 * In Italy, for thirty years under the Borgias, they had warfare, terror, murder and bloodshed - they produced Michelangelo, Leonardo Da Vinci and the Renaissance. In Switzerland, they had brotherly love and five hundred years of democracy and peace, and what did they produce? The cuckoo clock!
 * Lines attributed to Welles as the character Harry Lime in the film The Third Man (1949).

 * A story doesn't have to appeal to the heart; it can also appeal to the spine. Sometimes you want your heart to be warmed, and sometimes you want your spine to tingle.
 * Introduction to the September 2, 1942 Suspense broadcast of Lucille Fletcher's radio play "The Hitch-Hiker".

 * He [Welles] was an onlooker at the clumsy, poignant suicide of "The Man on the Ledge," which took place in New York in 1938, when a boy perched for fourteen hours on a window-sill of the Gotham Hotel before plunging into the street. "I stood in the crowd outside for a long time," Welles says pensively, "and wanted to make a film of it all. But they tell me that in the Hollywood version of the film they gave the boy a reason for what he did. That's crazy. It's the crowd that needs explaining."
 * Kenneth Tynan, "Orson Welles," from Persona Grata (1953); later printed in Profiles (1990) [ISBN 0-06-096557-6], page 66.

 * A long-playing full shot is what always separates the men from the boys. Anybody can make movies with a pair of scissors and a two-inch lens.
 * Quoted by Peter Bogdanovich, from the DVD audio commentary on The Lady from Shanghai (1947).

 * I have always been more interested in experiment, than in accomplishment.
 * I don't take art as seriously as politics.
 * I suppose you are a fool to do it [express a political view as an artist], but if you happen to be more interested in the political question, than the size of your audience, then it doesn't matter.
 * I don't regard my career as something so precious that it comes before my convictions.
 * in an interview with Bernie Braden in Paris (1960), viewable here.

 * The ideal American type is perfectly expressed by the Protestant, individualist, anti-conformist, and this is the type that is in the process of disappearing. In reality there are few left.
 * Quoted in an interview from Hollywood Voices, ed. Andrew Sarris (1971).

 * I try to be a Christian...I don't pray really, because I don't want to bore God.
 * Quoted in interview by Merv Griffin, from Frank Brady, Citizen Welles: A Biography of Orson Welles, Charles Scribner's Sons: New York, NY (1989), page 576.

 * This theatre is your theatre. You are responsible for its creation and its progress.
 * |at the bottom of an original program for the 1936 WPA presentation of Voodoo MacBeth.

 * An audience is not so much a complement to an actor's ego, as a challenge to his capacities.
 * Welles, speaking in an episode of Orson Welles Sketch-book

 * Even if I’d stayed [in the US to finish The Magnificent Ambersons I would’ve had to make compromises on the editing, but these would’ve been mine and not the fruit of confused and often semi-hysterical committees. If I had been there myself I would have found my own solutions and saved the pictures in a form which would have carried the stamp of my own effort.
 * In conversation with Peter Bogdanovich in This is Orson Welles.

 * I think I made essentially a mistake in staying in movies but it’s a mistake I can’t regret because it’s like saying I shouldn't have stayed married to that woman but I did because I love her. I would have been more successful if I hadn't been married to her, you know. I would have been more successful if I'd left movies immediately, stayed in the theatre, gone into politics, written, anything. I've wasted a greater part of my life looking for money and trying to get along, trying to make my work from this terribly expensive paintbox which is a movie. And I've spent too much energy on things that have nothing to do with making a movie. It's about two percent movie-making and ninety-eight percent hustling. It's no way to spend a life.
 * Interview with Leslie Megahey for The Orson Welles Story (1982); transcribed in Mark Estrin's Orson Welles: Interviews. Jackson. Mississippi: University Press of Mississippi, 2002, page 209.

 * Hollywood is Hollywood. There’s nothing you can say about it that isn’t true, good or bad. And if you get into it, you have no right to be bitter — you’re the one who sat down, and joined the game.
 * Quoted in The Orson Welles Story.

 * The people who’ve done well within the [Hollywood] system are the people whose instincts, whose desires [are in natural alignement with those of the producers] — who want to make the kind of movies that producers want to produce. People who don’t succeed — people who’ve had long, bad times; like [Jean] Renoir, for example, who I think was the best director, ever — are the people who didn’t want to make the kind of pictures that producers want to make. Producers didn’t want to make a Renoir picture, even if it was a success.
 * Quoted in The Orson Welles Story.

 * One should make movies innocently — the way Adam and Eve named the animals, their first day in the garden. ... Learn from your own interior vision of things, as if there had never been a D.W. Griffith, or a Eisenstein, or a [John] Ford, or a [Jean] Renoir, or anybody.
 * Quoted in The Orson Welles Story.

 * As for my style, for my vision of the cinema, editing is not simply one aspect; it's the aspect.
 * Mitry, Jean; King, Christopher. The Aesthetics and Psychology of the Cinema (1999). Indiana University Press. [ISBN 0-253-21377-0], p. 176.

 * Thank you, Donald, for that well-meant but rather pedestrian introduction. Regarding yourself, I quote from the third part of Shakespeare's Henry VI, Act Two, Scene One. Richard speaks, "Were thy heart as hard as steel/ As thou hast shown it flinty by thy deeds/ I come to pierce it, or to give thee mine." To translate into your own idiom, Donald; you're a yo-yo. Now I direct my remarks to Dean Martin, who is being honored here tonight...for reasons that completely elude me. No, I'm not being fair to Dean because - this is true - in his way Dean, and I know him very well, has the soul of a poet. I'm told that in his most famous song Dean authored a lyric which is so romantic, so touching that it will be enjoyed by generations of lovers until the end of time. Let's share it together. [Opens a songsheet for Dean's "That's Amore" and reads in a monotone] "When the moon hits your eye/ Like a big pizza-pie/ That's amore" Now, that's what I call 'touching', Dean. It has all the romanticism of a Ty-D-Bol commercial. "When the world seems to shine/ Like you've had too much wine/ That's amore" What a profound thought. It could be inscribed forever on a cocktail napkin. Hey, there's more. "Tippy-tippy-tay/ Like a gay tarantella" Like a gay tarantella? Apparently, Dean has a 'side Dean' we know nothing about. "When the stars make you drool/ Just like a pasta fazool .... Scuzza me, but you see/ Back in old Napoli/ That's amore" No, Dean; that's infermo, Italian for "sickened". Now, lyrics like that - lyrics like that ought to be issued with a warning: a song like that is hazardous to your health. Ladies and gentlemen...[motions to Dean] you are looking at the end result!
 * Speech given at a Dean Martin Celebrity Roast. Viewable here.

 * My father once told me that the art of receiving a compliment is, of all things, the sign of a civilized man. He died soon afterwards, leaving my education in this important matter sadly incomplete; I'm only glad that, on this, the occasion of the rarest compliment he ever could have dreamed of, that he isn't here to see his son so publicly at a loss. In receiving a compliment, or in trying to, the words are all worn out by now. They're polluted by ham and corn. And, when you try to scratch around for some new ones, it's just an exercise in empty cleverness. What I feel this evening, is not very clever. it's the very opposite of emptiness. The corny old phrase is the only one I know to say it: my heart is full; with a full heart, with all of it, I thank you. This is Samuel Johnson, on the subject of what he calls contrarieties: "there are goods, so opposed that we cannot seize both, and, in trying, fail to seize either. Flatter not yourself, he says, with contrarieties. Of the blessings set before you, make your choice. No man can, at the same time, fill his cup from the source, and from the mouth of the nile." For this business of contrarieties has to do with us. With you, who are paying me this compliment, and for me, who has strayed so far from this hometown of ours. Not that I am alone in this, or unique, I am never that; but there are a few of us left in this conglomerated world of us who still trudge stubbornly along this lonely rocky road; and this is in fact our contrariety. We don't move nearly as fast as our cousins on the freeway; we don't even get as much accomplished just as the family sized farm can't possibly raise as many crops or get as much profit as the agricultural factory of today. What we do come up with has no special right to call itself better it's just.. different. No if there's any excuse for us it all, it's that we're simply following the old American tradition of the maverick, and we are a vanishing breed. This honor I can only accept in the name of all the mavericks. And also, as a tribute to the generosity of all the rest of you; to the givers, to the ones with fixed addresses. A maverick may go his own way but he doesn't think that it's the only way, or ever claim that it's the best one, except maybe for himself. And don't imagine that this raggle-taggle gypsy-o is claiming to be free. It's just that some of the necessities to which I am a slave are different from yours. As a director, for instance, I pay myself out of my acting jobs. I use my own work to subsidize my work (in other words I'm crazy). But not crazy enough to pretend to be free. But it's a fact that many of the films you've seen tonight could never have been made otherwise. Or, if otherwise, well, they might have been better, but certainly they wouldn't have been mine. The truth is I don't believe that this great evening would ever have brightened my life if it wasn't for this: my own, particular, contrariety. Let us raise our cups, then, standing as some of us do on opposite ends of the river, to what really matters to us all: to our crazy, beloved profession, to the movies — to good movies, to every possible kind.
 * Speech given upon his acceptance of the AFI Lifetime Achievement award. Viewable []

 * Don't let Ted Turner deface my movie with his crayons
 * Near death request to filmmaker Henry Jaglom on the Film colorization controversy.

 * I'm not a walking extra in a Chekhov play; I'm no Slavic gloom or Irish gloom. I mark only the happy hours, like the sundial, because otherwise I would have gone nuts. To quote from my script for The Dreamers, never expect justice in the world. That is not part of God's plan. Everybody thinks that if they don't get it, they're some kind of odd man out. And it's not true. Nobody gets justice — people get good luck or bad luck.
 * Quoted by Barbara Leaming, "Orson Welles: The Unfulfilled Promise". The New York Times (July 14, 1985).

 * Just breathe at the end of the line or on the punctuation. If you lose that, and lose the iambic pentameter, you'll lose all the sense of what you're saying. And if you do breathe, you'll find that Shakespeare's verse is like a surfboard.
 * Keith Baxter interviewed by Geoff Andrew for the British Film Institute (on the only piece of direction Welles ever gave him)

 * Race hate isn't human nature; race hate is the abandonment of human nature.
 * Quoted from a commentary aired on 8/11/1946 https://www.youtube.com/watch?v=FqKEb4h6jec&list=PLfJteNATGDXI7G5xF1K3GtAbB-VkRIpia&index=3
 * Orson Welles, "Race hate must be outlawed" (an editorial), Free World (July, 1944).

 * Ignorance, there is no authority in the world like it.
 * The Dick Cavett Show, May 14, 1970

The Findus Foods "Frozen Peas" Session Out-Takes

 * That doesn't make any sense. Sorry. There's no known way of saying an English sentence in which you begin a sentence with "in" and emphasize it. Get me a jury and show me how you can say "In July" and I'll go down on you. That's just idiotic, if you'll forgive me for saying so. It's just stupid... "In July"; I'd love to know how you emphasize "In" in "In July". Impossible! Meaningless!

 * You don't know what I'm up against. Because it's full of, of, of things that are only correct because they're grammatical, but they're tough on the ear, you see. This is a very wearying one. It's unpleasant to read. Unrewarding. "Because Findus freeze the cod at sea, and then add a crumb-crisp" Ooh, "crumb-crisp coating." Ahh, that's tough, "crumb-crisp coating." I think, no, because of the way it's written, you need to break it up, because it's not, it's not as conversationally written.

 * "We know a little place in the American Far West, where Charlie Briggs chops up the finest prairie-fed beef and tastes..." (pauses, and continues with a note of disgust in his voice) This is a lot of shit, you know that! You want one more? One more on the beef?

 * But you can't emphasize "beef", that's like his wanting me to emphasize "in" before "July"! Come on, fellows, you're losing your heads! I wouldn't direct any living actor like this in Shakespeare! The way you do this, it's impossible!

 * The right reading for this is the one I'm giving.

 * I spend... twenty times more for you people than any other commercial I've ever made. You are such pests! Now what is it you want? In your... depths of your ignorance, what is it you want? Whatever it is you want, I can't deliver, 'cause I just don't see it.

 * It isn't worth it. No money is worth this... [walks out].

Disputed quotes

 * Men created civilization only to impress their girl friends
 * Attributed to Welles in Ebony magazine (August 1977).

Quotes about Welles

 * Orson Welles? What are they?
 * John Barrymore, when asked by a radio interviewer what he thought of his old friend (about one week prior to portraying Cassius to Welles' in a scene from Shakespeare's Julius Caesar, performed live on Rudy Vallée's radio program); as quoted in "Hedda Hopper's Hollywood: Orson in Wonderland," Los Angeles Times (December 14, 1940)

 * Orson Welles is a giant with the face of a child, a tree filled with birds and shadows, a dog who has broken loose and gone to sleep in the flower bed. An active loafer, a wise madman, a solitary surrounded by humanity, a student who sleeps during the lesson. A strategy: pretending to be drunk to be simply left alone. Seemingly better than anyone else, he can use a nonchalant attitude of real strength, apparently drifting but guided by a half-opened eye. This attitude of an abandoned hulk, and that of a sleepy bear, protects him from the cold fever of the motion picture world. An attitude which made him move on, made him leave Hollywood, and carried him to other lands and other horizons.
 * Jean Cocteau, sketch contributed to the program for Welles’ The Blessed and the Damned, an evening of two one-act plays that opened in Paris in 1950; reproduced in "Jean Cocteau's Poem for Orson Welles," Dangerous Minds (April 21, 2017)

 * Orson Welles is a poet through his violence and through his grace. Never does he tumble from the tightrope on which he crosses cities and their dramas. [...] His handshake is as firm as he is and I think of it each time my work obliges me to leap over an obstacle.
 * Jean Cocteau, Le requiem (1962) by Cocteau; reproduced in its entirety in "Jean Cocteau's Poem for Orson Welles," Dangerous Minds (April 21, 2017)

 * "He came into bloom too early." "He never could top it." Top what?! His first production on the stage in New York was a black Macbeth in Harlem that set the early evening traffic of Manhattan moving one way — north — for as long as the Federal Theatre Project chose to run the play. He topped this with probably the most stylish French farce ever seen west of the Champs Élysées, and the topping for this was a production of Dr. Faustus that led to the opening of his own theatre, the Mercury, with a production of Julius Caesar so vigorous, so contemporary that it set Broadway on its ear. But luckily, only one ear, for with the other it was listening and running scared with the rest of the country while O. Welles, in a Madison Avenue radio studio, was reading his adaptation of H. G. Wells's account of the Martian invasion of Earth.
 * Joseph Cotten in Vanity Will Get You Somewhere (1987).

 * Orson Welles hails a cab like God and tips like a Jesuit.
 * Jackie Gleason, attributed by him to an unnamed cab driver; as quoted in "And Away He Goes... On a Concorde SST" by Tom Shales, in The Washington Post (May 28, 1976).

 * So one night we're in the Stork Club and Welles is asking me to recite things from Shakespeare. You know, he asks for a speech and I give it to him. But he tried to trip me up.I said, "Wait a minute, pal, that isn't Shakespeare, that's Aeschylus," and then I recited the lines. He turns to me and says, "You're the Great One."
 * Jackie Gleason, as quoted in "And Away He Goes..."

 * Orson revealed his surprising capacity for collaboration. For all the mass of his own ego, he was able to apprehend other people’s weakness and strength and to make creative use of them: he had a shrewd instinctive sense of when to bully or charm, when to be kind or savage…’
 * John Houseman in Run-Through (1972).

 * Those of us who were close to Orson had long been aware of the obsessive part his father used to play in his life. Much of what he had accomplished so precociously had been done out of a furious need to prove himself in the eys of a man who was no longer there to see it. Now that success had come, in quantities and of a kind that his father had never dreamed of, this conflict, far from being assuaged, seemed to grow more intense and consuming.
 * John Houseman in Run-Through (1972).

 * Like Barrymore and Laughton and Brando, he seemed to be developing an obsession with false noses, false faces. He had once, at least, played a role in his own face, Harry Lime in The Third Man, a role he had written for himself; [B]y the sixties he was encased in make-up and his own fat, like an huge operatic version of W.C. Fields.
 * Pauline Kael, Kiss Kiss Bang Bang (1970); reproduced in The Age of Movies: Selected Writings of Pauline Kael (2011); quoted in The Filmgoer's Book of Quotes (1978) by Leslie Halliwell, p. 281

 * I never would have amounted to anything in the theatre if it hadn't been for Orson Welles. The way I looked at acting, it was interesting and it was certainly better than going hungry. But I didn't have a serious approach to it until … I bumped into Orson Welles. He was putting on a Federal Theatre production of Macbeth with Negro players and, somehow, I won the part of Banquo. He rehearsed us for six solid months, but when the play finally went on before an audience, it was right — and it was a wonderful sensation, knowing it was right. Suddenly, the theatre became important to me. I had a respect for it, for what it could say. I had the ambition — I caught it from Orson Welles — to work like mad and be a convincing actor. Later, when Native Son came up, he was the stage director. He was the one who gave me the part, and the one who rehearsed me in it for five weeks. If I'm an actor today, it's because of what he did for me, and I'd sort of like people to know it.
 * Canada Lee "Actor credits Orson Welles for training". Los Angeles Tribune, November 15, 1943.

 * Orson Welles was far on the way to a theater that would relish poetry and give it the excitement and physical life it is ready to give. His Caesar and Faustus were landmarks of a generation. We need to go on from this lost theater; it remembered many things while it was doing many things.
 * Muriel Rukeyser The Life of Poetry (1949)

Disputed quotes

 * There, but for the grace of God, goes God.
 * This is often attributed Herman J. Mankiewicz, who is supposed to have said it of Welles while he was directing Citizen Kane, but it has also been reported as a remark Winston Churchill made regarding Stafford Cripps, and in either case, this is ultimately a play on the English proverb "There, but for the grace of God, go I" which originates in a remark by John Bradford: "There, but for the grace of God, goes John Bradford."

title: Orson Welles


text:
User talk:Michael~enwikiquote

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title: User talk:Michael~enwikiquote


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User:BoNoMoJo

Please leave comments for me at my talk page on Wikipedia.

title: User:BoNoMoJo


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Susan McClary

Susan McClary (born 2 October 1946) is a musicologist considered to be a significant figure in the "New Musicology". She is the author of Feminine Endings and Conventional Wisdom.

Quotes

 * "Most people have music in the center of their lives. I believe my work sheds light on how music affects us and why it is so influential." from http://web.archive.org/20030225083736/www.ucla.edu/spotlight/archive/html_2001_2002/fac0502_mcclalry.html

 * "Rather than protecting music as a sublimely meaningless activity that has managed to escape social signification, I insist on treating it as a medium that participates in social formation by influencing the ways we perceive our feelings, our bodies, our desires, our very subjectivities - even if it does so surreptitiously, without most of us knowning how. It is too important a cultural force to be shrouded by mystified notions of Romantic transcendence."
 * "Constructions of Subjectivity in Schubert's Music", Queering the Pitch: The New Gay and Lesbian Musicology (1994), ISBN 0415907527

 * "Tonality itself - with its process of instilling expectations and subsequently withholding promised fulfillment until climax - is the principal musical means during the period from 1600 to 1900 for arousing and channeling desire."
 * McClary, Susan (1991). Feminine Endings: Music, Gender, and Sexuality. Minnesota: University of Minnesota Press. ISBN 0816618984.

 * "The point of recapitulation in the first movement of Beethoven's Ninth Symphony unleashes one of the most horrifyingly violent episodes in the history of music....The point is not to hold up Beethoven as exceptionally monstrous. The Ninth Symphony is probably our most compelling articulation in music of the contradictory impulses that have organized patriarchal culture since the Enlightenment. Moreover, within the parameters of his own musical compositions, he may be heard as enacting a critique of narrative obligations that is...devestating."
 * McClary, Susan (1991). Feminine Endings: Music, Gender, and Sexuality, p. 128-129. Minnesota: University of Minnesota Press. ISBN 0816618984.

 * "If I tend to reread the European past in my own Postmodern image, if I frequently write about Bach and Beethoven in the same ways in which I discuss the Artist Formerly Known as Prince and John Zorn, it is not to denigrate the canon but rather to show the power of music all throughout its history as a signifying practice. For this is how culture always works—always grounded in codes and social contracts, always open to fusions, extensions, transformations. To me, music never seems so trivial as in its 'purely musical' readings. If there was at one time a rationale for adopting such an intellectual position, that time has long since past. And if the belief in the nineteenth-century notion of aesthetic autonomy continues to be an issue when we study cultural history, it can no longer be privileged as somehow true."
 * McClary, Susan (2000), Conventional Wisdom: The Content of Musical Form, p. 186–169. Berkeley: University of California Press. ISBN 0520232089

title: Susan McClary


text:
Tupac Shakur

Tupac Amaru Shakur (June 16, 1971 – September 13, 1996) was an American rapper and actor. He was also step-nephew of Black power activist Assata Shakur.

1990s

 * Accept no substitutes; I bring truth to the youth.
 * "Holla If Ya Hear Me" (1993).
 * We all gonna die, we bleed from similar veins
 * TUPAC SHAKUR QUOTES (2020)

2Pacalypse Now (November 12, 1991)

 * Tired of being trapped in this vicious cycle If one more cop harasses me I just might go psycho And when I get ‘em, I’ll hit ’em with the bum rush Only a lunatic would like to see his skull crushed Yo, if you’re smart you’ll really let me go, G But keep me cooped up in this ghetto and catch the Uzi They got me trapped.
 * Trapped, (September 25, 1991)

About 2Pacalypse Now

 * A few weeks after the song’s release, what was a fictionalized story became very real. On October 17, Tupac was crossing the street in downtown Oakland, California, when police officers Alexander Boyovich and Kevin Rodgers stopped him. They accused him of jaywalking and asked to see his ID. In the police report, they referred to Tupac by his middle name, Amaru, and called him angry and hostile. They said Tupac told them, “This is just two white cops who want to stop a n-.” A month later at a press conference, Tupac told his side of the story. As he was preparing to enter Union Bank, the officers approached him. Tupac asked why they were requesting to see his ID. He accused them of having a slave-master mentality before allegedly being thrown onto the concrete, cuffed, and choked until he was left unconscious. He was put in jail for seven hours for resisting arrest and later released.
 * Alec Banks, “The Oakland Police Lawsuit, the Gangsta Rap Defense, & Chokeholds”, Rockthebells.com

 * In July 1993, a jury convicted Howard of capital murder and sentenced him to death. The next day, Linda Sue Davidson moved forward with a lawsuit against 2Pac, Time Warner, and Interscope Records. She didn’t believe that 2Pacalypse Now merited First Amendment protection, alleging that the music was obscene, contained what she called “fighting words,” defamed officers like her husband, and incited imminent illegal conduct in individuals like Howard. More specifically, 2Pac’s music ultimately led to her husband’s demise. “Our goal is to punish Time Warner and wake up the executives who run the music business,” said Jim Cole, the attorney representing Linda Sue Davidson. “This suit isn’t just about some storyteller spouting militant rhetoric here. 2Pac is dangerously serious. This suit is about stopping giant corporations from shamelessly making money off music designed to incite impressionable young men to shoot and kill cops like Bill.”
 * Alec Banks, “The Oakland Police Lawsuit, the Gangsta Rap Defense, & Chokeholds”, Rockthebells.com

 * On March 28, 1997, Judge John D. Rainey, who presided over the libel suit Linda Sue Davidson brought against 2Pac, concluded: “2Pacalypse Now is both disgusting and offensive. That the album has sold hundreds of thousands of copies is an indication of society’s aesthetic and moral decay. However, the First Amendment became part of the Constitution because the Crown sought to suppress the Framers’ own rebellious, sometimes violent views. Thus, although the Court cannot recommend 2Pacalypse Now to anyone, it will not strip Shakur’s free speech rights based on the evidence presented by the Davidsons.”
 * Alec Banks, “The Oakland Police Lawsuit, the Gangsta Rap Defense, & Chokeholds”, Rockthebells.com

 * Vice President Dan Quayle, broadening his attack on Hollywood, Tuesday blasted the recording industry for producing rap music that he said had led to violence. Quayle called on the Time Warner Inc. subsidiary, Interscope Records, to withdraw the album “2pacalypse Now” by rap artist Tupac Amaru Shakur from stores. Quayle charged that the record was responsible for the death of a Texas state trooper, who was shot to death in April by a suspect who allegedly was listening to the album on the tape deck of a stolen truck when he was stopped by the officer.
 * Broder, John (September 23, 1992). "Quayle Calls for Pulling Rap Album Tied to Murder Case". Articles.latimes.com.

 * The trooper’s family has filed a civil suit against Shakur and Interscope, claiming the record’s violence-laden lyrics incite “imminent lawless action.” One of the album’s songs, “Soulja’s Story,” speaks of “blasting” a police officer and “droppin’ the cop” after a traffic stop. Quayle likened the album to rapper Ice-T’s notorious “Cop Killer,” which Time Warner Inc. pulled off the market this summer. “Once again we’re faced with an irresponsible corporate act,” Quayle said in Houston after he spoke with the late trooper’s daughter, Kimberly Davidson. “There is absolutely no reason for a record like this to be published by a responsible corporation.”
 * Broder, John (September 23, 1992). "Quayle Calls for Pulling Rap Album Tied to Murder Case". Articles.latimes.com.

 * In all my years of defending inner-city clients I have never introduced music before as a mitigating circumstance in a murder case. But I do believe it applies in this case. Without the music riling him up, I do not think that this incident would have occurred.
 * Al Tanner as quoted by Alec Banks, “The Oakland Police Lawsuit, the Gangsta Rap Defense, & Chokeholds”, Rockthebells.com

Malcolm X Grassroots Movement, Atlanta (1992)

 * First, I wanna say 'peace' to my mother. She's not here but I gotta give a 'peace out' to her because I wouldn't be here if it wasn't for my mother.

 * It's not going to stop until "we" stop it. And it's not just white man that's doing this to Brenda. It's not just white man that's keeping us trapped. It's "black." And we have to find the new African in everybody... But before we can be African, we gotta be black first.

 * What I want you to take seriously is what we have to do for the youth.

 * You grew up, we grew up B.C. Before crack. That's just saying it all. You understand? You don't have parents... You have young kids, fourteen, coming home and their mama is smoking out, going to their best friend to get the product.

 * It's not just about you taking care of "your" child. It's about you taking care of these children.

 * First, I want to say peace to my mother. She's not here, but I've got to give a 'peace out' to her, because I wouldn't be here if it wasn't for my mother. And, I look in the front of this thing and it says 'start from within to rebuild our original greatness.' Right? Okay, well that's what my mother did. You know what I'm saying? And I'm listen about freedom fighters and strugglers. Well you got to understand when it was 'in' to have a gun and be in the streets, my mother gave that up to be in a house and wash the dishes and feed us. You know what I'm saying? And put the thoughts in our brain. We didn't get any of that history from all of those soldiers that we lost. We got none of that. They all went to jail if you can remember that. They all went to penitentiaries. We didn't see none of that knowledge. If it was not for my mother, that stayed home, and didn't go out and do all that, then I wouldn't have shit, excuse my language. But, I wouldn't have been nowhere. So what I want to do hopefully is. I want to be, not I want to be, I am Tupac Shakur. I have to be a reminder that we cant chill out. No, it not time cool out in banquets, its still on. It's on just like it was on when you were young and you want to say 'fuck that'. Just like you said 'fuck that', back then. So how come, now that I'm twenty years old and ready to start some shit, everybody's telling me to 'calm down'. Don't curs them, go to school, go to college. Well, fuck that. We have had colleges for awhile now. You know what I'm sayin? There's still Brenda's out there and niggas are still trapped. You know what I'm saying? And it gets me, irked. You know what I'm saying? Because I understand that it's not going to stop. You know what I'm saying?

 * It's not going to stop until we stop it. And it's not just white men that's doing this to Brenda. It's not just white men that's keeping us trapped. It's 'black', and we have to find the new African in everybody. In all of us, because if we keep running around looking for black and who got the most colors on or who got the baddest dashiki, we're still going to, excuse my language, we're still going to get fucked. Because it hurts me that my mother right now is going though, you know, she has to get clean. This is somebody I watched travel the whole country. You know what I'm saying? During the time when our women were scared to speak up. But, a Black Panther she spoke at Harvard, Yale, everywhere and now. I see my mother as what's really going on. You know what I'm saying? I don't see no big parade around my mother now. She's got a dozen fucking awards, and I don't see nobody there. You understand what I'm saying? So out of this, I take that lightly. I take all this lightly.

 * What I want you to take seriously, is what we have to do for the youth. Because we're coming up in a totally different world. This is not the same world that you had this is not 6th Street its not. You grew up, we grew up B.C. Before crack. That's just saying it all. You understand? We did not grow up without parents. You had parents that told you this and that and told you what went on back in the day. You have young kids, fourteen, coming home and their mama is smoking out, going to their best friend to get the product. You understand what I'm saying? So that means it's not just about you taking care of "your" child. It's about you taking care of "these children". It hurts that I got to, it bothers me, not hurts, that I have to sidestep my youth to stand up and do some shit that somebody else is suppose to be doing. You understand what I'm saying? There's too many men out here for me to be doing this, because it ain't my turn yet. I'm supposed to be following behind him getting the knowledge. I don't even got a chance to get the fucking knowledge. I can't go to college. There's too much problems out here. I don't got the money. Nobody does. You understand what I'm saying? So what I'm saying is, it's not as easy as we're mapping it out to be. We've got to stay real. Before we can be new African we've gotta be black first. You understand? We've gotta get our brothers from the streets like Harriett Tubman did. Why can't we look at that and see exactly what she was doing? Like Malcolm did, the real Malcolm, before the Nation of Islam. You've got to remember, this was a pimp. You know what I'm saying, we forgot about all that. In our strive to be enlightened we forgot about all our brothers in the street, about all our dope dealers, our pushers and our pimps, and that's who's teaching the new generation, because y'all not doing it. I'm sorry. But, it's the pimps and pushers who's teaching us. So, if you got a problem with how we were raised, its because they was the only ones who could do it. They the only ones who did it, because everybody else wanted to go to college, and you know, yeah everything's changed, they were the ones telling you 'the white man ain't shit, there you go, check this out young blood, you take this product, you switch it, you get money and that's how you beat the white man, you get money, you get the hell up out of here.' Nobody else did that. So I don't wanna hear shit about nobody telling me who I can't love and respect until you start doing what they did. To me, this is Mecca. This is the black family. You know what I'm saying? But, what makes it that much sadder, what makes me wanna cry, is that when I leave this place, so does Mecca. You understand what I'm saying? We're going back to the real deal. Right out there, you're going see the same sisters and Brenda, they're right out there, and y'all are going to get in your cars and drive the fuck home.

Strictly 4 My N.I.G.G.A.Z... (February 16, 1993)

 * They got money for wars, but can't feed the poor.
 * "Keep Ya Head Up"

MTV interview (1994)

 * To dance with the naked [blow-up] doll, that was me! That's what I mean by I'm real, I'm truly hardcore, because I needed the money and I had to work. So if he told me that for me to get paid I had to go out there in bikini briefs and hop on top of this [blow-up] doll and that's how I gotta get paid, and I was homeless at the time, that's what I had to do. But What I did was not let him pimp me, you know what I'm saying. It wasn't like I just did that because that was my order. As soon as I got the check's to say what was on my mind, I said what was on my mind. And we have a platinum record now, you know what I'm saying.

 * You have to work from one point to go to another. So I admire work ethic, I think it should be re-inforced through out our neigbourhoods, that everybody should work hard, practice makes perfect, you have to be diligent with what you want, you have to apply your self, you have to motivate your self. You have to do for-self by your self, and then you can do things for other people. But that's what I had to do, I had to do for-self.

 * I want, when they see me, They know that everyday when I'm breathing is for us to go further. Everytime I speak I want the truth to come out. Not one person even realizes that I have white relatives, my cousin just had a son who is “White” but everytime I speak I want a shiver so yes, I do omit things that I feel are not accurately portraying my “character”. I don't want them to be like; they know what I'm gonna say, because it's polite. Im not saying I'm gonna rule the world or I'm gonna change the world, but I guarantee you that I will spark the brain that will change the world. And that's our job, It's to spark somebody else watching us. We might not be the one's, but let's not be selfish and because we not gonna change the world let's not talk about how we should change it. I don't know how to change it, but I know if I keep talking about how dirty it is out here, somebody's gonna clean it up.

 * I gotta big mouth, I can't help it, I talk from my heart, I'm real you know what I'm sayin whatever comes comes. But my controverse problems, It's not my fault, I try to find my way in the world you know, I try to be somebody instead of just, make money off of everybody. You know what im saying, so I go down paths that haven't been traveled before and I usually mess up, but I learn, you know what I'm saying, I come back stronger, I'm not talking ignorant, you know what I'm saying. So obviously put thought into what I do. So I think my mouth, my controverse, I have not been out of the paper since I joined Digital Underground, I've been in all, you know what I'm saying, my name has not been not uttered, you know what I'm saying, and that's good for me because I don't wanna be forgotten. If I'm forgotten then that means I'm comfortable and that means I think everything is okay.

Ed Gordon interview (1994)

 * It's like a battle, trying to find the right words to say at the right time.

 * It's a constant man-ego-check going on in the streets, in this world.

 * I believe honestly that I can talk. I believe that I have the ability to reason, I have logic, I have compassion, I have understanding. If we talk there's no problem you know what I'm saying. But that's not what happened. People used what they heard in media and that's how they come at me, and then you know we got a clash.

 * If your not cheering for me, for what I'm doing, don't cheer for me. Don't cheer cause you think I'm cute, you know what I'm saying, screw that. Cheer for me for what I'm doing, for what I stand for, and when I go to jail you should cheer louder.

 * I have no patience for anybody that doubts me, none at all.

 * I'm not thuggin' for me, I'm thuggin' for my family, I pay all the bills, I feed my whole family, wrong or right, I do and I can't stop.

 * The main thing for us to remember is that, the same crime element that white people are scared of, black people are scared of. The same crime element that white people fear, black people fear. So we defend our self from the same crime element that they are scared of, you know what I'm saying, while they are waiting for legislations to pass and everything, we're next door to the killer, we're next door to him you know. Because we up in the projects where it's 80 niggas in the building. All them killers that they letting out, they're right there in that building. Just because we're black we get along with the killers or something? We get along with rapist's because we're black and from the same hood? What is that? We need protection too.

 * I made a metamorphose, I'm a new person today, because I used to strongly and honestly, honestly! I feel like I can represent my generation so much because I honestly did not care whether I lived or died. But now I can not die, with people thinking I'm a rapist or a criminal, I can not leave until this shit is straight, you know I'm not suicidal. I can't go until ya'll really know what time it is. And then after that, BOOM!, It's all over and we can see how this shit fall, but that's how it is, and the reason being is because if I can't live free, if I can't live with the same respect as the next man, I don't wanna be here, because god has cursed me to see what life should be like, If God wanted me to be this person and be happy here, he wouldn't let me feel so oppressed, he wouldn't let me feel so trampled on, you know what I'm saying, he wouldn't let me think the things I think. So I feel I'm doing Gods work, you know what I'm saying just because I don't have nothing to pass around for people to put money in a bucket don't mean I ain't doing God's work.

Interview outside courthouse (1994)

 * The only way I've been practicing my whole life, to live my life is to be responsible for what I do. I don't know how to be responsible for what every black male did, I don't know. And yes, I am gonna say that I'm a thug, that's because I came from the gutter and I'm still here! I'm not saying I'm a thug because I wanna rob you or rape people and things. I'm a business man, I mean, you know I'm a business man because you find me at my places of business.

 * It's not my liking for guns, what about the NRA? We all have the rights to bear arms, I have that, I have that same right as you do. Just because I'm black doesn't mean I shouldn't have a gun; I legally own guns.

MTV interview with Tabitha Soren (1995)

 * I know how it's gonna be when I die. It's going to be no noise, you ain't going to hear people screaming. I'mma fade out.

 * Marlon Brando is not a gangster-actor, he's an actor. Axl Rose and them are not gangster rock-and-rollers, they're rock-and-rollers right. So I'm a rapper, this is what I do. I'm an artist.

 * I think being humble is sexy.

 * I think that I'm really, I was a reactionary, and now I don't do that any more. Same person, but I don't react. Before, I reacted. I didn't like the cameras, so I spit.

 * I'm known as a survivor now, I hope so, for the jail thing, bullets and everything, controversies and everything, I hope so. And I want to be in the future known as somebody. You know I want people to be talking about me like you know: "remember when he was real bad, remember when Tupac was real bad". You know what I mean, they do that about a lot of actors now, like John Travolta I read stories like "remember you were wild". And all these other people, and now they're like sweet hearts. We all should get that chance, I just want my chance.

Prison interviews and interrogations (1995)

 * Interviewer: It says "I really got my ass beat. I really don't like police.
 * Shakur: It doesn't say that. Where are you at? Right there... oh. I didn't say that. That's not what it says.
 * Interviewer: Okay.
 * Shakur: It says, 'I'm a victim for real. Everything I talk is for real. I really got my ass beat. I really don't like them... I really don't like crooked police.

 * Jail is big business, believe me. I'm in jail, I see the big business. You can feed a whole town off one jail. This jail is in the middle of a town that feeds everybody. Everybody works here, this is the main income. So if there were no criminals, nobody would work.

 * The guns are turning away from Europe and Russia and Iran and Iraq and they're turning to us.

 * America is the biggest gang in the world.

 * Prison kills your spirit, straight up. It kills your spirit. There is no creativity, there's none of that.

 * Now if we do wanna live the thug life and the gangsta' life and all that, OK, so stop being cowards and let's have a revolution. But we don't wanna do that, dudes just wanna live "character", they wanna be "cartoons", but if they really wanted to do something, they was that tuff, alright, let's start our own country, let's start a revolution, let's get outta' here, let's do something. But they don't wanna do that, they wanna pimp our communities and portray this image that they know we all can't survive and make, and that's what I saw.

 * No matter what these people say about me, my music does not glorify any image, my music is spiritual if you listen to it. It's all about emotion, it's all about life.

 * Watch people, because you can fake for a long time, but one day you're gonna show yourself to be a phony.

 * Measure a man by his actions fully, from the beginning to the end. Don't take a piece out of my life or a song out of my music and say this is what I'm about, because you know better than that.

 * I don't feel like what I did was so evil, I just feel like the way I was living and my mentality was a part of my progression to be a man.
 * Don't support the phonies, support the real.

 * Listen to the words people say in their lyrics, and tell me, if that's some real shit, if that's real to you, you know what I mean. Listen to what they sayin', don't just bob your head to the beat, peep the game, and listen to what Im saying. Hold us accountable for it.

 * Trust nobody, TRUST NO BODY.

 * Fear is stronger than love, remember that. Fear is stronger than love, all that love I gave didn't mean nothing when it came to fear.

 * The only thing that can kill me is death, that's the only thing that can ever stop me, is death, and even then my music will live forever.

Interview on the set Gridlock'd (1996)

 * I've always been an actor, the reason I've been successful in the rap-game I think is that I treat my albums like movies, and I treat writing it like I'm a character writing a story, you know, for each album whatever I'm going through, whatever stages I'm going through, and I do it vividly with vivid pitcure, with action and description, and an beginning and with an end, and conflict, and you know, redemption, things like that. So I feel like I always been an actor and acting is my first love.

 * If you thought about it I'm hardly the villain, I'm hardly the one you should be scared of. It's the guy who can't talk, it's the guy without a job, it's the one with scares in his face, not the one clean cut, you know what I mean you should worry about a lot of other things, but not me.

Details magazine interview (Spring 1996)

 * All good niggas, all the niggas who change the world, die in violence. They don't die in regular ways.

Interview at Death Row offices (1996)

 * Basically It's a hypocritical view, because what your saying is it's okay for us to live in the dirt, in the gutter, in less than human conditions, but it's not okay for us to tell people that we are living in these conditions.

Vibe magazine interview (February 1996)

 * Everybody's at war with different things... I'm at war with my own heart sometimes.

Vibe magazine interview (June 1996)

 * On the whole, I don't have any friends. Friends come and go; I've lost my trust factor. I believe I have people who think they're my friend. And I believe that there are people probably in their heart who are friends toward me or are friends to me. But they're not my friends, because what I learned is that fear is stronger than love.

Vibe magazine interview (September 1996)

 * It's not like I idolize this one guy Machiavelli. I idolize that type of thinking where you do whatever's gonna make you achieve your goal.
 * This new Makaveli album I got comin' out, I'm takin' on niggas. It's like, my dopest album ever.
 * I am the future of black America.
 * Fuck it, I feel like I shine.

Interview on the set of Gang Related (1996)

 * I can't explain why I shine and no one else shines. I think everybody shines in different things.

 * The reason I sell 6 million records, the reason I could go to jail and come out without a scratch, the reason I can walk around, the reason I am who I am today is because I can look directly in to my face and find my soul, it's there, it's not sold, i didn't sell it, it's still within me, I still feel it, my heart is still connected to my body.

All Eyez on Me (1996)

 * My adversaries crumble when we rumble; it's a catastrophe.
 * "When We Ride" (1996)

 * It seems, my main thing was to be major paid The game sharper than a motherfucking razor blade Say money bring bitches, bitches bring lies.
 * All Eyez On Me" (1996)

"Hit 'Em Up" (1996)

 * You claim to be a player, but I fucked your wife.

 * Killing ain't fair, but somebody's got to do it.

The Don Killuminati: The 7 Day Theory (1996)

 * More money means litigating, more player-hating. Got a cell at the pen, for me waiting. Is this my fate?
 * "Hold Ya Head"

 * Currency means nothing if you still ain't free. Money breeds jealousy. Take the game from me; I hope for better days. Trouble comes naturally. Running from authorities. 'Til they capture me, and my aim is to spread more smiles than tears. Utilize lessons learned from my childhood years.
 * "Hold Ya Head"

 * I ain't a killer, but don't push me Revenge is like the sweetest joy next to gettin' pussy.
 * "Hail Mary"

Tupac: Resurrection (2003)

 * Some people say I was a thug and a gangster; other people remember me as a poet and a born leader. But I'm saying to you, measure a man by his actions fully, through his whole life, from the beginning to the end.

 * Remember, this country had a man named J. Edgar Hoover, whose job it was to destroy the credibility of any black man coming up.

 * My mother was pregnant with me while she was in prison. She was her own attorney, never been to law school. She was facing 300 and something odd years. One black woman, pregnant, beat the case. That just goes to show you the strength of a black woman and the strength of the oppressed.

 * When I was a little baby, I remember that one moment of calm peace, and three minutes after that, it was on.

 * But in my homeboys' high school, it's not like that. They don't have trips to go see this Broadway play, they don't read things we read. They didn't know when I was like: "Yo, Shakespeare's dope."

 * The same crime element that white people are scared of black people are scared of. While they waiting for legislation to pass, we next door to the killer. All them killers they let out, they're in that building. Just because we black, we get along with the killers? What is that? We need protection too.

 * You have to be logical. You know? If I know that in this hotel room they have food every day, and I'm knocking on the door every day to eat, and they open the door, let me see the party, let me see them throwing salami all over, I mean, just throwing food around, but they're telling me there's no food.

 * Every day, I'm standing outside trying to sing my way in: We are hungry, please let us in. We are hungry, please let us in. After about a week that song is gonna change to: We hungry, we need some food. After two, three weeks, it's like: Give me the food Or I'm breaking down the door. After a year you're just like: I'm picking the lock. Coming through the door blasting.

 * It's like, you hungry, you reached your level. We asked ten years ago. We was asking with the Panthers. We was asking with them, the Civil Rights Movement. We was asking. Those people that asked are dead and in jail. So now what do you think we're gonna do? Ask?

 * No, you don't wanna get me started. Jell-O with hair all in the mold. I'd be like, "Damn, man, how are you gonna mess up Jell-O?" Jell-O is so wholesome and family-like. It just ruins it for me. To have a hair in there, yeah. I mean, I'm like, "Come on, Bill Cosby pumps this, man!"

 * And you can't go, "There's a hair in my Jell-O. I'd like to send this back. Can I see the cook, please?" The cook is a big dude named Bubba Joe.

 * I got shot. I always felt like I'd be shot. Somebody was trying to do me some harm because a lot of people don't like me. But I didn't think it was gonna happen at that particular moment.

 * Niggers was the ones with the rope, hanging off trees; Niggas are the ones with gold ropes, hanging out at clubs.

 * Measure a man by his actions fully, through his whole life, from the beginning to the end.

 * Coming to grips with my past, it was hard. I don't feel like what I did was so evil, I just feel like the way I was living, and my mentality, was part of my progression to be a man.

 * I'm not saying I'm gonna change the world, but I guarantee that I will spark the brain that will change the world.

 * You grow, we all grow, we're made to grow. You either evolve or disappear.

 * Keep ya head up. Do what you gotta do. And then, inside of you, I will be reborn.

 * The real tragedy is that there are some ignorant brothers out here. That's why I'm not on this all-white or all-black shit. I'm on this all-real or all fake shit with people, whatever color you are. Because niggas will do you. I mean, there's some [foul] niggas out there [in the streets]; the same niggas that did Malcolm X, the same niggas that did Jesus Christ; every brother ain't a brother. They will do you. So just because it's black, don't mean it's cool. And just because it's white don't mean it's evil.
 * From an interview with Tupac Shakur.

 * But I know for a fact that had I had a father, I'd have some discipline. I'd have more confidence. Your mother cannot calm you down the way a man can. Your mother can't reassure you the way a man can. My mother couldn't show me where my manhood was. You need a man to teach you how to be a man. When I was young I was quiet, withdrawn. I read a lot, wrote poetry, kept a diary. I watched TV all day. I stayed in front of the television. It was when I was in front of the TV by myself, being alone in the house by myself, having to cook dinner by myself, eat by myself. Just being by myself and looking at TV, at families and all these people out there in this pretend world. I knew I could be part of it if I pretended too, So early on I just watched and emulated ... and I just thirsted for that. I thought if I could be and act like those characters, act like those people, I could have some of their joy. If I could act like I had a big family I wouldn't feel as lonely.

About

 * Again, it’s good that the judges pushed back against those attacks on 2Pac’s artistry and his constitutional right, but we’ve seen that since that time, prosecutors have continued to use rap lyrics to try to chill free expression.
 * Paul Butler as quoted by Alec Banks in “The Oakland Police Lawsuit, the Gangsta Rap Defense, & Chokeholds”, Rockthebells.com

 * Attorney Cole and Linda Sue Davidson’s hypothesis that Hip-Hop music promoted actionable violence was not a standalone occurrence. In 1995, attorney Ann T. Bowe tried what was referred to as the “rap defense.” She alleged that 2Pac’s guest verse on South Central Cartel’s ’N Gatz We Truss was what led two Milwaukee teenagers to shoot and kill a police officer. “The violent anti-police lyrics appear to have acted as command hallucinations which influenced his behavior,” said Bowe. “This young man insists that certain passages in these songs are so much a part of his consciousness that it was as if they just kept playing over and over in his head that night.”
 * Ann T. Bowe as quoted by Alec Banks in “The Oakland Police Lawsuit, the Gangsta Rap Defense, & Chokeholds”, Rockthebells.com

 * This suit isn’t just about some storyteller spouting militant rhetoric here. 2Pac is dangerously serious.
 * Jim Cole as quoted by Alec Banks in “The Oakland Police Lawsuit, the Gangsta Rap Defense, & Chokeholds”, Rockthebells.com

 * Ob Sie Adeles "Skyfall" von Megan Marie Hart intonieren, von Kylie Minogue piepsen oder von Tupac Shakur rappen lassen, macht einen Unterschied.
 * Whether you have Adele's "Skyfall" intoned by Megan Marie Hart, beeped by Kylie Minogue, or rapped by Tupac Shakur makes a difference.
 * Stephan Waldscheidt, "Der Erzähler", p. 11. Neobooks 2009. ISBN 9783748559665

Discography

 * 2Pacalypse Now (1991)
 * Strictly 4 My N.I.G.G.A.Z (1993)
 * Thug Life: Thug Life Vol. 1 (1994)
 * Me Against the World (1995)
 * All Eyez on Me (1996)
 * Makaveli: The Don Killuminati: 7 Day Theory (1996)
 * R U Still Down? (1997)
 * 2Pac's Greatest Hits (1998)
 * Still I Rise (2Pac + Outlawz) (1999)
 * The Lost Tapes (1989/released 2000)
 * The Rose that Grew from Concrete (2000)
 * Until the End of Time (2001)
 * Better Dayz (2002)
 * Tupac Resurrection (2003)
 * Nu-Mixx Klazzics (2003)
 * 2Pac Live (2004)
 * Loyal to the Game (2004)
 * The Rose Vol. 2 (2005)
 * Live At The House Of Blues (with Outlawz, Dogg Pound, Snoop Dogg, K-Ci & JoJo) (2005)
 * Pac's Life (2006)
 * Best Of 2Pac Vol 1:Thug and Vol 2:Life (2007)

title: Tupac Shakur