text:
Lee Krasner

Lee Krasner (October 27, 1908 – June 19, 1984) was an influential abstract expressionist American painter in the second half of the 20th Century; she was married with Jackson Pollock till his death in 1956.

Quotes

 * All my work keeps going like a pendulum; it seems to swing back to something I was involved with earlier, or it moves between horizontality and verticality, circularity, or a composite of them. For me, I suppose that change is the only constant.
 * Lee Krasner, Marcia Tucker, Whitney Museum of American Art (1973) Lee Krasner: large paintings. Nr. 33. p. 8.

 * With Jackson there was quiet solitude. Just to sit and look at the landscape. An inner quietness. After dinner, to sit on the back porch and look at the light. No need for talking. For any kind of communication.
 * Quote of Krasner in: Eleanor C. Munro (1982) Originals: American women artists. p. 114.

 * One could go on forever as to whether the paint should be thick or thin, whether to paint the woman or the square, hard-edge or soft, but after a while such questions become a bore. They are merely problems in aesthetics, having only to do with the outer man. But the painting I have in mind, painting in which inner and outer are inseparable, transcends technique, transcends subjects and moves into the realm of the inevitable.
 * In: Barbara Rose, Lee Krasner, Museum of Fine Arts, Houston (1983) Lee Krasner: a retrospective. p. 134.

 * I think my painting is so autobiographical if anyone can take the trouble to read it.
 * In: Anne Middleton Wagner (1996) Three Artists (three Women):: Modernism and the Art of Hesse, Krasner, and O'Keeffe. p. 154.

Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11

 * 'Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11, Archives of American Art, Smithsonian Institution; conducted by Dorothy Seckler: 1964, 1967, 1968

 * I think I stayed in the Mural division [ WPA, early 1940's] until it became A War Service Project and then I was relegated to do a specific job. There was a coordinated move, they had a new president that was being inaugurated for CCNY and they were doing a large – trying to show how higher education was involved in promoting the war effort, with the classes they were teaching, so that I did this work for more than a year before WPA terminated.
 * n.p.

 * That's right, and then I worked with him [ Hans Hofmann ] a little more than that. When I had time I could come in and use his studio, in a sense, that is to say, if it was a still-life class, I could be doing any kind of abstraction at that point, using that as a take-off point.. ..here again, when you spoke earlier about Cubism, I say I really didn't get the first impact, the full impact of it [Cubism], until I worked with Hofmann.
 * n.p.

 * I was quite active politically just previous to this, and I'm leading into this time when I was on WPA and there was a group called the Artist's Union which was organized, so that I was extremely active in that. Again that meant more meetings and fighting for artists' rights on the WPA.. .I would say it gave me an opportunity to continue through a period of where one had a livelihood to deal with and/or painting. This allowed for painting and I'd say in that sense it was extremely influencing..  ..WPA itself ended after the War Service Project and by way of terminating, it allowed you to take one of several war courses that were being offered. After which you were supposed to be able to go into that field and earn a living. I took drafting.
 * n.p.

 * My recollection of meeting him [ Jackson Pollock ] outside of this one incident, was at a show that John Graham did at the MacMillin Gallery [1942]. He invited someone called Jackson Pollock and myself, and, I believe, de Kooning. There were three unknown Americans put into that show and it turned out we were the three and it was through that source, my trying to track down the other unknown American who was painting abstractly at that point, as though I knew them all in New York City.. ..and I promptly went up to Pollock's studio and that's when I say I met Pollock for the first time.. ..And then, you see, after I saw Pollock, met him, saw the work, I said, "I understand the third painter is de Kooning," and he said he didn't know de Kooning and I said, "Well, I do and I'll take you over and introduce you." So I brought Pollock up to de Kooning's studio. De Kooning was in a loft at that time because he was something, and that is how Pollock met De Kooning.
 * n.p.

Art Talk, Conversations with 15 woman artists 1975

 * Art Talk, Conversations with 15 woman artists, Cindy Nemser, 1975, Library of Congress Cataloging-in-Publication Data 1995

 * He [ Hans Hofmann one of her art teachers] would come up to me [1937-38], look at my work, and do a critique half in English and half in German, but certainly nothing I could understand. When he left the room I would call George McNeil, who was then the monitor, over and I would ask: 'What did this man say to me?' Hoffman was teaching Cubism and that was pretty exciting. Matisse and Picasso were my highlights. It was as though I was swinging between them. First I started to work with color and then there was a heavy swing toward the linear.
 * p. 73.

 * (Piet Mondrian's) comment was: 'You have a very strong inner rhythm. You must never lose it'. Then we moved on. Piet Mondrian had said something quiet beautiful to me. Hofmann was also excited and enthusiastic about what I was doing at this time [c. 1938] but his comment was: 'This is so good that you would not know it was done by a woman'. His was a double-edged compliment. But Mondrian’s evaluation rides through beautifully.
 * p. 73.

 * Without getting complicated let me recapitulate my art training in the following way: the Academy first, the break with the Academy when I hit the Hofmann School which is Cubist. The next real break follows when I see Pollock’s work [1940-41] and once more another transition occurs.. .It was a force [Pollock’s work], a living force, the same sort of thing I responded to in Matisse, in Picasso, in Mondrian. Once more, I was hit that hard with what I saw... I began feeling the need to break with what I was doing and to approach something else.
 * p. 74.

 * I went into my own black-out period [1942-45] which lasted two or three years where the canvases would simply build up until they’d get like stone and it was always just a gray mess. The image wouldn’t emerge, but I worked pretty regularly. I was fighting to find I knew not what, but I could no longer stay with what I had.
 * p. 74.

 * In 1946 what I call my 'Little Image' began breaking through this [former] gray matter of mine. I felt fantastic relief that something was beginning to happen after all this time when there was nothing, nothing, nothing.. .The canvas is down on a floor or table and I am working out of a tiny can. In other words, I have to hold the paint so I can move it. But I wouldn’t have been using Duco [industrial paint, like Willem de Kooning did]. My paint would always have been oil and I could get the consistency of a thick pouring quality in it by squeezing it into a can and cutting it with turp [turpetine] – the way I use paint today..  .The only thing I can say with absolute assurance is that my 'Little Image' work starts about 1946 and ends in 1949.
 * p. 77.

 * Well I think it [a 'Little Image' painting] does suggest hieroglyphics of some sort. It is a preoccupation of mine from way back and every once in a while it comes into my work again. For instance in my 1968 show at the Marlborough I have a painting called 'Kufic', an ancient form of Arabic writing. Every once in a while I fall back to what I call my mysterious writings. I haven no idea what this is about but it runs through periods of my work.
 * p. 78.

 * I merge what I call the organic with what I call the abstract, which is what you are calling the geometric. As I see both scales, I need to merge these two in the ever-present. What they symbolize I have never stopped to decide. You might want to read it as matter and spirit and the need to merge as against the need to separate. Or it can be read as male and female.
 * p. 78.

 * Right up until today Pollock [her husband and famous painter; died Aug. 1956] well takes a lot of mine time.. ..and while you ask 'How much did it take out of me as a creative artist', I ask simultaneously, 'What did it give?' It is a two-way affair at all times. I would give anything to have someone giving me what I was able to give Pollock.
 * p. 79.

 * They [the younger woman artists in American Abstract Expressionism: Helen Frankenthaler and Joan Mitchell,] are the next generation and it is another scene, another story. You forget that in my generation Paris was still the leading school of painting and this situation was being changed by a tiny handful of artists to a scene called New York, America, which never before had a leading role in the art world. That didn’t happen just by reading a newspaper. Now the next generation comes in and they may think it is rough for them but it is a pie.. .We broke the ground.
 * p. 80.

 * I do not mean extended, to mean esthetic definition of space. For me, it is a matter of whether the canvas allows me to breathe or not – if the canvas soars into space or if it is earthbound. When it is earthbound it irritates me enormously. I would like to soar in a canvas.
 * p. 91.

 * I think every once in a while I feel the need to break my medium.. .if I have been doing a very large painting I like to drop into something in small scale. It is a challenge to go into this size. It is just to hold my own interest, and then each media has its own conditions.
 * p. 93.

Quotes about Lee Krasner

 * You have a very strong inner rhythm. You must never lose it.
 * Piet Mondrian, c. 1938; as quoted by Lee Krasner herself; in Art Talk, Conversations with 15 woman artists, Cindy Nemser, 1975, Library of Congress Cataloging-in-Publication Data 1995, p. 73.

title: Lee Krasner


text:
Jack Levine

Jack Levine (January 3, 1915 – November 8, 2010) was an American expressionist painter best known for his satires of modern life in the United States. He was a part of the Social Realism school in the 1930s.

Quotes

 * My goal … not to go back to Rembrandt … but to bring the great tradition and whatever is great about it, up to date.
 * Selden Rodman, Conversations With Artists, 1956.

 * I have never learned to draw a hand well enough, so why should I stop trying now?
 * Selden Rodman, Conversations With Artists, 1956.

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

title: Jack Levine


text:
Sol LeWitt

Solomon "Sol" LeWitt (September 9, 1928 – April 8, 2007) was an American artist linked to various movements including conceptual art and minimalism. His mediums are predominantly painting, drawing, and structures (a term he prefers in opposition to sculpture.)

Quotes of Sol Lewitt

 * The idea becomes a machine that makes the art.
 * Sol LeWitt (1965); quoted in: Joseph Kosuth, (1969), "Art after Philosophy"

 * The artist’s aim is not to instruct the viewer, but to give information, whether the viewer understands the information is incidental to the artist.
 * “Serial Project #1, 1966,” Aspen 5/6 (Fall/Winter 1967)

 * Artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.
 * 0-9 (New York), 1969, and Art-Language (England), May 1969

 * The artist is seen like a producer of commodities, like a factory that turns our refrigerators. I believe that the artist's involvement in the capitalist structure is disadvantageous to the artist and forces him to produce objects in order to live.
 * in: Art Institute of Chicago. Video Data Bank (1992), On Art and Artists. p. 1991

 * The artist’s will is secondary to the process he initiates from idea to completion.. ..His wilfulness may only be ego..  ..The process is mechanical and should not be tampered with. It should run its course.
 * as quoted in Gerhard Richter, Doubt and belief in painting, Robert Storr, MOMA, New York, 2003, p. 88, note 17

"Paragraphs on Conceptual Art," 1967
Sol LeWitt, "Paragraphs on Conceptual Art", Artforum, V/10, Summer 1967,

 * In conceptual art the idea or the concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive; it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman.
 * p. 80. Cited in: Diane Waldman. Carl Andre. Published 1970 by Solomon R. Guggenheim Museum in New York. p. 7

 * The ideas need not be complex. Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable.

"Sol LeWitt by Saul Ostrow," 2003
Sol LeWitt by Saul Ostrow, art interview in:Bomb Magazine, Fall 2003.

 * Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings. As soon as one does work on walls, the idea of using the whole wall follows. It means that the art is intimately involved with the architecture. It is available to be seen by everyone. It avoids the preciousness of gallery or museum installations. Also, since art is a vehicle for the transmission of ideas through form, the reproduction of the form only reinforces the concept. It is the idea that is being reproduced. Anyone who understands the work of art owns it. We all own the Mona Lisa.

 * Minimal art went nowhere. Conceptual art became the liberating idea that gave the art of the next 40 years its real impetus. All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art. The other great development has been in photography, but that too was influenced by Conceptual art.

Quotes about Sol Lewitt

 * That was always the thing with Minimalism, there was no content allowed of course, but only the thing in the space, that was what Sol LeWitt was always about, and Carl Andre – it was all about avoiding content. I was always very interested in this, right from the beginning, especially with my 'Ellipsoids' [she made 1981 - 1983]. They look like minimalism, but in the end there is a lot going on there.
 * Isa Genzken (2009) in: 'Out to Lunch with Isa Genzken', interview by Simon Denny, visiting Isa Genzken's show 'Wind', 2009, Courtesy: Galerie Daniel Buchholz, Cologne/Berlin

title: Sol LeWitt


text:
Louise Nevelson

Louise Berliawsky Nevelson (September 23, 1899 – April 17, 1988), born Leah Berliawsky, was a U.S. (Ukrainan-born) sculptor.

Sourced

 * Anywhere I found wood I took it home and started working with it..to show the world that art is everywhere, except it has to pass through a creative mind.
 * Dawns and Dusks, reprinted in Theories and documents of contemporary art: A sourcebook of artists' writings edited by Kristine Stiles, Peter Howard Selz, p. 511

title: Louise Nevelson


text:
Stanton Macdonald-Wright

Stanton MacDonald-Wright (July 8, 1890 – August 22, 1973) was a U.S. abstract painter. One of his significant achievements was co-founding the Synchromist| movement in 1913.

Quotes

 * I strive to make my art bear the same relation to painting that polyphony bears to music. Illustrative music is a thing of the past: it has become abstract and purely aesthetic, dependent for its effect upon rhythm and form.
 * Quoted in Bryant American Pictures And Their Painters (1917), p. 302

title: Stanton Macdonald-Wright


text:
User talk:Marvolo~enwikiquote

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User talk:Rou2aa

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User talk:Jinger~enwikiquote

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

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User talk:Cream10152

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User talk:Kerurie

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User talk:Jamesofengland

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User talk:Captain panda

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User talk:Myroblyte

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User talk:Kareem Furbunchies

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User talk:Michelleholder

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User talk:Shakti god07

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User talk:M.Bilal

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User talk:Smortsy

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User talk:Munawar~enwikiquote

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User talk:DXGirl927~enwikiquote

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Urban decay

Urban decay is a process by which a city or a part of a city falls in to a state of disrepair. Signs of urban decay include population loss, housing stock deterioration and increases in crime.

Quotes

 * I came up with Detroit. (Sorry, sports fans.) Vast stretches of the city are already uninhabited, crumbling. The central temples, yes, are still in use — the temples for sports, conventions and ritualistic music concerts — but for how much longer? Will the beautiful deco buildings erected as working shrines by what were once the largest companies in the world (GM, Ford) soon be abandoned? They’re already surrounded by a no man’s wasteland; it seems only a matter of time. And then how long before people wander into that zone and ask themselves, “Who built this incredible building?
 * David Byrne, David Byrne's Journal

But did you know? So are we. But we are here, you see, Not because we want to be.
 * Most of you are afraid of our neighborhood.
 * Anonymous, posted on a building at Cabrini-Green, a Chicago public housing complex, 1981. Comeback Cities: A Blueprint for Urban Neighborhood Revival By Paul S. Grogan, Tony Proscio. ISBN 0813339529. Published 2002. Page 183.

 * The construction of the Gowanus Parkway, laying a concrete slab on top of lively, bustling Third Avenue, buried the avenue in shadow, and when the parkway was completed, the avenue was cast forever into darkness and gloom, and its bustle and life were forever gone.
 * Robert A. Caro, The Power Broker: Robert Moses and the Fall of New York 1974. Page 522.

 * We [The banks] determine who will succeed and who will fail.
 * John Bunting, of First Pennsylvania Bank and Trust, November 8, 1976 at the testimony of Ronald Shiffman before the New York City Commission on Human Rights, in reference to redlining. How East New York Became a Ghetto by Walter Thabit. ISBN 0814782671. Page 42.

 * It was people, not architects, who made slums.
 * P. D. James A Taste for Death Published 1986. Page 300.

title: Urban decay


text:
User:Colt46

PRIME DIRECTIVES

1. Serve the public trust. 2. Protect the innocent. 3. Uphold the law.

...

I AM THE LAW!

title: User:Colt46


text:
User:McNoddy

Hi am McNoddy

'''...Some people think that friendliness is a sign of weakness, when in reality it is a sign of strength-Wolfgang Singer

title: User:McNoddy


text:
User:ToaRabin~enwikiquote

 Subpages

 * Sandbox
 * Userboxes

I'm a new user to Wikiquote and a fairly recent member to Wikipedia

title: User:ToaRabin~enwikiquote


text:
Eugene N. Borza

Eugene N. Borza (3 March 1935 – 5 September 2021) was an American historian who was professor emeritus of ancient history at Pennsylvania State University. He has written many works on the ancient kingdom of Macedonia. In the introductory chapter of Makedonika by Carol G. Thomas, Borza is characterized as a Macedonian specialist.

Quotes

 * Thus, six years before the First Balkan War in which the region of Macedonia was detached from the Ottoman Empire by Serb, Greek, and Bulgarian armies, the reality of Macedonia/Macedonian already existed among Macedonian immigrants in central Pennsylvania.
 * As quoted in The Eye Expanded, by Frances B. Titchener and Richard F. Moorton

 * By 1875, however, the first tracts appeared favoring a Macedonian nationality and language separate from standard Bulgarian, and the conflict had been transformed from an anti-Hellenization movement into a Bulgarian-Macedonian confrontation.
 * As quoted in The Eye Expanded, by Frances B. Titchener and Richard F. Moorton

 * Thus it is clear that Tito did not invent either a Macedonian ethnicity or a Macedonian language—as has been alleged—when he created a Macedonian Republic as a part of the postwar Yugoslav federal state...Tito's policy, was the culmination of a process that had been under way for the better part of a century; he provided legitimacy, for Macedonia and accelerated a natural passage of nation-building already well under way.
 * As quoted in The Eye Expanded, by Frances B. Titchener and Richard F. Moorton

 * For contemporaty Greeks, however, it is a different matter, as it is an article of faith among most of them that the Ancient Macedonians were Greek, and that noone but modern Greeks may claim right to the name and culture of the Ancient Macedonians. No matter that genetic purity in the Balkans is a fantasy, or that there is no such thing as a cultural continuity in the Macedonian region from antiquity to the present. Politics in the Balkans transcends historical and biological truths.
 * As quoted in The Eye Expanded, by Frances B. Titchener and Richard F. Moorton

 * The propaganda campaign in Greece has been forceful. And one need not look to Greek governments as the source of the propaganda; the feelings are widespread and deeply felt. There are sufficient private political, cultural, and academic societies to formulate and maintain anti-Macedonian sentiments.
 * As quoted in The Eye Expanded, by Frances B. Titchener and Richard F. Moorton

 * Telephone cards now widely used throughout Greece bear the inscription "Macedonia is one and only and it is Greek," in Greek and English, despite the fact that for most of the 2,600 years since the genesis of the ancient Macedonian kingdom ethnic Greeks have been a minority of the population. The overwhelming Hellenic impact on Greek Macedonia is largely the result of the settlements and population exchanges of the early 1920s. Even Thessaloniki, with its rich Byzantine architectural heritage, counted far fewer Greeks than either Sephardic Jews or Turks until after the Balkan Wars of 1912-13.
 * As quoted in The Eye Expanded, by Frances B. Titchener and Richard F. Moorton

 * It is difficult to know whether an independent Macedonian state would have come into existence had Tito not recognised and supported the development of Macedonian ethnicity as oart of his ethnically organised Yugoslavia. He did this as a counter to Bulgaria, which for centuries had a historical claim on the area as far west as Lake Ohrid and the present border of Albania.
 * As quoted in The Eye Expanded, by Frances B. Titchener and Richard F. Moorton

 * The Macedonians are a newly emergent people in search of a past to help legitimize their precarious present as they attempt to establish their singular identity in a Slavic world dominated historically by Serbs and Bulgarians. One need understand only a single geopolitical fact: As one measures conflicting Serb and Bulgarian claims over the past nine centuries, they intersect in Macedonia. Macedonia is where the historical Serb thrust to the south and the historical thrust to the west meet. This is not to say that present Serb and Bulgarian ambitions, where the past has precedence over the present and future.
 * As quoted in The Eye Expanded, by Frances B. Titchener and Richard F. Moorton

1990s

 * Our understanding of the Macedonians' emergence into history is confounded by two events: the establishment of the Macedonians as an identifiable ethnic group, and the foundation of their ruling house. The "highlanders" or "Makedones" of the mountainous regions of western Macedonia are derived from northwest Greek stock; they were akin both to those who at an earlier time may have migrated south to become the historical "Dorians", and to other Pindus tribes who were the ancestors of the Epirotes or Molossians. That is, we may suggest that northwest Greece provided a pool of Indo-European speakers of Proto-Greek from which were drawn the tribes who later were known by different names as they established their regional identities in separate parts of the country... First, the matter of the Hellenic origins of the Macedonians: Nicholas Hammond's general conclusion (though not the details of his arguments) that the origin of the Macedonians lies in the pool of proto-Greek speakers who migrated out of the Pindus mountains during the Iron Age, is acceptable.
 * Makedonika (1995), Claremont: Regina Books

 * Modern Slavs, both Bulgarians and Macedonians, cannot establish a link with antiquity, as the Slavs entered the Balkans centuries after the demise of the ancient Macedonian kingdom. Only the most radical Slavic factions—mostly émigrés in the United States, Canada, and Australia—even attempt to establish a connection to antiquity [...] The twentieth-century development of a Macedonian ethnicity, and its recent evolution into independent statehood following the collapse of the Yugoslav state in 1991, has followed a rocky road. In order to survive the vicissitudes of Balkan history and politics, the Macedonians, who have had no history, need one. They reside in a territory once part of a famous ancient kingdom, which has borne the Macedonian name as a region ever since and was called ”Macedonia” for nearly half a century as part of Yugoslavia. And they speak a language now recognized by most linguists outside Bulgaria, Serbia, and Greece as a south Slavic language separate from Slovenian, Serbo-Croatian, and Bulgarian. Their own so-called Macedonian ethnicity had evolved for more than a century, and thus it seemed natural and appropriate for them to call the new nation “Macedonia” and to attempt to provide some cultural references to bolster ethnic survival.
 * "Macedonia Redux", in The Eye Expanded: life and the arts in Greco-Roman Antiquity, ed. Frances B Tichener & Richard F. Moorton, University of California Press, 1999

 * Some of the Macedonian émigré community in North America have adopted Ernst Badian, Peter Green, and me as “their” scholarly authorities, believing (without basis) that we possess a pro-Macedonian bias in this conflict. While it is true we share certain similarities in our views about the ancient Macedonians, none of us has, to the best of my knowledge, publicly expressed any political opinions on the modern Macedonian Question. Thus, in a recent telephone conversation initiated by a fervent Macedonian nationalist from Toronto who saw in me a potential ally, the caller expressed astonishment when I said that I thought his views on the languages of ancient and modern Macedonia were without scholarly merit and bordered on the absurd. He never called back.
 * "Macedonia Redux", in The Eye Expanded: life and the arts in Greco-Roman Antiquity, ed. Frances B Tichener & Richard F. Moorton, University of California Press, 1999, pp.264-265

In the Shadow of Olympus: The Emergence of Macedon (1990)

 * Princeton University Press

 * Only recently have we begun to clarify these muddy waters by revealing the Demosthenean corpus for what it is: oratory designed to sway public opinion and thereby to formulate public policy. That elusive creature, Truth, is everywhere subordinate to Rhetoric; Demosthenes' pronouncements are no more the true history of the period than are the public statements of politicians in any age.
 * pp. 5–6

 * There is no doubt that this tradition of a superimposed Greek house was widely believed by the Macedonians[...] There was a persistent, well attested tradition in antiquity that told of a group of Greeks from Argos -descendants of Temenus, kinsman of Heracles- who came to Macedonia and established their rule over the Makedones, unifying them and providing a royal house.
 * p. 80

 * There is no reason to deny the Macedonians' own traditions about their early kings and the migration of the Macedones[..] The basic story as provided by Herodotus and Thucydides, minus the interpolation of the Temenid connections, undoubtedly reflects the Macedonians' own traditions about their early history.
 * p. 84

 * Both Herodotus and Thycidides describe the Macedonians as foreigners, a distinct people lying outside the frontiers of the Greek-city states.
 * p. 92

 * Who were the Macedonians? As an ethnic question it is the best avoided, since the mainly modern political overtones tend to obscure the fact that it really is not a very important issue. That they may or may not have been Greek in whole or in a part--while an interesting anthropological sidelight--is really not crucial to our understanding of their history. They made their mark not as a tribe of Greeks or other Balkan peoples, but as Macedonians. This was understood by foreign protagonists from the time of Darius and Xerxes to the age of Roman generals.
 * p. 97

 * Their daughter, who would be the half-sister of Alexander the Great and, later the wife of Cassander, was appropriately named Thessalonike, to commemorate Philip's victory in Thessaly. In 315 Cassander founded at or near the site of ancient Therme the great city that still bears her name.
 * p.220

 * Here we have seen that their early history is still largely an open question. They may have had Greek origins: Whatever process produced the Greek-speakers (of that is how one defines "Greek") who lived south of Olympus may have also produced the Makedones who wandered out of the western mountains to establish a home and a kingdom in Pieria.
 * pp. 277–278

Who Were (and Are) the Macedonians? (1996)

 * "Who Were (and Are) the Macedonians?" (December 1996), American Philological Association

 * While the 1971 OED may regard the use of the word "ethnicity" as obsolete, no adequate substitute for the word exists.

 * It is clear that over a five-century span of writing in two languages representing a variety of historiographical and philosophical positions the ancient writers regarded the Greeks and Macedonians as two separate and distinct peoples whose relationship was marked by considerable antipathy, if not outright hostility.

 * Clearly the Macedonians were in many respects Hellenized, especially on the upper levels of their society, as demonstrated by the excavations of Greek archaeologists over the past two decades. Yet there is much that is different, e. g., their political institutions, burial practices, and religious monuments. I will argue that, whoever the Macedonians were, they emerged as a people distinct from the Greeks who lived to the south and east. In time their royal court--which probably did not have Greek origins (the tradition in Herodotus that the Macedonian kings were descended from Argos is probably a piece of Macedonian royal propaganda)--became Hellenized in many respects, and I shall review the influence of mainstream Greek culture on architecture, art, and literary preferences.

2000s

 * Movie critics have complained that the movie lacks coherent vision. The fault may not be Stone's. We know what [Alexander] did, and it continues to astonish us, but we don't know how or why he did it... Stone suggests some noble purpose for Alexander's mad, bloody tromp across Asia. He and his historical consultant shared a need to give meaning to a meaningless conquest.
 * About the film Alexander, as quoted in "Expert says Hollywood 'Alexander' gets a lot wrong: Stone may have been thrown by historians' lack of agreement" (3 December 2004), by Rebecca J. Ritzell, Intelligencer Journal

title: Eugene N. Borza


text:
User talk:Colt46

Please stop adding nonsense to Wikiquote, as you did to Jack Thompson (attorney). It is considered vandalism. If you would like to experiment, use the sandbox. —LrdChaos (talk) 15:40, 12 January 2007 (UTC)

Hi. Welcome to English Wikiquote. Enjoy!  Cbrown1023  talk  01:32, 7 February 2007 (UTC)
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title: User talk:Colt46


text:
User talk:Pandey

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 15:40, 12 January 2007 (UTC)
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title: User talk:Pandey


text:
User talk:RajeshPandey

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 15:41, 12 January 2007 (UTC)
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title: User talk:RajeshPandey


text:
User talk:Jerry Ellis

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 15:44, 12 January 2007 (UTC)
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title: User talk:Jerry Ellis


text:
User talk:ToaRabin~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 15:44, 12 January 2007 (UTC)
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Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

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

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

title: User talk:ToaRabin~enwikiquote


text:
User talk:Ddelanom

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 15:45, 12 January 2007 (UTC)
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title: User talk:Ddelanom


text:
User talk:Cuca serrano

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 15:45, 12 January 2007 (UTC)
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title: User talk:Cuca serrano


text:
User talk:Khalsayogi

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 15:45, 12 January 2007 (UTC)
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title: User talk:Khalsayogi


text:
User talk:Rajesh~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 15:45, 12 January 2007 (UTC)
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Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:33, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:55, 19 April 2015 (UTC)

title: User talk:Rajesh~enwikiquote


text:
Talk:Pixies

I don't understand why many (most) of the quotes are featured here. Perhaps they're real good sounding lines, though they ain't nothing special in further aspects... According to me.

yeah. they should be removed. it's a nonsense to keep 'em here.

Unsourced quotes about the Pixies

 * In the late '90s in New York City I had found this discarded book on the floor, and I'm always looking for paper. [...] That's how it first began. I was using it to write — Kelley was sitting at the apartment and they told me they wanted to use that piece of music, and I thought 'Oh crap, now I have to write lyrics — oh well, here's some paper,' and I kind of looked through some rows and found some of these old words sitting there. [...] It was a story about monsters or something."
 * Kim Deal, Pixies bassist.

 * From the handwriting, you could tell that this book must have belonged to a little kid. This kid had written a short story, a paragraph really, about a party that took place in another universe, about people and monsters that were partying together. That's what provided the inspiration for the lyrics.
 * Kim Deal, Pixies bassist.

 * By distributing our first song in 13 years exclusively on iTunes, we were able to quickly and inexpensively make it available to millions of fans in the US and Europe. One week after its release, we are thrilled at the response from iTunes users that have helped to make 'Bam Thwok' a top seller across four countries.
 * Ken Goes, Pixies manager.

title: Talk:Pixies


text:
User:Mathteach

I'm a teacher from NYC. I use wikipedia more under this same username. http://en.wikipedia.org/wiki/User:Mathteach

title: User:Mathteach


text:
João Magueijo

João Magueijo (zh-'wow ma-'gay-zhoo) (born in 1967) is a Portuguese professor of theoretical physics at Imperial College, London, where he was for three years a Royal Society Research Fellow. He has been a visiting scientist at the University of California at Berkeley and Princeton University, and received his doctorate in Theoretical Physics at Cambridge University.

Faster than the Speed of Light

 * And indeed, if VSL is correct, black holes may have very different properties than we thought. Collapsing stars could have a totally different demise and die a rather eccentric death.
 * pg. 10

 * The game of science can accurately be described as a never-ending insult to human intelligence.
 * pg. 13

 * It was then that through the open door Einstein saw the man connecting the new battery, and precisely at the same time he did it, Einstein saw the cows jumping up away from the wire. All at once. Exactly. A fair amount of displeased mooing ensued.
 * pg. 16

 * In that year [Einstein] had roughly equal numbers of large and small cats. Therefore, quite logically, he cut two holes in each door: a large one for the large cats, and a small one for the small cats. It made perfect sense. ... A hole should have a meaningful existence, and the small cats might be offended if a personalized nothing was not prepared for them.
 * pg. 71

 * Thus, the distance between any two galaxies increases in time, creating the illusion of mechanical motion. But in reality, galaxies just sit there, contemplating the spectacle of the universe creating more and more space in between them.
 * pg. 87

 * I've always felt that copious use of the word 'something' allows anyone to solve any problem, even insoluble ones.
 * pg. 107

 * For instance, the blood of hibernating arctic squirrels may supercool to minus 3 degrees, when it would normally congeal. The supercooled blood still flows, since it remains a liquid, but the slightest disturbance will cause it to freeze, killing the squirrel; therefore, you should not disturb hibernating arctic squirrels.
 * pg. 113

 * Inflation is really like drugging the baby universe with speed. The supercool union of the hitherto unfriendly gods was blessed by amphetamine, and this made the universe inflate rather than just expand. The early orgy of expansion in the universe comes to an abrupt end as soon as the supercooled particle stuff finally freezes.
 * pg. 115

 * Ever since then, the place has accommodated people with the necessary level of imbalance required to come up with new ideas.
 * On Cambridge, pg. 129

 * Although the term dialogue was really a euphemism for scientists trying to kill each other, this format worked very well...
 * pg. 137

 * Cornelia would not be altogether surprised if she saw the grazing cow start tap dancing, lap dancing, or whatever quantum gravity might cause cows to do.
 * pg. 249

title: João Magueijo


text:
Talk:Daniel Burnham

I have read more than once that Burnham's "Make no little plans..." quote was ghostwritten, or at least heavily edited, by San Francisco architect Willis Polk, an admirer and sometime business associate of Burnham's and a prolific self-promoting journalist. Cannot now find a source for this; a place to start might be George Washington University professor Richard Longstreth and his book On The Edge of the World, an architectural history that groups Polk with several San Francisco contemporaries. Robert L. Miller, FAIA   1/12/07

Q: Did Daniel Burnham actually utter these words?
A: Maybe

See: https://www.chicagotribune.com/news/ct-xpm-1992-01-01-9201010041-story.html

title: Talk:Daniel Burnham


text:
User talk:147.72.108.9

Thanks for experimenting with the page Thermodynamics on Wikiquote. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Please see the welcome page if you would like to learn more about contributing to our compendium of quotations. Thanks. —LrdChaos (talk) 18:51, 12 January 2007 (UTC)

title: User talk:147.72.108.9


text:
User talk:66.238.170.50

- InvisibleSun 19:14, 12 January 2007 (UTC)

title: User talk:66.238.170.50


text:
Tears of the Black Tiger

Tears of the Black Tiger (Fah talai jone) is a 2000 Thai western film about the tragic romance between an outlaw gunman and the daughter of a provincial governor in 1950s Thailand.

 * Written and directed by Wisit Sasanatieng.

A spicy Thai western. taglines

Dum

 * It seems that life is just a long and terrible sadness and so we must hunger and chase after happiness and the smallest hope of reprieve 'til the end of our days.

Mahesuan

 * Oh this is a laugh! Who'd have thought the fearless Black Tiger ... crack shot, fastest man in the land, was also a master of the harmonica?
 * Dum's been stabbed! Get help!
 * You're just a nameless corpse, Dum!
 * [Upon seeing Rumpoey] Well, what a peach! No wonder Dum's obsessed!
 * Dum! So you're still not dead!
 * "[While praying in front of a Buddha with Dum]" By everything sacred in this world, I, Mahesuan swear, with Buddha as my witness, I'll always be true and loyal to my blood brother, Dum, the Black Tiger who saved my life. If I break this oath, may his gun end my life.

Fai

 * This is my law: If you betray Fai, you will die!
 * [Preparing to execute a traitorous gang member] See this? The coin has a hole in it. Somchit, if my bullet can't get through it, you live. But if it can, you die!
 * My law is simple: Whoever betrays Fai, dies!
 * Danger? I love danger!

Kumjorn

 * N-o-o-o-o-o-o-o-o!
 * The Black Tiger is luckier than me. He has your heart to himself ... I know now I can never own your heart, but I can still own your body!

Other

 * Title card: [After Dum shoots a man by richoting a bullet around a room] Did you catch that? If not, we'll play it again!
 * Koh: Dum's gone mental! Help me!
 * Governor Prasit: [After bayoneting and shooting the outlaw leader Fai.] What? Don't you recognize an old hoodlum?

Dialogue

 * Inspecting officer: Sargeant Yam, did you say goodbye to your wife?
 * Sergeant Yam: Sir! Every one of them, sir!
 * Inspecting officer: How many do you have?
 * Sergeant Yam: Sir! Seven wives, sir!
 * Inspecting officer: This is heavy indeed. After today, I'm afraid they will all be widowed.
 * Sergeant Yam: Sir! I told them if I don't make it, they can find new husbands, sir!

 * Inspecting officer: Sargeant Yam, show them your bomb throw.
 * Sergeant Yam: Sir! Yes sir!
 * [Yam throws a grenade into a watchtower, striking a man in the head, but it does not explode]
 * Inspecting officer: Good shot Yam! But why no explosion?
 * Sergeant Yam: [Winces, snaps his fingers] I forgot to pull the pin, sir! Sir! Permission to throw another?

 * Rumpoey: Dum? It's you isn't it? It's me. Rumpoey.
 * Dum: I'm sorry madame, you have the wrong person.
 * Rumpoey: Wait, Dum, do you really not know me?
 * Dum: I've never met you before. Besides my name is not Dum.
 * Rumpoey: What is your name?
 * Dum: My name is Rapin.

Taglines

 * A spicy Thai western.

Cast

 * Chartchai Ngamsan — Sua Dum (Black Tiger)
 * Supakorn Kitsuwon — Mahesuan
 * Sombat Metanee — Fai
 * Stella Malucchi — Rumpoey Prasit
 * Arawat Ruangvuth — Police Captain Kumjorn
 * Pairoj Jaisingha — Governor Prasit (Rumpoey's father)
 * Naiyana Sheewanun — Rumpoey's maid
 * Kanchit Kwanpracha — Kamnan Dua (Dum's father)
 * Chamloen Sridang — Sergeant Yam

title: Tears of the Black Tiger


text:
Phil Vischer

Phillip Roger Vischer (born June 16, 1966) is an American animator, puppeteer, writer, voice actor, songwriter, and the founder of Big Idea Productions, the company best known for bringing computer-animated vegetables to life in the popular VeggieTales series, alongside Mike Nawrocki. His new company, Jellyfish Labs, develops faith-based creative media for kids and families.

Quotes

 * An odd outlook on life is the beginning of good comedic writing.
 * Interview article at InfuzeMag.com

 * We're all broken. We're all messed up pigs. When we can accept that, we're ready to become the new creations God intended us to be. And that's when the fun starts!
 * From the postlogue, About This Book, in Sidney & Norman: A Tale of Two Pigs (2006) published by Tommy Nelson in association with Jellyfish Labs. ISBN 1-4003-0834-8

 * The messages our kids receive from teachers, coaches--and even, with the best intentions, from us — can push them toward pride or despair...toward self-righteousness or self-hatred.
 * From the postlogue, "Using This Book with Kids", in Sidney & Norman: A Tale of Two Pigs (2006) published by Tommy Nelson in association with Jellyfish Labs. ISBN 1-4003-0834-8

 * The most important thing is not the work I can do for God. The most important thing is to make God the most important thing.
 * Keynote speech at Christian Management Association conference in Denver, Colorado (March 2006)

Jonah: A VeggieTales Movie DVD (2002)

 * This 2-disc collector's edition includes commentary by Vischer, interviews with Vischer, and a tour of the animation studio led by Vischer.

 * When we retell a Bible story at Big Idea we will go through the Bible story very carefully. We'll figure out the key plot points, they key themes and we'll set those aside as, you know, sacred, cannot be messed with. And then, we'll mess with everything else. We'll just have lots and lots of goofy fun with everything else to make the story fresh even to grown-ups.
 * From Disc Two; Behind the Scenes: Jonah and the Bible (00:00:00-00:00:21)

 * It is pretty clear in the Bible story that the whale swallowing Jonah wasn't meant as a punishment from God, it was God saving him from drowning. So it was actually provision to give him a second chance. The whale itself was the start of Jonah's second chance.
 * From Disc Two; Behind the Scenes: Jonah and the Bible (00:02:59-00:03:18)

 * The ending of the film seems so bizarre. It is actually probably the most literal retelling of the story of Jonah from the Bible that you've ever bumped into.
 * From Disc Two; Behind the Scenes: Jonah and the Bible (00:05:17-00:05:28)

 * I'll very often just start humming my way through a scene. Say, OK the tempo should be about like this, it should pause here, it should pick up here. And very often I'll make up a little melody just to do that. About half of the little melodies in the score for Jonah are those little melodies that I made up just to use to kind of pace a scene and then we got kind of attached to them.
 * From Disc Two; The Music: The Score (00:00:17-00:00:38)

 * This is where we store our bicycles. A lot of people ride their bikes to work here. And, of course, there has to be a robot to protect them and make sure they don't get stolen like R2D2 in episode two where he did a very bad job in protecting Princess Amidala from those worm things. But this robot is significantly more effective as a theft-deterrent system than R2D2 was in that film. That's why the bikes are here.
 * From Disc Two; Behind the Scenes: Big Idea Tour (00:02:28-00:02:50)
 * As you can see, we're about to visit our lower level which is--for the most part--full of "Mens" and "Infants".

 * From Disc Two; Behind the Scenes: Big Idea Tour (00:03:18-00:03:25)
 * Big Idea had taken over a former Wolworth's building in a mall in Lombard, IL. Apparently some of the department store signs were still in place.

 * That's right! You're watching the DVD! So, the coolness of what the bowing man is doing is self-evident to you!
 * From Disc Two; Behind the Scenes: Big Idea Tour (00:05:58-00:06:06)

 * Say you've been to MGM (Metro-Goldwyn-Mayer) Disney Studios in Orlando, you'll know that there's an animation studio where you actually walk out of the back door of the animation studio and you're in a theme park. Now you say, hey, that's pretty cool. Could any animation studio have a sort of situation like that that is any cooler? And you think not. Well, you're wrong, I'd say, because here at Big Idea when we walk out our back door, We have the Timework button, we push the button, we open the door[...] and, we're in a mall. Disney has nothing on this. You can be animating one moment, buying candy by the pound the next, or taking a ride on a little train, or going to the food court.
 * From Disc Two; Behind the Scenes: Big Idea Tour (00:08:57-00:09:36)

 * And for two years, we had this sign up saying we will finish this movie and we changed it to 'did' finish the movie.

 * From Disc Two; Behind the Scenes: Big Idea Tour (00:10:59-00:11:37)

 * Thanks for coming! And, I have to make another movie, now.

The Philosophical Implications of Talking Vegetables (2005)

 * Speech at Yale University (2 March 2005)

 * VeggieTales is something that, on paper, makes no sense at all. It is a series of children’s videos where limbless, talking vegetables act out Bible stories. Try raising money with that pitch.
 * p. 1

 * Telling the complete story of VeggieTales would require much more time than we have before us tonight. Since this is Yale, I decided to craft a shorter version of the story, using very large words.  Remembering though that I was kicked out of Bible College before I’d had a chance to learn many very large words, I concluded that my only remaining option was to tell the story simply, using simple words, and chance the consequences.
 * p. 1

 * In truth, I sat down in 1992 to make a kids’ show that I would want to watch with my kids. That would work for me.  That would have sincerity in it, but not too much.  That would mix what I loved about Monty Python and David Letterman with what I hungered for from Thomas Aquinas and Mother Theresa.
 * p. 10

Me, Myself, & Bob (2006)

 * Subtitled A True Story About Dreams, God, and Talking Vegetables by Phil Vischer, published by Nelson Books, ISBN 0-7852-2207-3

 * Fairly early in life, I noticed my brain was weird. By that I mean that I noticed it had a way of looking at normal things from a slightly twisted angle--just twisted enough that it often made me chuckle.
 * p. 9-10

 * I never swore as a kid. Honestly. Never. I never smoked a cigarette and I never tasted alcohol until I got to Bible College.
 * p. 11

 * Why does God want us to let go of our dreams? Because anything you are unwilling to let go of is an idol, and you are in sin.
 * p. 236

 * I am growing increasingly convinced that if every one of these kids burning with passion to write that hit Christian song or make that hit Christian movie or start that hit Christian ministry to change the world would instead focus their passion on walking with God on a daily basis, the world would change.
 * p. 243

 * The impact God has planned for us doesn't occur when we're pursuing impact. It occurs when we're pursuing God.
 * p. 251

Quotes about Vischer

 * Have you ever been tempted to start your own business- First read this cautionary tale, especially if you think your ideas come from God.
 * Publisher's Weekly review of Me, Myself, & Bob, 2006-10-09

 * I expected Vischer’s story to be interesting, but I wasn’t ready for a thriller. The book begins with Vischer relating his childhood in a light and fun manner, but by the middle of the book when he was pouring out gritty details from his heart, I kept stopping myself from flipping to later chapters to see how exactly this story would end up.
 * Review of Me, Myself, & Bob by Ross King, 1340mag.com

title: Phil Vischer


text:
Varsity Blues (film)

Varsity Blues is a 1999 film about a small town in Texas where high school football is a religion. The head coach is deified, as long as the team is winning and 17-year-old schoolboys carry the hopes of an entire community onto the gridiron every Friday night.
 * Directed by Brian Robbins. Written by W. Peter Iliff.

Make your own rules. taglines

Jonathon "Mox" Moxon

 * [voiceover] In America we have laws. Laws against killing. Laws against stealing. It's accepted that, as a member of society, you will live by these laws. In West Canaan, Texas, there's another society that has its own laws. Football is a way of life. That's me as a kid, playing ball with my best friends. I'm Jonathan Moxon, but most people call me Mox. As a boy in West Canaan, you never question the sanctity of football. You just listened to the coaches and tried as best you could to win. Win at all costs.

 * [to his father] Playing football at West Canaan may have been the opportunity of your lifetime, but I don't want your life!

 * Before this game started, Kilmer said "48 minutes for the next 48 years of your life". I say "fuck that". All right? Fuck that. Let's go out there, and we play the next 24 minutes for the next 24 minutes, and we leave it all out on the field. We have the rest of our lives to be mediocre, but we have the opportunity to play like gods for the next half of football. But we can't be afraid to lose. There's no room for fear in this game. Now if we go out there, and we half-ass it 'cause we're scared, all we're left with is an excuse; we're always gonna wonder. But if we go out there, and we give it absolutely everything - that's heroic. Let's be heroes. Come on. What do you say, boys?

 * [voiceover] And for some of us, it ended without us knowing. Maybe these were the last days. I never played football again. But I will never forget that day. Billy Bob cried 'cause he's a bit of a cryer. And Tweeder drank beers 'cause...Well, Tweeder drinks beer. Lance is happy. He found his calling as a football coach. Wendell got his ride to Grambling. That statue still stands, but only because it was too heavy to move. Kilmer never coached again. I took my scholarship and will graduate from Brown University. The day was ours...and no one can ever take it away.

Coach Bud Kilmer

 * [to Mox] You got to be the dumbest smart kid I know.

 * It makes me wonder if you know the difference between a sneeze and a wet fart!

 * Never show weakness, the only pain that matters is the pain you inflict.

 * The hard work of so many, sacrificed by the disrespect of few.

 * [to Mox] Your daddy was a no-talent pussy, but at least he listened!

 * [to Billy Bob] Son, you are fucking up my universe. You're fat, you're slow...now all of a sudden you're lazy.

 * [pulling Moxon aside after practice] You disobey me, and I will bury you. I know about your scholarship to Brown. I got your grades under review. Don't think for a minute that I can't fuck with your transcripts, and get this whole deal blown for you.

Charlie Tweeder

 * [Mooning Mox and Billy Bob through the truck window] Good moonin, Boys! Good moonin! I have been up since the crack of dawn and I had to ass you a question.

 * [after stealing a cop car] I'm gonna go to jail!

 * Jonathan Moxon you're are under arrest for not being naked with some sophomore chick who wants to bathe you with her tongue, now take off your goddamn clothes and get in the car.

 * Ladies, shut up and hold on to your nipples!

 * Well we're all naked in there and we've got handcuffs and cool shit to play with so take off your clothes and get in the car.

 * Looks like she fell out of the I-wanna-suck-your-dick tree and hit every branch on the way down!

Billy Bob

 * It's a strip club, man. I'm here to work!

 * [about Miss Davis' strip routine] A 10... a 10... a fucking 10!

 * [staring at Miss Davis's breasts] Miss Davis, would you go to the prom with me?

Others

 * Miss Davis: Now I want y'all to repeat after me: penis, penis, penis; vagina, vagina, vagina!

 * Sam Moxon: I raised you to be a winner, so dammit boy, win!

 * Sam Moxon: I'm really proud about Brown son, but I need to talk to you about Gilroy.

Dialogue

 * Billy Bob: I sure do love that dog.
 * Mox: I think it's a pig.
 * Billy Bob: Yeah.

 * Miss Davis: Can anyone tell me a common slang term for the male erection?
 * Student: Boner? Is boner one?
 * Miss Davis: Yes! Boner is good, boner is very good!

 * Mox: The male erection? Uh, pitchin' a tent, sportin' wood, icicle has formed, the march is on; stiff, stiffie, Mr. Mortis, Rigger Mortis has set in; uh, flesh rocket, Jack's magic beanstalk, tall Tommy, mushroom on a stick, Mr. Mushroom Head, purple-headed yogurt-slinger...and, uh, Pedro.
 * Miss Davis: Pedro?
 * Mox: Mmhmm.

 * Tweeder: Will you listen to me? Women are all just panty droppers. You understand? That's it.
 * Mox: What?
 * Tweeder: Listen. You give 'em Percocet, two Vicoden and a couple of beers, and the panties fall off. This is nice. It's very nice.
 * Mox: [laughing] It's nice?
 * Tweeder: It's nice.
 * Mox: Tweeder, you think you'll enjoy prison?
 * Tweeder: [not paying attention] I don't know...What?

 * Tweeder: Hey you wanna see the new Tweeder end zone dance?
 * [Tweeder dances]
 * Tweeder: You know what it's called?
 * Mox: What?
 * Tweeder: The new Tweeder end zone dance.

 * Mox: I'm a good boy. I've always been good. What's my upside to being good? [looks at a box of condoms] I'm 18 years old. It's not like I'm married to her. She invited me over. I'm just being polite, right Kyle? Kyle?
 * Kyle: I only answer to one name. Ali-Actabaor-Shabaz-Da.
 * Mox: That's a bunch of names.
 * Kyle: There is only one God. All praise and honor be to Allah.
 * Mox: Yeah. Well, would Allah nail Darcy if he had the chance? I think so.

 * Tweeder: Say I'm stupid and I'm about to get hit in the nuts.
 * [Tweeder hits a 1980 graduate in the groin]
 * Billy Bob: That's funny.
 * Tweeder: Ain't it funny? That's what I mean. See they need to change the name of the show to America's funniest shots in the nuts.

 * Police Officer: These kids, they're just running around wild these days. Them kids last night, they stole a cop car.
 * Bar Man: No.
 * Police Officer: Yes! Them boys been exposing themselves.
 * Bar Man: Exposing themselves?
 * Police Officer: Yes. They put them wieners on the glass at the Alano Club, while the ladies were rehearsing the Christmas pageant.
 * Bar Man: They put them wieners on the glass at the Alano Club?

 * Mo Moxon: Kyle, did you start a cult?
 * Kyle: Yup.
 * Mo Moxon: That is so sweet!

 * Darcy: Baby I got so excited thinking about next year and Florida state and the future, I think I need to be your wide receiver.
 * Lance: Here baby.
 * Darcy: Well not "here" here, but somewhere here.

 * Jules: Hi. What do you want?
 * Mox: I'm really sorry. I really need to talk to you.
 * Jules: It's late.
 * Mox: I got into Brown today. Full academic scholarship.
 * Jules: Jonnie, that's great! I'm so proud of you. What? What's wrong?
 * Mox: Kilmer's threatening to fuck up my scholarship if I don't play by his rules tomorrow.
 * Jules: Then quit.
 * Mox: Can't.
 * Jules: Then play.
 * Mox: You don't understand.
 * Jules: It's just a football game.
 * Mox: No, it's not. If it was just football I'd play. I love football when it's pure, but this...This isn't pure.
 * Jules: You're right. I don't understand.
 * Mox: If I play for Kilmer tomorrow and we win, he wins. Everyone in West Canaan will go on believing he's the best coach that ever lived. Yeah. What about the next team he coaches? And the one after that? What if my little brother ends up playing for him? I would be buying into everything that's wrong with this town.
 * Jules: You want some cheese with that whine?
 * Mox: What?
 * Jules: You're a whiner. Why don't you just step up and play the hero?
 * Mox: A hero?
 * Jules: Come on, Mox. You're a football guy. You're gonna tell me you don't know about heroes?
 * Mox: Yeah, but heroes win. What if I lose?

 * Tweeder: [a trainer is about to administer a shot to Wendell's knee] Hey coach, I heard a pop. I... you know, I think he's hurt pretty bad.
 * Coach Kilmer: Get outta here! Y'all wouldn't know anything about it! Dedication, team play!
 * Lance: [bursting in on crutches] But I would. Don't do it, Wendell... it's not worth it, man.
 * Coach Kilmer: You gonna listen to that from a gimp... who's praying that we lose so he can be the missing link?
 * Wendell: Maybe I shouldn't do it.
 * Coach Kilmer: [to the rest of the players] Get the hell outta here...
 * Lance: [to Wendell] Don't do it.
 * Coach Kilmer: ...before I lose my temper! [grabs Lance] Get out!
 * Tweeder: Don't do it.
 * Billy Bob: That needle goes anywhere near Wendell's leg, I swear to God, on my mother's grave, I will rip your arms off and beat you to death with them!
 * Coach Kilmer: [shocked] You stay the hell outta this, Billy Bob! This has nothing to do with you!
 * Mox: This has to do with all of us. We kill ourselves for you. Year round, we play hurt, we play sick, and we spend most of that time scared that we're gonna screw up and you're gonna kick our ass because you... [Kilmer attempts to close the door in Mox's face, but Mox stops it] ...don't really give a fuck about us! All you care about is your next district title.
 * Coach Kilmer: [to the trainer, at halftime in the trainer's room, with Wendell on the table] Give him the shot!
 * Mox: If you give him that shot, you can find yourself another fucking quarterback.
 * Coach Kilmer: You about ready to lose that scholarship, boy?
 * Mox: If it keeps that needle out of his leg? Absolutely.
 * Coach Kilmer: Good.
 * Mox: Fuck it, I'm out.
 * Coach Kilmer: That's good! That's good! Finally! Tweeder, you take the snaps.
 * Tweeder: No, I won't. I'm out, Coach.
 * Coach Kilmer: What did you say?
 * Tweeder: I'm with them.
 * Mox: The only way we're going back out on that field is without you.

Taglines

 * Make your own rules.

 * In a town where winning is everything, these guys have nothing to lose.

 * It takes a hero to know what's worth winning.

Cast

 * James Van Der Beek - Jonathon 'Mox' Moxon
 * Amy Smart - Jules Harbor
 * Jon Voight - Coach Bud Kilmer
 * Paul Walker - Lance Harbor
 * Ron Lester - Billy Bob
 * Scott Caan - Charlie Tweeder
 * Richard Lineback - Joe Harbor
 * Ali Larter - Darcy Sears
 * Tiffany C. Love - Collette Harbor
 * Eliel Swinton - Wendell Brown
 * Thomas F. Duffy - Sam Moxon
 * Jill Parker-Jones - Mo Moxon
 * Tonie Perensky - Miss Davis
 * Joe Pichler - Kyle Moxon

title: Varsity Blues (film)


text:
Talk:Dude, Where's My Car?

Stubness, &c.
1) We need to add more quotes. 2) Who says "HARDER HARDER!!"? That is at the bottom of the Jesse section, is unattributed, and is immediately preceded by six blank lines.

Missingno000 21:12, 12 January 2007 (UTC)

Trimming notice
As part of the Copyright Cleanup Project, this article has been trimmed to a maximum of seven quotes for an 83-minute film. Additional quotations could be added so long as an equal number are deleted. See Limits on quotations for guidelines. - InvisibleSun 23:43, 19 March 2009 (UTC)

title: Talk:Dude, Where's My Car?


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User talk:John Michael Robinson~enwikiquote

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Talk:The Israel Lobby and U.S. Foreign Policy

NPOV
If this is to stand as a Wikiquote theme article, it should include quotations from other sources, i.e., criticism. Even then I don't think it's a particularly good article, nor do I think it works as a literary-work article. One "working paper" is simply not enough to justify a Wikiquote page, and at the same time, the amount of quotation here is possibly too much from a single source; there are entire books that don't get this much WQ coverage. There are also no proper citations for any of the quotations here. I expect that, if these flaws are not remedied, this article will be nominated for deletion. 121a0012 03:26, 13 January 2007 (UTC)


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Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 04:17, 13 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

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

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:42, 19 April 2015 (UTC)

title: User talk:Badluckartist~enwikiquote


text:
User talk:DocPlenitude

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 04:17, 13 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:DocPlenitude


text:
User talk:Starecases~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 04:18, 13 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:35, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:58, 19 April 2015 (UTC)

title: User talk:Starecases~enwikiquote


text:
User talk:OMIJI~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 04:18, 13 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:32, 17 March 2015 (UTC)

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

title: User talk:OMIJI~enwikiquote


text:
User talk:Alton John

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 04:18, 13 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Alton John