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Doris Lessing

Doris Lessing (22 October 1919 – 17 November 2013) was a British writer, born Doris May Tayler. In October 2007, Lessing became the eleventh woman to be awarded the Nobel Prize for Literature in its 106-year history, and its oldest ever recipient.
 * See also: Canopus in Argos

1950–1999

 * It is terrible to destroy a person's picture of himself in the interests of truth or some other abstraction.
 * The Grass Is Singing, ch. 2 (1950)

 * The three men looked at the murderer, thinking their own thoughts, speculative, frowning, but not as if he were important now. No, he was unimportant: he was the constant, the black man who will thieve, rape, murder, if given half a chance. ... "I work hard enough, don't I? All day I am down on the lands with these lazy black savages, fighting them to get some work out of them. ... Above all, she hated the way they suckled their babies, with their breasts hanging down for everyone to see; there was something in their calm satisfied maternity that made her blood boil. "Their babies hanging on them like leeches," she said to herself shuddering, for she thought with horror of suckling a child. The idea of a child's lips on her breasts made her feel quite sick; at the thought of it she would involuntarily clasp her hands over her breasts, as if protecting them from a violation. And since so many white women are like her, turning with relief to the bottle, she was in good company, and did not think of herself, but rather of these black women, as strange; they were alien and primitive creatures with ugly desires she could not bear to think about. ... the touch of this black man's hand on her shoulder filled her with nausea; she had never, not once in her whole life, touched the flesh of a native.
 * The Grass Is Singing (1950).
 * Setting: Southern Rhodesia (British colony), now Zimbabwe. Author nationality: British. First published: UK and USA.

 * In university they don't tell you that the greater part of the law is learning to tolerate fools.
 * Martha Quest (1952), Part III, ch. 2

 * If a fish is the movement of water embodied, given shape, then cat is a diagram and pattern of subtle air.
 * Particularly Cats, ch. 2 (1967)

 * That is what learning is. You suddenly understand something you've understood all your life, but in a new way.
 * The Four-Gated City (1969)

 * Laughter is by definition healthy.
 * The Summer Before the Dark (1973)

 * Nonsense, it was all nonsense: this whole damned outfit, with its committees, its conferences, its eternal talk, talk, talk, was a great con trick; it was a mechanism to earn a few hundred men and women incredible sums of money.
 * The Summer Before the Dark (1973)

 * You know, whenever women make imaginary female kingdoms in literature, they are always very permissive, to use the jargon word, and easy and generous and self-indulgent, like the relationships between women when there are no men around. They make each other presents, and they have little feasts, and nobody punishes anyone else. This is the female way of going along when there are no men about or when men are not in the ascendant.
 * quoted in "A Talk With Doris Lessing; Lessing Author's Query" (30 March 1980), Minda Bikman, The New York Times Book Review

 * There are certain types of people who are political out of a kind of religious reason [...] I think it's fairly common among socialists: They are, in fact, God-seekers, looking for the kingdom of God on earth. A lot of religious reformers have been like that, too. It's the same psychological set, trying to abolish the present in favor of some better future — always taking it for granted that there is a better future. If you don't believe in heaven, then you believe in socialism. When I was in my real Communist phase, I and the people around me really believed — but, of course, this makes us certifiable — that something like 10 years after World War II, the world would be Communist and perfect.
 * quoted in Lesley Hazelton "Doris Lessing on Feminism, Communism and Space Fiction", The New York Times Book Review (25 July 1982)

 * It can be considered a rule that the probable duration of an Empire may be prognosticated by the degree to which its rulers believe in their own propaganda.
 * The Sentimental Agents in the Volyen Empire (1983), p. 94, Flamingo edition

 * In the writing process, the more the story cooks, the better. The brain works for you even when you are at rest. I find dreams particularly useful. I myself think a great deal before I go to sleep and the details sometimes unfold in the dream.
 * Interview with Herbert Mitgang, "Mrs. Lessing Addresses Some of Life's Puzzles", The New York Times, (22 April 1984)

 * You can only learn to be a better writer by actually writing. I don't know much about creative writing programs. But they're not telling the truth if they don't teach, one, that writing is hard work and, two, that you have to give up a great deal of life, your personal life, to be a writer.
 * Interview with Herbert Mitgang, "Mrs. Lessing Addresses Some of Life's Puzzles," The New York Times (22 April 1984)

 * This world is run by people who know how to do things. They know how things work. They are equipped. Up there, there's a layer of people who run everything. But we — we're just peasants. We don't understand what's going on, and we can't do anything.
 * The Good Terrorist (1985)

 * There are no laws for the novel. There never have been, nor can there ever be.
 * As quoted in Writers on Writing (1986) by Jon Winokur

 * Space or science fiction has become a dialect for our time.
 * The Guardian, London (7 November 1988)

 * All one's life as a young woman one is on show, a focus of attention, people notice you. You set yourself up to be noticed and admired. And then, not expecting it, you become middle-aged and anonymous. No one notices you. You achieve a wonderful freedom. It's a positive thing. You can move about unnoticed and invisible.
 * As quoted in An Uncommon Scold (1989) by Abby Adams, p. 18

 * The great secret that all old people share is that you really haven't changed in seventy or eighty years. Your body changes, but you don't change at all. And that, of course, causes great confusion.
 * The Sunday Times (London, 10 May 1992)

 * Political correctness is the natural continuum from the party line. What we are seeing once again is a self-appointed group of vigilantes imposing their views on others. It is a heritage of communism, but they don't seem to see this.
 * The Sunday Times (London, 10 May 1992)

 * Does political correctness have a good side? Yes, it does, for it makes us re-examine attitudes, and that is always useful. The trouble is that, as with all popular movements, the lunatic fringe so quickly ceases to be a fringe; the tail begins to wag the dog. For every woman or man who is quietly and sensibly using the idea to look carefully at our assumptions, there are twenty rabble-rousers whose real motive is a desire for power over others. The fact that they see themselves as antiracists or feminists or whatever does not make them any less rabble-rousers.
 * "Unexamined Mental Attitudes Left Behind By Communism", in Our Country, Our Culture - The Politics of Political Correctness (1994), Partisan Review Press, edited by Edith Kurzweil and William Philips

 * What they [critics of Lessing's switch to science fiction] didn't realize was that in science fiction is some of the best social fiction of our time.
 * Boston Book Review interview by Harvey Blume (February 1998)

 * With a library you are free, not confined by temporary political climates. It is the most democratic of institutions because no one — but no one at all — can tell you what to read and when and how.
 * Index on Censorship (March/April 1999)

The Golden Notebook (1962)

 * My major aim was to shape a book which would make its own comment, a wordless statement: to talk through the way it was shaped. As I have said, this was not noticed
 * Introduction (1971 edition)

 * I think it possible that Marxism was the first attempt, for our time, outside the formal religions, at a world-mind, a world-ethic. It went wrong, could not prevent itself from dividing and subdividing, like all the other religions, into smaller and smaller chapels, sects, and creeds. But it was an attempt.
 * Introduction (1971)

 * Ideally, what should be said to every child, repeatedly, throughout his or her school life is something like this: "You are in the process of being indoctrinated. We have not yet evolved a system of education that is not a system of indoctrination. We are sorry, but it is the best we can do. What you are being taught here is an amalgam of current prejudice and the choices of this particular culture. The slightest look at history will show how impermanent these must be. You are being taught by people who have been able to accommodate themselves to a regime of thought laid down by their predecessors. It is a self-perpetuating system. Those of you who are more robust and individual than others will be encouraged to leave and find ways of educating yourself — educating your own judgements. Those that stay must remember, always, and all the time, that they are being moulded and patterned to fit into the narrow and particular needs of this particular society."
 * Introduction (1971)

 * There is only one way to read, which is to browse in libraries and bookshops, picking up books that attract you, reading only those, dropping them when they bore you, skipping the parts that drag — and never, never reading anything because you feel you ought, or because it is part of a trend or a movement. Remember that the book which bores you when you are twenty or thirty will open doors for you when you are forty or fifty — and vice versa. Don’t read a book out of its right time for you.
 * Introduction (1971)

 *  The two women were alone in the London flat. "The point is," said Anna, as her friend came back from the telephone on the landing, "the point is, that as far as I can see, everything's cracking up."
 * First lines, "Free Women: 1"

 * The point is, that the function of the novel seems to be changing; it has become an outpost of journalism; we read novels for information about areas of life we don’t know — Nigeria, South Africa, the American army, a coal-mining village, coteries in Chelsea, etc. We read to find out what is going on. One novel in five hundred or a thousand has the quality a novel should have to make it a novel — the quality of philosophy.
 * Anna Wulf, in "Free Women: 1"

 * The novel has become a function of the fragmented society, the fragmented consciousness. Human beings are so divided, are becoming more and more divided, and more subdivided in themselves, reflecting the world, that they reach out desperately, not knowing they do it, for information about other groups inside their own country, let alone about groups in other countries. It is a blind grasping out for their own wholeness, and the novel-report is a means toward it.
 * Anna Wulf, in "Free Women: 1"

 * What is so painful about that time is that nothing was disastrous. It was all wrong, ugly, unhappy and coloured with cynicism, but nothing was tragic, there were no moments that could change anything or anybody. From time to time the emotional lightning flashed and showed a landscape of private misery, and then — we went on dancing.
 * Anna Wulf, in "Free Women: 1"

 * We spend our lives fighting to get people very slightly more stupid than ourselves to accept truths that the great men have always known. They have known for thousands of years that to lock a sick person into solitary confinement makes him worse. They have known for thousands of years that a poor man who is frightened of his landlord and of the police is a slave. They have known it. We know it. But do the great enlightened mass of the British people know it? No. It is our task, Ella, yours and mine, to tell them. Because the great men are too great to be bothered. They are already discovering how to colonise Venus and to irrigate the moon. That is what is important for our time. You and I are the boulder-pushers. All our lives, you and I, we’ll put all our energies, all our talents into pushing a great boulder up a mountain. The boulder is the truth that the great men know by instinct, and the mountain is the stupidity of mankind.
 * Paul Tanner, in "Free Women: 1"

 * Do you know what people really want? Everyone, I mean. Everybody in the world is thinking: I wish there was just one other person I could really talk to, who could really understand me, who'd be kind to me. That's what people really want, if they're telling the truth.

 * It seems to me like this. It's not a terrible thing — I mean, it may be terrible, but it's not damaging, it's not poisoning, to do without something one really wants. It's not bad to say: My work is not what I really want, I'm capable of doing something bigger. Or I'm a person who needs love, and I'm doing without it. What's terrible is to pretend that the second-rate is the first-rate. To pretend that you don't need love when you do; or you like your work when you know quite well you're capable of better.
 * Anna Wulf, in "Free Women: 2"

 * It isn’t only the terror everywhere, and the fear of being conscious of it, that freezes people. It’s more than that. People know they are in a society dead or dying. They are refusing emotion because at the end of very emotion are property, money, power. They work and despise their work, and so freeze themselves. They love but know that it’s a half- love or a twisted love, and so they freeze themselves.
 * Anna Wulf, in "Free Women: 4"

 * There was a kind of shifting of the balances of my brain, of the way I had been thinking, the same kind of realignment as when, a few days before, words like democracy, liberty, freedom, had faded under pressure of a new sort of understanding of the real movement of the world towards dark, hardening power. I knew, but of course the word, written, cannot convey the quality of this knowing, that whatever already is has its logic and its force. I felt this, like a vision, in a new kind of knowing. And I knew that the cruelty and the spite and the I.I.I.I. of Saul and of Anna were part of the logic of war; and I knew how strong these emotions were, in a way that would never leave me, would become part of how I saw the world.
 * Anna Wulf, in "Free Women: 4"

 * I knew, and it was an illumination — one of those things one has always known, but never understood before — that all sanity depends on this: that it should be a delight to feel the roughness of a carpet under smooth soles, a delight to feel heat strike the skin, a delight to stand upright, knowing the bones are moving easily under flesh. If this goes, then the conviction of life goes too. But I could feel none of this. … I knew I was moving into a new dimension, further from sanity than I had ever been.
 * Anna Wulf, in "The Golden Notebook"

 * You want me to begin a novel with The two women were alone in the London flat?
 * Anna Wulf, in "The Golden Notebook"

 * Sometimes I pick up a book and I say: Well, so you've written it first, have you? Good for you. O.K., then I won't have to write it.
 * Saul Green in "The Golden Notebook"

 * There's only one real sin, and that is to persuade oneself that the second-best is anything but the second-best.
 * Anna Wulf

 * None of you ask for anything — except everything, but just for so long as you need it.
 * Anna Wulf

 * Literature is analysis after the event.
 * Quoted in Children of Albion: Poetry of the Underground in Britain, ed. Michael Horovitz (1969): Afterwords, section 2

Salon interview (1997)

 * "A Notorious Life" — interview with Dwight Garner at salon.com (11 November 1997)

 * The automatic reaction of practically any young person is, at once, against authority. That, I think, began in the First World War because of the trenches, and the incompetence of the people on all fronts. I think that a terrible bitterness and anger began there, which led to communism. And now it feeds terrorism. Anyway, that's my thesis. It's very oversimplified, as you can see.

 * It was OK, us being Reds during the war, because we were all on the same side. But then the Cold War started. Almost overnight we became enemies of people who were close friends — they crossed the street to avoid us.

 * Why were the Europeans bothered about the Soviet Union at all? It was nothing to do with us. China had nothing to do with us. Why were we not building, without reference to the Soviet Union, a good society in our own countries? But no, we were all — in one way or another — obsessed with the bloody Soviet Union, which was a disaster. What people were supporting was failure. And continually justifying it.

 * I'm always astounded at the way we automatically look at what divides and separates us. We never look at what people have in common. If you see it, black and white people, both sides look to see the differences, they don't look at what they have together. Men and women, and old and young, and so on. And this is a disease of the mind, the way I see it. Because in actual fact, men and women have much more in common than they are separated.

 * All political movements are like this — we are in the right, everyone else is in the wrong. The people on our own side who disagree with us are heretics, and they start becoming enemies. With it comes an absolute conviction of your own moral superiority. There's oversimplification in everything, and a terror of flexibility.

 * The current publishing scene is extremely good for the big, popular books. They sell them brilliantly, market them and all that. It is not good for the little books. And really valuable books have been allowed to go out of print. In the old days, the publishers knew that these difficult books, the books that appeal only to a minority, were very productive in the long run. Because they're probably the books that will be read in the next generation. It's heart-breaking how often I have to say when I'm giving talks, "This book is out of print. This book is out of print." It's a roll call of dead books.

2001–2013

 * [On her first marriage ] I don't think marriages are like that now. It's when you walk into a role. The life was all laid down, what you ate, everything you did, and I went through it all as if it were a role in a play, really, and I hated it bitterly.
 * I have to face the fact that I and my high-minded comrades, both those in that chimerical Communist Party in Southern Rhodesia, and many I have met since ... were of the stuff of those murderers with a clear conscience. We were lucky, that's all.
 * "Doris Lessing: An unusual feminist", The Independent (18 August 2001)
 * In the words of interviewer Natasha Walter (before the first quote): "Lessing's escape from her family led her into another trap, marriage to a civil servant at the age of 19." She severed her links to the Communist Party in 1956.

 * What matters most is that we learn from living.
 * As quoted in Permission to Play : Taking Time to Renew Your Smile (2003) by Jill Murphy Long, p. 147

 * Parents should leave books lying around marked "forbidden" if they want their children to read.
 * Interview with Amanda Craig, "Grand dame of letters who's not going quietly", The Times (London, 23 November 2003, reprinted 3 June 2004)

 * Any human anywhere will blossom in a hundred unexpected talents and capacities simply by being given the opportunity to do so.
 * As quoted in Wisdom for the Soul: Five Millennia of Prescriptions for Spiritual Healing (2006) by Larry Chang, p. 660

 * I do not think writers ought ever to sit down and think they must write about some cause, or theme... If they write about their own experiences, something true is going to emerge.
 * "Literature Nobel Awarded to Writer Doris Lessing" All Things Considered NPR (11 October 2007)

 * This has been going on for 30 years. I've won all the prizes in Europe, every bloody one, so I'm delighted to win them all. It's a royal flush.
 * After being chosen as the 2007 recipient of the Nobel Prize For Literature "BBC News", BBC, London (11 October 2007)

 * Oh Christ. I couldn't care less. … I can't say I'm overwhelmed with surprise. I'm 88 years old and they can't give the Nobel to someone who's dead, so I think they were probably thinking they'd probably better give it to me now before I've popped off.
 * As quoted in "Doris Lessing oldest to win literature Nobel" by Philip Marchand in The Toronto Star (12 October 2007)

 * The Golden Notebook for some reason surprised people but it was no more than you would hear women say in their kitchens every day in any country. … I was really astounded that some people were shocked.
 * As quoted in an undated profile at the BBC World Service

 * I was taken around and shown things as a "useful idiot" […] that’s what my role was […] I can’t understand why I was so gullible.
 * Concerning her 1952 trip to the USSR.
 * Interview, excerpted in part 1 of Useful Idiots - BBC World Service (7 July 2010) at about 2:30. Part 1 on iTunes. Original page at archive.org.

Misattributed

 * What is a hero without love for mankind?
 * Was ist ein Held ohne Menschenliebe!
 * Gotthold Ephraim Lessing, Philotas (1759), Act 1, Scene 7

 * It is the mark of great people to treat trifles as trifles and important matters as important.
 * Denn zu einem großen Manne gehört beides: Kleinigkeiten als Kleinigkeiten, und wichtige Dinge als wichtige Dinge zu behandeln.
 * Gotthold Ephraim Lessing, Hamburgische Dramaturgie (1767 - 1769), Vierunddreißigstes Stück Den 25. August 1767

 * Pearls mean tears.
 * Perlen bedeuten Tränen.
 * Gotthold Ephraim Lessing, Emilia Galotti (1772), Act II, scene VIII

 * Better Counsel comes overnight.
 * Besserer Rat kommt über Nacht.
 * Gotthold Ephraim Lessing, Emilia Galotti (1772), Act IV, scene III

 * I, who ne'er Went for myself a begging, go a borrowing, And that for others. Borrowing's much the same As begging; just as lending upon usury Is much the same as thieving.
 * Gotthold Ephraim Lessing, Nathan the Wise (1779), Act II, scene II

 * The worst of superstitions is to think One's own most bearable.
 * Gotthold Ephraim Lessing, Nathan the Wise (1779), Act IV, scene II
 * Variant translation: The worst superstition is to consider our own tolerable.

 * Think wrongly, if you please, but in all cases think for yourself.
 * Gotthold Ephraim Lessing, as quoted in The London Medical Gazette Vol. V (1847), p. 1118; and Gotthold Ephraim Lessing: His Life and His Works (1878) by Helen Zimmern, p. 443 In "Grand dame of letters who's not going quietly", The Times (London, 23 November 2003), the phrase is unattributed, but interviewer Amanda Craig says it is Doris Lessing's own "motto".

 * Borrowing is not much better than begging; just as lending with interest is not much better than stealing.
 * Gotthold Ephraim Lessing, as quoted in Dictionary of Quotations from Ancient and Modern English and Foreign Sources (1893) by James Wood, p. 32

 * Man, whence is he? / Too bad to be the work of a god, too good for the work of chance.
 * Gotthold Ephraim Lessing, as quoted in Dictionary of Quotations from Ancient and Modern English and Foreign Sources (1899) by James Wood, p. 61; usually attributed to Doris Lessing in the form: "Man — who is he? Too bad, to be the work of God: Too good for the work of chance!"

 * Trust no friend without faults, and love a maiden, but no angel.
 * Gotthold Ephraim Lessing, as quoted in Dictionary of Quotations from Ancient and Modern English and Foreign Sources (1899) by James Wood, p. 499

 * For the last third of life there remains only work. It alone is always stimulating, rejuvenating, exciting and satisfying.
 * Käthe Kollwitz, diary entry (1 January 1912)

 * I have found it to be true that the older I've become the better my life has become.
 * Rush Limbaugh, as quoted in Old Age Is Always 15 Years Older Than I Am (2001) by Randy Voorhees

Quotes about Lessing

 * I have read a lot of Doris Lessing, and her interrogation of human behavior and history always makes a big impression on me.
 * Leila Aboulela Interview with World Literature Today (2019)

 * Doris Lessing, The Grass is Singing and the Children of Violence series. That again was actually a very positive influence upon me. I particularly liked her writing in the Children of Violence series: so down-to-earth and real! It made me think that this is the material that I have. It just relates to ordinary people that live ordinary lives, but, if Doris Lessing thinks it's important enough to record and the world agrees with her, then maybe I can use that same kind of material as well to make the points that I think should be made.
 * Tsitsi Dangarembga in Talking with African Writers by Jane Wilkinson

 * Doris Lessing—always searching, always on her way to something new and different, what a range of intelligence, her every book a blow at artistic complacency. The Golden Notebook I consider her masterpiece.
 * 1979 interview in Conversations with Nadine Gordimer edited by Nancy Topping Bazin and Marilyn Dallman Seymour (1990)

 * When was reviewing Doris Lessing's last two books from the Shikasta series, I found that she has discovered what I, to my great joy, had discovered a little earlier: that (a) if you're writing what they call science fiction, you're absolutely free-you can write anything you damn please, and (b) that if you take seriously the science fiction premise, you are furnished with an inexhaustable supply of absolutely beautiful and complex metaphors for our present situation, for who and where we are now, and I think it's not only women who have found this out. Angus Wilson was one of the first to do this with The Old Man in the Zoo years ago. That is a science fiction novel, if you look at it closely. Several of the writers who interest me most are doing this sort of thing, but Lessing has done it wholeheartedly and courageously. I love her introduction that says academics put science fiction down and to hell with them! That's really nice coming from Doris Lessing.
 * 1980 interview in Conversations with Ursula Le Guin (2002)

 * I sure like Doris Lessing.
 * 1981 interview in Conversations with Grace Paley (1997)

 * She might well wonder what took them so long. Doris Lessing is the ideal winner of the Nobel Prize. After all, the prize is about idealism, and was founded in the belief that writers can make the world a better place. Lessing can depict the world as a terrible place, peopled by terrorists, in which the women can be as violent as the men, and war can describe the planet entirely. But she never abandons the hope that the planet can be better, even if she has to imagine other planets to show how this is possible.
 * Tom Payne, in "Doris Lessing is the ideal Nobel Prize winner" in The Telegraph (12 April 2008)

 * The assumption made by Rossi, that women are "innately" sexually oriented only toward men, and that made by Lessing, that the lesbian is simply acting out of her bitterness toward men, are by no means theirs alone; these assumptions are widely current in literature and in the social sciences.
 * Adrienne Rich, Blood, Bread, and Poetry (1986)

 * Doris Lessing's heroine, who has felt devoured by her own mother, splits herself-or tries to-when she realizes she, too, is to become a mother.
 * Adrienne Rich Of Woman Born: Motherhood as Experience and Institution (1976)

 * I also can’t get along with Turgenev, though I love Russians, or Doris Lessing, though I am a feminist.
 * Zadie Smith Interview (2016)

 * Doris Lessing was nothing less than the goddess of literature herself for young women like myself aspiring to write in the 1970s. Her classic, The Golden Notebook, directly addressed the contradictions in women's lives in a way that was sophisticated, insightful and dispassionate.... When I started writing novels in the early 1980s, I often felt pressure from women to depict wholesome female role models. The pressure never worked, partly because Doris Lessing had gone before and blazed a path for all of us as readers, as women, as people.
 * Susan Swan as quoted in "Doris Lessing oldest to win literature Nobel" in The Toronto Star (12 October 2007)

 * Mrs. Lessing's view of recent politics is not everyone's. Her view of the future (inevitably brutish and painful) is that it is the present: that we are all hypnotized, awaiting cataclysms which we are in fact living through now; that we are now — as we run and read — in the process of a rapid evolution; that we are mutating fast but can't see it, the chief characteristic of our race being its inability to see what is under its nose; that historians and scientists, in their timid traditionalism, feed our fantasy view of ourselves — suppressing truths about the human condition, about madness, about sanity, about the essential nature of the mind.
 * Book jacket of the first edition of The Four-Gated City (1969)

title: Doris Lessing


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Dave Matthews

David John "Dave" Matthews (born January 9, 1967, in Johannesburg, South Africa) is a South African-American musician, and actor. He is best known as the lead vocalist, songwriter, and guitarist for the Dave Matthews Band.

Quotes

 * So I watched the Pink Panther last night, and so I'm trying desperately to be funny, and then it's just not working out so good... I wonder if maybe I could've been a comedian or something like that, or maybe I could've been a doctor, then I wouldn't have to make anyone laugh.
 * Intro to "Dancing Nancies", Live at Luther College (1999)

 * Oh! We already, we done already done it, done it, dammit! I could you know, like, sing a thing, and then not sing it for a little while, and then sing it again... and people would be like, "Why'd he sing that again?"
 * Before "Halloween", Live at Luther College

 * Our good friend LeRoi Moore passed on and gave up his ghost today, and we will miss him forever.
 * Concert the night of Moore's death. (2008)

 * There's often a lot of stupid ideas like "you all dress as fruits and pretend you're selling underpants" or "we'll put you on a bed of nails and drive a truck over the top and photograph you" for the cover.
 * Q&A: The Dave Matthews Band, interview by Richard Deitsch on CNN.com

 * Being a physicist, my father was a great believer in progress, but he also loved nature. He was a photographer, and outside of taking the occasional family photographs, all he did was photograph nature. He loved birds. That meant a lot to me growing up. Healthy progress also means we have to be concerned for the environment. That may have something to do with what I believe about farming.
 * "The Craftsman: Dave Matthews," interview by Dave Hoekstra for Farm Aid

 * That's the magic of this band: shooting from the hip. The lights have to follow our cues, because we're not going to follow their cues. We're not going to stick to a song the way it's supposed to be. Everything is up to us. That's music to me. That's American music. We're an American band.
 * Dave Matthews, Rolling Stone interview "The Boys of Summer" (June 16, 2005). Eliscu, Jenny (2005). "The Boys of Summer" Rolling Stone (accessed June 19. 2006)

 * I'm way more American than George Bush and Dick Cheney.
 * Rolling Stone interview "The Devil and Dave Matthews" (January 22, 2004)

Remember Two Things (1993)

 * He wakes up in the morning Does his teeth, bite to eat and he's rolling Never changes a thing. The week ends the week begins She thinks, we look at each other Wondering what the other is thinking But we never say a thing These crimes between us grow deeper.
 * Ants Marching

 * Take these chances Place them in a box until a quieter time Lights down, you up and die.
 * Ants Marching

 * Candyman tempting the thoughts of a Sweet tooth tortured by the weight loss Program cutting the corners. Loose end, loose end, cut, cut. On the fence, could not to offend. Cut, cut, cut, cut.
 * Ants Marching

 * So why would you care To get out of this place? You and me and all our friends, Such a happy human race. Eat, drink and be merry, For tomorrow we die.
 * Tripping Billies

 * Satellite headlines read Someone's secrets you've seen. Eyes and ears have been Satellite dish in my yard. Tell me more, tell me more. Who's the king of your Satellite Castle?
 * Satellite

 * So let us sleep outside tonight, Lay down in our mother's arms, for here we can rest safely.
 * One Sweet World

 * Would you like to play With the thought of a friend In a distant passing stage While you lie around With your hands up and out So resigned you will fall down.
 * The Song That Jane Likes

 * If at all God's gaze falls upon us all it's with a mischievous grin, look at him.
 * Seek Up
 * I'm not going to change my ways just to please you, or appease you.
 * Seek Up

 * You seek up a big monster for him to fight your wars for you.
 * Seek Up

 * Every day things change, but basically they stay the same.
 * Seek Up

Under the Table and Dreaming (1994)

 * See you and me, have a better time than most can dream. Have it better than the best, so we can pull on through. Whatever tears at us... whatever holds us down, And if nothing can be done, well make the best of whats around.
 * The Best Of What's Around

 * Turns out not where, but who you're with, that really matters.
 * The Best Of What's Around

 * I don't understand at best, I cannot speak for all the rest. But you may find a lifetime's passed you by. Every dog has its day, every day has its way Of being forgotten.
 * What Would You Say

 * It all comes down to nothing...
 * ''Typical Situation
 * Leave the big door open, everyone'll come around...
 * Typical Situation

 * I am who I am who I am who am I Requesting some enlightenment Could I have been anyone other than me?
 * Dancing Nancies

 * What I want is what I've not got, but what I need is all around me.
 * Jimi Thing

Crash (1996)

 * I find sometimes it's easy to be myself, sometimes I find it's better to be somebody else.
 * So Much to Say

 * Celebrate we will Because life is short But sweet for certain We're climbing two by two To be sure these days continue.
 * Two Step

 * Hey my love do you believe that we might last a thousand years or more if not for this?
 * Two Step

 * You've got your ball, You've got your chain. Tied to me tight, tie me up again. Who's got their claws In you my friend? Into your heart, I'll beat again. Sweet like candy to my soul, Sweet you rock And sweet you roll. Lost for you, I'm so lost for you.
 * Crash into Me

 * I will go in this way Oh and I'll find my own way out.
 * #41

 * Now let's make this an evening Lovers for a night, lovers for tonight. Stay here with me, love, tonight. Just for an evening When we make Our passion pictures. You and me twist up, Secret creatures. And we'll stay here. Tomorrow go back to being friends.
 * Say Goodbye

 * And I can't believe that we would lie in our graves, Dreaming of things that we might have been.
 * Lie in Our Graves

 * The future is no place to place your better days.
 * Cry Freedom

Before These Crowded Streets (1998)

 * Come and relax now, put your troubles down. No need to bear the weight of your worries, just let them all fall away.
 * Pantala Naga Pampa

 * And as you go I will spread my wings. Yes, I will call this home. I have no time to justify to you, Fool, you're blind, move aside for me. All I can say to you my new neighbor, You must move on or I will bury you.
 * Don't Drink the Water

 * We were walking Just the other day. It was so hot outside, You could fry an egg. Remember you were talking, I watched as sweat ran down your face. Reached up and I caught it at your chin, Licked my fingertips.
 * Stay

 * I was just wondering if you'd come along, Hold up my head when my head won't hold on. I'll do the same if the same is what you want. But if not I'll go... I'll go alone.
 * The Stone

 * I need so.. to be in your arms, see your smile, hold you close".
 * The Stone

 * Lying under this spell you cast on me Each moment The more I love you.
 * Crush

 * Crazy how it feels tonight Crazy how you make it all alright love You crush me with the things you do And I do for you anything too.
 * Crush

 * Don't burn the day away.
 * Pig

 * Look, here are we on this starry night staring into space, and I must say I feel as small as dust lying down here.
 * Pig

Listener Supported (1999)

 * The road to you is long, and I've been on it for a while.
 * #40

The Lillywhite Sessions (2001)

 * Without hatred where's the light? Without darkness where's the love?
 * JTR

Everyday (2001)

 * We're strange allies, With warring hearts. What wild-eyed beast you be? The Space Between The wicked lies we tell And hope to keep us safe from the pain.
 * The Space Between

 * Don't you know when you give life, then you become what you are?
 * What You Are

Busted Stuff (2002)

 * A rolling stone, that gathers no moss, but leaves a trail of busted stuff.
 * Busted Stuff

 * You know she's gonna leave my broken heart behind her.
 * Busted Stuff

 * Move into kiss those sweet sugar lips, baby looks just like love.
 * Busted Stuff

 * She prays to God most every night And though she swears he doesn't listen there's a little hope in her he might.
 * Grey Street

 * Take what you can from your dreams, make them as real as anything.
 * Grey Street

 * There’s an emptiness inside her And she’d do anything to fill it in. And though it’s red blood bleeding from her now, It’s more like cold blue ice in her heart. She feels like kicking out all the windows, And setting fire to this life. She could change everything about her using colors bold and bright, But all the colors mix together - to grey.
 * Grey Street

 * Excuse me please one more drink. Could make it strong cause I don’t need to think She broke my heart, my Grace is gone. One more drink and I’ll move on. One more drink and I’ll be gone.
 * Grace Is Gone

 * If I go before I’m old, Oh brother of mine please don’t forget me if I go. Bartender please, fill my glass for me? With the wine you gave Jesus that set him free, after three days in the ground.
 * Bartender

Big Whiskey and the GrooGrux King (2009)

 * Funny the way it is, if you think about it. Somebody's going hungry, someone else is eating out. Funny the way it is, not right or wrong. Somebody's heart is broken, it becomes your favorite song.
 * Funny the Way It Is

 * And when you wake, you will fly away, holding tight to the legs of all your angels. Goodbye, my love, into your blue, blue eyes.
 * Baby Blue

title: Dave Matthews


text:
User talk:207.200.116.196

Deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 22:07, 23 October 2005 (UTC)

title: User talk:207.200.116.196


text:
User talk:209.23.243.7

Deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 22:10, 23 October 2005 (UTC)

title: User talk:209.23.243.7


text:
Pitirim Sorokin

Pitirim Alexandrovich Sorokin (January 21, 1889 – February 2, 1968) was a Russian-born American sociologist.

Quotes

 * Any Organized social group is always a stratified social body. There has not been and does not exist any permanent social group which is "flat" and in which all members are equal.
 * Pitirim Sorokin (1927) Social Mobility, p. 12

 * Are there quantitative aspects to the phenomena of war that can be counted? Evidently!
 * Pitirim Sorokin (1937) Social and Cultural Dynamics. p. 283

 * The resort to human flesh, often after months of ever-increasing hunger pangs, appeared to be an animallike reaction without painful emotional overtones.
 * Pitirim Sorokin (1942) Man and Society in Calamity. E. P. Dutton. p. 66; as cited in: Lewis Petrinovich (2000) The cannibal within. p. 177

 * Either the conscious intellect is impotent, or is not sufficiently strong, or is not the factor positively connected with altruistic phenomenon generally or their sublime form particularly.
 * Pitirim Sorokin (1948) The Reconstruction of Humanity. Beacon Press p. 330

 * [In-group exclusivism has] killed more human beings and destroyed more cities and villages than all the epidemics, hurricanes, storms, floods, earthquakes, and volcanic eruptions taken together. It has brought upon mankind more suffering than any other catastrophe.
 * Pitirim Sorokin (1954) http://books.google.nl/books?id=DGCleCxTkbIC The Ways and Power of Love. p. 461; As cited in: "[ Altruistic Love]" on what-when-how: In Depth Tutorials and Information

 * The organism of the Western society and culture seems to be undergoing one of the deepest and most significant crises of its life. The crisis is far greater than the ordinary; its depth is unfathomable, its end not yet in sight, and the whole of the Western society is involved in it. It is the crisis of a Sensate culture, now in its overripe stage, the culture that has dominated the Western World during the last five centuries. It is also the crisis of a contractual (capitalistic) society associated with it. In this sense we are experiencing one of the sharpest turns in the historical road.
 * Pitirim Sorokin (1957) Social and Cultural Dynamics, p. 622; as cited in: "Culture in Crisis: The Visionary Theories of Pitirim Sorokin." Satyagraha – Cultural Psychology, Aug. 19, 2010

 * Man is a conscious, rational thinker and a supra-conscious creator genius.
 * Pitirim Sorokin (1964) The basic trends of our times, p. 39

The Ways and Power of Love (1954)
Pitirim Sorokin (1954) The Ways and Power of Love

 * Hate begets hate, violence engenders violence, hypocrisy is answered by hypocrisy, war generates war, and love creates love.
 * p. xi

 * Life, even the hardest life, is the most beautiful, wonderful, and miraculous treasure in the world.
 * p. xi

 * Only the power of unbounded love practiced in regard to all human beings can defeat the forces of interhuman strife, and can prevent the pending extermination of man by man on this planet. Without love, no armament, no war, no diplomatic machinations, no coercive police force, no school education, no economic or political measures, not even hydrogen bombs can prevent the pending catastrophe.
 * , p. xii

Quotes about Pitirim Sorokin

 * Pitirim A. Sorokin was born in 1889 in Komi (province in Northern Russia) into a peasant family. During his early childhood he traveled with his father and two brothers earning their living by remodeling and painting rural churches. His strong interest in education, combined with a natural talent and work ethic, soon transformed him into a leading Russian social scientist and famous politician who was at the center of the Russian Revolution in 1917. In 1923, after his banishment by the Bolsheviks, Pitirim Sorokin started a new life in the United States. In less than 10 years the Russian émigré became a world-renowned sociologist and the founder of the Department of Sociology at Harvard University. Over 30 major books were published over a period of 50 years of active intellectual life. His ideas attracted the attention of Albert Einstein and Albert Schweitzer, Herbert Hoover and John F. Kennedy, political activists and yoga followers, military and peace proponents. At the time of his death in 1968 Pitirim Sorokin was one of the leading thinkers of the 20th century.
 * Pavel Krotov (2008) "Pitirim A. Sorokin Collection at the University of Saskatchewan"

title: Pitirim Sorokin


text:
Mama's Family

Mama's Family is an American television sitcom starring Vicki Lawrence as Thelma Harper (Mama). The series was a spin-off of a recurring series of comedy sketches on The Carol Burnett Show and carol  called The Family, which ran from 1974 to 1979.

Dialogue
Thelma: What does the IRS want with me?

Vinton: Maybe they're going to deliver a package.

Thelma: That's UPS you dipstick!

Aunt Fran: I tell you, there is a book in me!

Mama: And it's gonna stay in there, too!

Thelma: You're going to set my hair with beer?

Naomi: I'm going to set this hair on fire if you don't quiet down.

[On Mama's lawn addressing the press]

Ellen: There's been a mistake, my mama's not running!

Mama: The hell I ain't!

Thelma: Where in blue blazes have you been?

Eunice: (sarcastically) Just fine Mama, thank you and how are you?

[Fran is attempting to teach Thelma how to drive]

Thelma: ...tell me something that I don't know.

Fran: Like what?

Thelma: What's a PRNDL? [pronounced "prindle"]

Fran: A what?!

Thelma: A PRNDL! See, right here: P-R-N-D-L! Right there!

Fran: Thelma, honey, those are your gear designations.

[After Thelma broke Naomi's vacuum]

Naomi: Oh! You ruined it!

Vinton: Now, honey, maybe it just needs a little adjustment.

Naomi: Honey, it is burnt to a crisp!

Thelma: ...and get this pigsty cleaned up! [referring to Vinton and Naomi's basement]

Naomi: This is out personal boudoiure, Mrs. Harper, and I believe it looks just fine.

Thelma: That's because all you ever see of it is the ceiling!

[Thelma is registering for her driver's license]

Man: How much do you weigh?

Thelma: That's none of your business, you skinhead!

Man: I need your weight!

Thelma: You need my hair!

Man: I don't have to give you a license! Next!

Thelma: (grabs his shirt collar) Wait a minute, you listen up you chrome dome! My taxes pay your salary, and if you don't give me that license, I'm going to find you a new job as a reflector button of the highway!

Thelma: Naomi's expecting!

Sonia: Expecting what?

Fran: A baby?

(short pause)

Thelma:(sarcastically) No, Fran, a Mitsubishi!

Ellen: I hope that you didn't park your clunker behind my Seville; I have to be outta here in 30 minutes!

Eunice: First good news I've had all day...

(Ellen, Eunice, Thelma, and Naomi are cleaning jars in the kitchen.)

Thelma: Oh, Naomi, what a sweet thought. No wonder I love you best. You're like the daughter I never had. (Ellen and Eunice have shocked looks on their faces). Why is it that my own girls can't see the beauty in sharing a warm, family moment?

Eunice: I'm the one that brought the dirty jars; you wouldn't have this warm family moment if it wasn't for me.

Eunice: For your information Mama, I was almost splattered clear over that highway!

...

Thelma: An accident? Are the jars all right?

Eunice: What the hell is the matter with you, you been sniffing them gooseberries?! I just told you I spent three hours dodging semis across three lanes of public highway!

Naomi: Isn't that dangerous?

Eunice: (to Naomi) Come here. Look at me. (pause) Are you in there?!

Naomi: How does this thing work? I've never dried a dry jar before.

Eunice: I think you stepped off one curb too many.

Thelma: Naomi, did you remember to buy the sugar?

Naomi: Oh, I never buy sugar. (dumps a bunch of sugar packets out of her purse onto the kitchen table)

Eunice: Naomi, you unpredictable little scamp, what is all that?

Naomi: This is my sugar packet collection! I pick 'em up at motels. Each and every one has a different name on it!

Ellen: (picks up a packet and reads it) 'Arthur's Hideaway and Launderette: You tumble, we dry.'

Naomi: Yeah!

Thelma: Well, that is disgusting! I can't take jam to a church bazaar made with X-rated sugar!

Thelma: (to Naomi) I'd be uncomfortable, too, if I were dressed in that get-up.

Naomi: Just what is wrong with my attire? I've always found this outfit very suitable for religious occasions.

Thelma: That's cause you got to pray to God it stays up!

Vint: If only we had a spoon we could dig our way out.

Thelma: Real good, Vinton. If we had a bar of soap we could carve ourselves a gun and shoot our way out.

Naomi: I'm not about to spend my afternoon getting all hot and sweaty over some slimy slug. (about Thelma's garden)

Thelma: Why not? That's the way you spend your nights!

Vint: Mama, you never could throw anything out, no matter how useless it is.

Thelma: It's a lucky thing for you!

Thelma: (Knocks on the door.)

Vint: Mama?

Thelma: No, It's Mr.T FOOL!!!

Naomi: You don't think I'm pregnant, do you?

Thelma: Tell me something, Naomi. Are you late?

Naomi: Late for what?

Thelma: Do I have to come right out and say it? Mr. Monthly Visitor!

Naomi: Yeah! Oh, Miss Harper, how did this happen?

Thelma: Do you want me to draw you a picture?

Eunice: You're skatin' on thin ice old lady!

Eunice: Looks like you write all of your promises in disappearing ink old lady. Like the time when you promised me when I was twelve years old a two wheeler. Well I have yet to see that sucker! But Ellen, everytime I turned around there a brand new Schwinn sittin' under her fat fanny!

Eunice: Hello everybody! Eunice is here. Unwanted Eunice. Untalented Eunice! Caterwauling Eunice!! MONSTER EUNICE IS HERE!!! (she throws the box of party decorations)

Thelma: Uhh-oohhhhhh!!

Eunice: Mama don't you ever read? Why People Magazine just this week said that chili dogs is all the rage in Hollywood. Merv Griffin gave a party, and Pia Zadora put away six of these suckers.

Thelma: (Speaking of Duke Reeves) His parents were trying to avoid a lawsuit so they sent the boy over to apologize for nearly gettin' you killed out in front of the school that day.

Eunice: That's not true!

Thelma: It is! You hounded that boy so bad he had to jump in the car to get away from you and you went tearin' down the street after him hangin' on to the back of the car.

Eunice: That's a lie!

Thelma: And he went around the corner and you went slidin' into the gravel and you got yourself all skinned up. You were a lunatic where that Duke Reeves was concered and everybody knew it. Didn't they Vint?

Vint: Well I don't know about everybody...

Eunice: Oh you shut up!

(Vint enters.)

Vint: What smells so good?

Thelma: It's Naomi's Famous International Heartburn.

(Bubba enters.)

Bubba: What smells so good?

Thelma: It's Naomi's Famous Dinner In A Drum.

(Iola enters.)

Iola: What smells so good?

Thelma: I swear, if I made gym socks, everyone would want a taste!<br /

(Nurse tries to stop Thelma, Bubba, Naomi, and Vint from staying in the hospital room with Ellen...)

Nurse: If I have to, I will call security.

Thelma: You can call the damn marines if you want to, we ain't budging!

Thelma
"And, Lord, if you are listening, the next time you want to give me a message, you better dial direct!"

[The phone starts ringing]

"That better be Roselle..."

 * Uhh-ohhhhh!
 * I only drove one time in my life--1946. I started out with a sedan and I came back with a convertible!
 * (to Iola) Get out, you jokin' jackass!
 * I swear, I can't understand why they don't hold these church bazaars in the dead of winter when people can stand to be in their kitchens!
 * Ellen, what a sweet thought. No wonder I love you best. You were my first born and you are my favorite. Should have quit while I was ahead.
 * Naomi, What a sweet thought. No wonder I love you best. You're like the daughter I never had.
 * Eunice, what a sweet thought. No wonder I love you best. You were my third born and you are my favorite. Third time's the charm.
 * (to Naomi) Your idea of a workout includes a man, a bed, and a cigarette afterwards!
 * Well, I'll bet the neighbors are just lovin' this!
 * (to snobbish Nita Peterson) Nita, you've got a lot of class for a dame with a rip in her drawers!

Ellen

 * (to Eunice) You wouldn't know the truth if it bit you on the butt!

Naomi

 * (after an unkind remark by Ellen) I'm gonna break your teeth Ellen, pass 'em over!
 * [To Thelma] NOW who's the tramp!
 * (Naomi is making her "Famous International Stew") The ingrediants are two cans of stew (pours in stew), canned peas (pours in peas), Mexican beans, (pours in beans) Ole! Saurkraut (pours in canned sauerkraut, saying in a deep voice) Ja Wohl! And for an Italian special (blows a kiss) Spaghetti- O's! (pours in Spaghetti-O's)

Vint

 * Thanks a lot, Mama!!
 * Mama, what have you done?
 * Skeeee-teeeer!

title: Mama's Family


text:
User talk:69.164.89.141

Deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 04:53, 24 October 2005 (UTC)

title: User talk:69.164.89.141


text:
Andy Goldsworthy

Andy Goldsworthy (born 20 april 1956) is a British artist and photographer famous for his site specific sculpture and land art.

Quotes

 * My work comes first, reasons for it follow.
 * "Residency on Earth" in Art in America (April, 1995)

 * Ephemeral work made outside, for and about a day, lies at the core of my art and its making must be kept private.
 * "Residency on Earth" in Art in America (April, 1995)

 * You must have something new in a landscape as well as something old, something that's dying and something that's being born.
 * "Searching for the window into nature's soul" Smithsonian magazine (February 1997)

 * A snowball is simple, direct and familiar to most of us. I use this simplicity as a container for feelings and ideas that function on many levels. Occasionally I have come across a last patch of snow on top of a mountain in late May or June. There's something very powerful about finding snow in summer. It's as if the whole of winter has drained through that white hole — a concentration of winter.
 * Interview with Conrad Bodman, curator at the Barbican Arts Centre (2001)

 * Ideas must be put to the test. That's why we make things, otherwise they would be no more than ideas. There is often a huge difference between an idea and its realisation. I've had what I thought were great ideas that just didn't work. Sometimes it's difficult to say if something has worked or not. Photography is a way of putting distance between myself and the work which sometimes helps me to see more clearly what it is that I have made.
 * Interview with Conrad Bodman, curator at the Barbican Arts Centre (2001)

 * Movement, change, light, growth, and decay are the life-blood of nature, the energies that I try to tap through my work.
 * Stone River Enters Stanford University's Outdoor Art Collection (4 September 2001)

 * My sculpture can last for days or a few seconds — what is important to me is the experience of making. I leave all my work outside and often return to watch it decay.
 * "Stone River Enters Stanford University's Outdoor Art Collection" (4 September 2001)

 * I find some of my new works disturbing, just as I find nature as a whole disturbing. The landscape is often perceived as pastoral, pretty, beautiful – something to be enjoyed as a backdrop to your weekend before going back to the nitty-gritty of urban life. But anybody who works the land knows it's not like that. Nature can be harsh – difficult and brutal, as well as beautiful. You couldn't walk five minutes from here without coming across something that is dead or decaying.
 * He's got the whole world in his hands, The Telegraph (24 March 2007)

 * "One of the beauties of art is that it reflects an artist's entire life. What I've learned over the past 30 years is really beginning to inform what I make. I hope that process continues until I die.
 * He's got the whole world in his hands, The Telegraph (24 March 2007)

Quotes of others about Goldsworthy

 * One of the most engaging artists to emerge from Great Britain in the last decade. ~ Art in America

 * The skepticism of the art establishment seems to be based on, as much as anything, a kind of big-city prejudice against work so free from urban angst. ~ Lynn Macritchie in Art in America (April 1995)

 * A new kind of poetry is created when Andy Goldsworthy works with stone, wood and water — our world never looks quite the same again ~ "Searching for the window into nature's soul", Smithsonian magazine (February 1997)

title: Andy Goldsworthy


text:
Pascal

Pascal may refer to:
 * Blaise Pascal, a French mathematician, logician, physicist and theologian
 * Pascal (programming language), designed by Niklaus Wirth as a programming language intended to encourage good programming practices
 * Pascale Machaalani, a Lebanese singer
 * Pascual Jordan, a German theoretical and mathematical physicist

title: Pascal


text:
Political correctness

Political correctness (often abbreviated "PC") is a term which denotes language, ideas, policies, and behavior seen as seeking to minimize social and institutional offense in occupational, gender, ethnic, cultural, sexual orientation, certain other religions, beliefs or ideologies, disability, and age-related contexts, and doing so to an excessive extent.

Quotes

 * ‘Politically Correct’ was originally a phrase on the Leninist left to denote someone who steadfastly toed the party line. Then it evolved into ‘PC’, an ironic phrase among wised up leftists to denote someone whose line-toeing fervour was too much to bear. Only in connection with the PC debate itself did the phrase get picked up by people who had no fidelity to radicalism at all, but who relished the nasty syllables for their twist of irony.
 * Paul Berman, "Introduction", in Debating PC: The Debate over Political Correctness on College Campuses (New York 1992), p. 5.
 * Over the past few decades, we let ourselves be seduced by ideologies that sought not the truth, but absolute power. Ideology has settled in the domains of culture, education and communications, dominating the media, universities and schools. Ideology has invaded our homes and tried to dismantle what is the celula mater of any healthy society: the family. It has also tried to destroy the innocence of our children in an attempt to corrupt even their most basic and elementary identity: the biological one. “Political correctness” came to dominate the public debate, expelling rationality and replacing it with manipulation, recurring clichés and slogans. Ideology has invaded the human soul itself to reap it apart from God and from the dignity He has bestowed upon us. And with these methods, ideology has always left a trail of death, ignorance, and misery wherever it went. I am a living proof of this. I was cowardly knife-stabbed by a leftist militant and only survived by a miracle. Once again I thank God for my life. The United Nations can help us fight the materialistic and ideological environment that undermines some basic principles of human dignity. This Organization was created to promote peace between sovereign nations, as well as social progress with freedom, in accordance with the preamble of the UN Charter.
 * Jair Bolsonaro, Speech at the 74th UN General Assembly. Statement by Mr. Jair Messias Bolsonaro, President of the Federative Republic of Brazil. United Nations PaperSmart (24 September 2019).

 * The appeal of political correctness is that it attempts to change men’s souls by altering how they speak. If one sufficiently reforms language, certain thoughts become unthinkable, and the world moves in the approved direction.
 * Theodore Dalrymple (pen name of Anthony Daniels), "Engineering Souls", City Journal, March 22, 2007.

 * It is an article of passionate faith among 'politically correct' biologists and anthropologists that brain size has no connection with intelligence; that intelligence has nothing to do with genes; and that genes are probably nasty fascist things anyway.
 * Richard Dawkins, in The Economist, Vol. 328 (1993)

 * Our universities, after a few aberrant decades of experimenting with open inquiry and the advance of knowledge, have reverted to their medieval purpose (the purpose that Chinese higher education always had): to train an intellectual elite for the propagation and defense of the state ideology. Then it was Christianity (in China, Confucianism); now it is utopian egalitarianism—“political correctness,” the Narrative.
 * John Derbyshire, "Two Bad Answers", Taki's Magazine, June 5, 2014

 * Now rebadged as being ‘woke’, political correctness represents an existential threat to Western societies including concepts like rationality and reason, religious freedom and freedom of expression. We have entered an Orwellian world like 1984 where Big Brother and the Party control how citizens think and where anyone who questions the thought police is victimised, punished and silenced.
 * Kevin Donnelly, The Dictionary of Woke: How Orwellian Language Control and Group Think are Destroying Western Societies (2022)

 * [...] secretly everybody's getting tired of political correctness, kissing up. That's the kiss-ass generation we're in right now. We're really in a pussy generation. Everybody's walking on eggshells. We see people accusing people of being racist and all kinds of stuff.
 * Clint Eastwood, in Michael Hainey, Clint and Scott Eastwood: No Holds Barred in Their First Interview Together, Esquire.com, August 3, 2016

 * Economic history is not politically correct. Many on the left therefore struggle with its findings.
 * Niall Ferguson, "On being called a racist", The Spectator, December 17, 2011.

 * The phenomenon we know as political correctness thrives on people's permitting themselves to be intimidated by the people who are the enforcers of these norms and orthodoxies.
 * Robert P. George, interview with Bill Kristol (April 2016), transcript

 * I am politically incorrect, that's true. Political correctness to me is just intellectual terrorism. I find that really scary, and I won't be intimidated into changing my mind. Everyone isn't going to love you all the time.
 * Mel Gibson, as quoted in interview with Roald Rynning in Film Review (January 1997), p. 37

 * Political correctness is the natural continuum from the party line. What we are seeing once again is a self-appointed group of vigilantes imposing their views on others. It is a heritage of communism, but they don't seem to see this.
 * Doris Lessing The Sunday Times, London (10 May 1992)

 * Does political correctness have a good side? Yes, it does, for it makes us re-examine attitudes, and that is always useful. The trouble is that, as with all popular movements, the lunatic fringe so quickly ceases to be a fringe; the tail begins to wag the dog. For every woman or man who is quietly and sensibly using the idea to look carefully at our assumptions, there are twenty rabble-rousers whose real motive is a desire for power over others. The fact that they see themselves as antiracists or feminists or whatever does not make them any less rabble-rousers.
 * Doris Lessing, "Unexamined Mental Attitudes Left Behind By Communism", in Our Country, Our Culture - The Politics of Political Correctness (1994), Partisan Review Press, edited by Edith Kurzweil and William Philips

 * Political correctness is tyranny with manners.
 * Charlton Heston, speech at the Harvard Law School (1999), as quoted in "Appreciation : Charlton Heston" in TIME magazine (6 April 2008)

 * Political correctness is communist propaganda writ small. In my study of communist societies, I came to the conclusion that the purpose of communist propaganda was not to persuade or convince, nor to inform, but to humiliate; and therefore, the less it corresponded to reality the better.  When people are forced to remain silent when they are being told the most obvious lies, or even worse when they are forced to repeat the lies themselves, they lose once and for all their sense of probity.  To assent to obvious lies is to co-operate with evil, and in some small way to become evil oneself.  One's standing to resist anything is thus eroded, and even destroyed.  A society of emasculated liars is easy to control. I think if you examine political correctness, it has the same effect and is intended to.
 * Theodore Dalrymple (pen name of Anthony Daniels), Frontpage Magazine interview (August 31, 2005). Archived from the original on June 29, 2013.

 * Political correctness is one of the brilliant tools that the American Right developed in the mid-1980s, as part of its demolition of American liberalism. . . . What the sharpest thinkers on the American Right saw quickly was that by declaring war on the cultural manifestations of liberalism — by levelling the charge of "political correctness" against its exponents — they could discredit the whole political project.
 * Will Hutton, "Words are really important, Mr. Blunkett", The Observer (6 December 2001)

 * I always tried to be correct, not politically correct.
 * Lee Kuan Yew, From Third World to First: The Singapore Story

 * It really worries me that 84% of this audience agrees with that statement, because the kind of people that say "political correctness gone mad" are usually using that phrase as a kind of cover action to attack minorities or people that they disagree with. I'm of an age that I can see what a difference political correctness has made. When I was four years old, my grandfather drove me around Birmingham, where the Tories had just fought an election campaign saying, "if you want a nigger for a neighbour, vote Labour," and he drove me around saying, "this is where all the niggers and the coons and the jungle bunnies live." And I remember being at school in the early 80s and my teacher, when he read the register, instead of saying the name of the one Asian boy in the class, he would say, "is the black spot in," right? And all these things have gradually been eroded by political correctness, which seems to me to be about an institutionalised politeness at its worst. And if there is some fallout from this, which means that someone in an office might get in trouble one day for saying something that someone was a bit unsure about because they couldn't decide whether it was sexist or homophobic or racist, it's a small price to pay for the massive benefits and improvements in the quality of life for millions of people that political correctness has made. It's a complete lie that allows the right, which basically controls media now, and national politics, to make people on the left who are concerned about the way people are represented look like killjoys. And I'm sick, I'm really sick — 84% of you in this room that have agreed with this phrase, you're like those people who turn around and go, "you know who the most oppressed minorities in Britain are? White, middle-class men." You're a bunch of idiots.
 * Stewart Lee, in Heresy, BBC Radio 4 (16 May 2007)

 * The modern academics find it politically incorrect to criticize the devastation under Islamic rule, even though post-colonial scholars have amply exposed the ruin created by the British.
 * Rajiv Malhotra, Indra's Net (2014)

 * A term originally created by leftists in humorous self-mockery, "PC" is now used to evoke Stalinist demands for conformity. Thus PC-baiting has become a post-Cold War substitute for anti-communism, and a dangerously reactionary political expression.
 * Elizabeth Martinez De Colores Means All of Us: Latina Views for a Multi-Colored Century (2017)

 * We'll be right back to the politically correct program called "The Good, the Bad, and the Beauty Impaired."
 * Colin Mochrie, in Whose Line Is It Anyway?

 * The term "political correctness" has always appalled me, reminding me of Orwell's "Thought Police" and fascist regimes.
 * Helmut Newton, in American Photo (January/February 2000), p. 90

 * But is it really necessary, in 1947, to teach children to use expressions like "native" and "Chinaman"?
 * The last-named word has been regarded as offensive by the Chinese for at least a dozen years. As for “native,” it was being officially discountenanced even in India as long as twenty years ago.
 * It is no use answering that it is childish for an Indian or an African to feel insulted when he is called a “native.” We all have these feelings in one form or another. If a Chinese wants to be called a Chinese and not a Chinaman, if a Scotsman objects to be called a Scotchman, or if a Negro demands his capital N, it is only the most ordinary politeness to do what is asked of one.
 * George Orwell, in "As I Please," Daily Herald/Tribune (27 February 1947)

 * ... these politically correct language initiatives are misguided and harmful. They create highly entitled professional “victims” who expect to be free from any offense, and they engender a stifling atmosphere where all individuals walk on eggshells lest they might commit a linguistic capital crime.
 * Gad Saad, "On the Follies of the Politically Correct Language Police", Psychology Today, December 30, 2013

 * Political correctness is like the sting of the spider wasp. Recall that the afflicted spider is dragged to the wasp's burrow in a zombie-like state and is subsequently eaten in vivo by the wasp's offspring. Political correctness achieves the same macabre objective — it allows nefarious ideas to slowly consume us while we sit quietly in a zombie-like state, too afraid to speak out.
 * Gad Saad, The Parasitic Mind: How Infectious Ideas Are Killing Common Sense (2020)

 * Political correctness is a war on noticing.
 * Steve Sailer, "World War T", Taki's Magazine, January 22, 2014

 * The anti-political correctness types are really just trying to enforce their own standards of acceptable discourse and are furious at their inability to do so
 * Adam Serwer, 6/5/2020 on Twitter”

 * Need I remind you that Stone Mountain and Birth of a Nation are also exercises in political correctness for their time, as are the inscriptions on the monuments erected by several southern states in honor of the service of their state’s Confederate forces at Gettysburg? ... Ranting about “political correctness” is best read as “I can’t really deal with the merits of your interpretation, so I’ll deride it largely because it doesn’t reinforce my own preferences and prejudices.”
 * Brooks D. Simpson, "Erasing History? Monuments and Memory" (10 January 2016), Crossroads, WordPress

 * Immoral (definition): Obsolete expression meaning "politically incorrect".
 * Richard Summerbell, Abnormally Happy: A Gay Dictionary (1985)

 * If I could believe that this was said sincerely, I could put up with anything.
 * Terence, Eunuchus Act I, scene 2, 96, line 176.

 * We have now reached the point where every goon with a grievance, every bitter bigot, merely has to place the prefix, 'I know this is not politically correct, but...' in front of the usual string of insults in order to be not just safe from criticism, but actually a card, a lad, even a hero. Conversely, to talk about poverty and inequality, to draw attention to the reality that discrimination and injustice are still facts of life, is to commit the sin of political correctness. Anti-PC has become the latest cover for creeps. It is a godsend for every curmudgeon and crank, from fascists to the merely smug.
 * Fintan O'Toole, The Irish Times, 5 May, 1994

 * These "disguises" make us look like those politically-correct, multi-ethnic gangs that only rob people in bad TV shows.
 * Brian K. Vaughan, in Runaways, 1.7 : Teenage Wasteland

 * Political correctness is the enemy of freedom because it rejects honesty and authenticity. We have to tackle it as the distortion of the truth.
 * Mario Vargas Llosa, interview, El País, 27/02/2018

 * We no longer talk about ‘political correctness’, but instead refer to its even more terrible child, the church of ‘woke’, which is the same thing, but more intense, intolerant and dogmatic. As with fashion, all ideologies will tend to the extreme. ‘Woke’ is turbocharged ‘PC’ for the social-media age, in which there is ever-more pressure to conform to ultra-liberal dogma, invariably in the name of ‘not giving offence’.
 * Patrick West, "Political correctness was never about good manners", Spiked, 5 February, 2021

 * "We believe that political correctness stifles debate and will not facilitate a frank and mature discussion or solutions to get to the root of why the above pattern is emerging in these crimes and how to help find a solution to the problem."We will not be able to do that if we mask the identity of those involved based on misguided views of 'protecting a vulnerable community' of the perpetrators and not looking at the vulnerable community of victims."
 * About alleged political correctness related to the child grooming scandal in the U.K. Joint statement that was released by the Network of Sikh Organisations UK, The Hindu Forum of Britain, and The Sikh Media Monitoring Group UK. As reported in BBC

title: Political correctness


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User talk:Dale N Scott

Thanks for your theme article on Political correctness. I've removed the quote you added, "I find the term 'Politically Correct' to be an odius oxymoron. Goose-Stepping in jackboots or Bierkenstocks is still Goose-Stepping.", because it had no source or attribution. If it is yours, or a friend of yours, please note that Wikiquote is not a place for personal quotations (you can, however, put such quotes on your user page. I've added other quotes about the subject, linked to wikipedia and changed the category to "Themes" rather than "Proverbs". Thanks ~ MosheZadka (Talk) 09:14, 24 October 2005 (UTC)

title: User talk:Dale N Scott


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User talk:207.73.253.41

~ MosheZadka (Talk) 09:20, 24 October 2005 (UTC)

title: User talk:207.73.253.41


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User talk:63.76.22.2

~ MosheZadka (Talk) 09:59, 24 October 2005 (UTC)

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Sharon Tate

Sharon Marie Tate (24 January 1943 – 9 August 1969) was an American actress, model and the wife of Roman Polański. Along with six others, she was murdered in August 1969 by members of the Manson Family.

Quotes

 * When I was in school, I dreamed about becoming a psychiatrist or a ballerina. Like most girls I would dream about being a movie star too. But those dreams are the impossible kind, the kind you don't really set your heart on.
 * As quoted in Screen Stories magazine (1967)

 * I guess you could say that I was somewhat withdrawn from my classmates. I spent a good deal of time being a loner. I suppose that had something to do with the way we lived — always on the move, never living in one town very long. It's very hard to make lasting friendships that way. And my father was rather strict with me and my two younger sisters. He insisted on proper behaviour and very often vetoed our choices of boyfriends. There was always a curfew whenever my sisters or I would go out on a date — we had to be home on time or else. But I never resented his authority. In fact, I'm thankful for my strict upbringing; I feel it has helped me learn discipline — and that's very important in this business.
 * As quoted in Screen Stories magazine (1967)

 * Martin Ransohoff had to sell Roman on the idea of even considering me for the film. He arranged for the two of us to have dinner. Roman never said a word to me, we just sat there and ate and he just looked at me. Then we had a second dinner meeting and the same thing happened. Later he took me to his apartment. He lit some candles and then excused himself and left me standing there alone. A short while later he came storming into the room like a madman and he was wearing a Frankenstein mask. I let out a blood-curdling scream and while I was still crying from the scare, he was calling Ransohoff to tell him that the part in the film was mine.
 * On how she received the part of Sarah Shagal in Roman Polanski's The Fearless Vampire Killers, in Screen Stories magazine (1967)

 * I can't play games. I have friends, older women, who tell me I'm foolish to let Roman know how deeply I care about him. They tell me all sorts of things like "keep a man guessing", "men become bored with too much devotion". They tell me I am being foolish. Well, foolish I am.
 * As quoted in New Castle News (9 December 1967)

 * Oh, that's silly! I'm not an anything . . . I'm just me. If I am sexy, it's just something I do naturally, like picking up a knife and fork to eat. I think people who try to be sexy are the most unsexy people in the world.
 * In response to being called Hollywood's "New Sex Goddess" in Modern Screen magazine (May 1968)

 * I'd like to be a fairy princess — a little golden doll with gossamer wings, in a voile dress, adorned with bright, shiny things. I see that as something totally pure and beautiful. Everything that's realistic has some sort of ugliness in it. Even a flower is ugly when it wilts, a bird when it seeks its prey, the ocean when it becomes violent. I'm very sensitive to ugly situations. I'm quick to read people, and I pick up if someone's reacting to me as just a sexy blonde. At times like that, I freeze. I can be very alone at a party, on the set, or in general, if I'm not in harmony with things around me.
 * As quoted in "Who I'd Like To Be In My Next Life"] featuring celebrity responses to that question, Eye magazine Vol. 2 No. 1 (January 1969) - online text and images

 * Please — please don't kill me — I don't want to die. I just want to have my baby.
 * Court testimony of Virginia Graham as to what her confessed murderer Susan Atkins (aka Sadie Mae Glutz) had said were among her last words (9 August 1969). Atkins said she responded to this with: "Look, bitch, you might as well face it right now, you're going to die, and I don't feel a thing behind it."

 * I honestly don't understand the big fuss made over nudity and sex in films. It's silly. On TV, the children can watch people murdering each other, which is a very unnatural thing, but they can't watch two people in the very natural process of making love. Now, really, that doesn't make any sense, does it?
 * Quoted in Sharon Tate and the Manson Murders (2000), by Greg King

Quotes about Tate

 * Dear God, she was beautiful. Sharon was more beautiful as a teenager than she was in her twenties; in Europe people would turn around on the street just to look at her.
 * Doris Tate, Sharon's mother.

 * I know I was horrible at times, I was. I really kept a tight rein on, I had to. I felt fine about Sharon being a star, as long as I was close by. You cannot protect your kids, you just can't. There are twenty-four hours in a day.
 * Doris Tate

 * Until you have lost a child, you don't know what it is. Parents are supposed to die first. When your child is gone before you for an abnormal reason, it creates a whole abnormal situation... It was three years before I could even... I couldn't even look at Roman. Because, you see, I still expected Sharon to be with him, so I was playing games in my mind... Roman really loved Sharon, I know that, and he was very, very grieved.
 * Doris Tate

 * This could destroy Roman. Marriage vows mean nothing to him but few men have adored a woman as much as he adored Sharon.
 * Laurence Harvey, after the murder of Tate.

 * It's weird. I always had the premonition that Sharon belonged to me just for a little while.
 * Roman Polanski, in Telecran magazine interview (25 January 1970)

 * She was the least hypocritical woman you could ever meet: once, when an executive told her that we should ask for single cabins in the transatlantic that brought us to the United States, she simply said, "Why? Everybody knows that we live together."
 * Roman Polanski, in Telecran magazine interview (25 January 1970)

 * Sharon is too nice. She doesn't believe in her beauty. Once when I was very poor in Poland, I had got some beautiful shoes, and I immediately became ashamed of them. All my friends had plain, ordinary shoes, and I was embarrassed to walk in front of them. That's how Sharon feels about her beauty. She's as embarrassed by it.
 * Roman Polanski, The Official Sharon Tate Fansite.

 * I'm forced to mix with people of this industry and I can swear that is really difficult to meet people with her nature and her spirit. Generally, everybody is opportunistic here. Sharon had grace and charm; she knew how to make anybody's life easier. When somebody was busy, she was there in a discreet manner to serve you a drink or a coffee.
 * Roman Polanski, in Telecran magazine interview (25 January 1970)

 * Without her I feel lost, I can't explain this in words. However there are things that I just can't stand thinking of; the way she and our son died.
 * Roman Polanski, in Telecran magazine interview (25 January 1970)

 * Sharon — it was fantastic what they were attributing to her. In death, they made a monster out of her. A monster out of the sweetest, most innocent, lovable human being. She was kindness itself to everybody and everything around her — people, animals, everything. She just didn't have a bad bone in her body. She was a unique person. It's difficult to describe her character. She was just utterly good, the kindest human being I've ever met, with an extreme patience. To live with me was proof of her patience, because to be near me must be an ordeal. She never had a bad temper, she was never moody. She enjoyed being a wife. The press and the public knew of her physical beauty, but she also had a beautiful soul, and this is something that only her friends knew about.
 * Roman Polanski, interviewed in Playboy magazine (December 1971)

 * Sharon Tate came up and introduced herself. She said, quietly, "I must tell you something before we start working together. I can't act, but I somehow get by without anyone realizing, so don't worry."
 * Actor Terry-Thomas, on meeting his co-star on 12 + 1, in Terry-Thomas Tells Tales (1992)

 * Sharon Tate is divine, a real find. Just wait and see what happens when the critics and public see her in Valley of the Dolls. Sharon has everything Marilyn Monroe had - and more. She has the fascinating, yet wholly feminine strength of a Dietrich or a Garbo, a classically beautiful face, an exciting figure, the kind of sex appeal and personality appeal to become as glittering a star as Bette Davis, Joan Crawford, Rita Hayworth, Lana Turner, Elizabeth Taylor.
 * Costume designer William Travilla, in Screen Stories magazine (1967)

 * While I was working on Downward Spiral, I was living in the house where Sharon Tate was killed. Then one day I met her sister. It was a random thing, just a brief encounter. And she said: "Are you exploiting my sister's death by living in her house?" For the first time, the whole thing kind of slapped me in the face. I said, "No, it's just sort of my own interest in American folklore. I'm in this place where a weird part of history occurred." I guess it never really struck me before, but it did then. She lost her sister from a senseless, ignorant situation that I don't want to support. When she was talking to me, I realized for the first time, "What if it was my sister?" I thought, "Fuck Charlie Manson." I went home and cried that night. It made me see there's another side to things, you know?
 * Trent Reznor, on his residency at 10050 Cielo Drive, as quoted in Rolling Stone (6 March 1997)

Roman by Polanski (1984, 1985)

 * Autobiography of Roman Polański

 * Sharon was more than just stunning to look at. She wasn't naive or stupid or a cliche starlet. What had impressed me most about her, quite apart from her exceptional beauty, was the sort of radiance that springs from a kind and gentle nature; she had obvious hang-ups yet seemed completely liberated. I'd never met anyone like her before.

 * There was far more to Sharon than a lovely face and a sexy figure. What enchanted me about her as much as anything was her immutable good nature, her high spirits, her love of people and animals-of life itself. Over-demonstrative, over-solicitous women had always made me uneasy, but Sharon struck the perfect balance between affection and concern. Though more a spectator than a participant in our gags and shenanigans, she had a great sense of humour. She was also a born housewife. Aside from cooking like a dream, she used to cut my hair, a skill acquired from Jay Sebring. She liked to pack my bag whenever I had to take a trip. She always knew exactly what to put in-so much so that I can never pack or unpack, even today, without thinking of her.

"You're it," I told her. She laughed. "Come on!" "Seriously," I said. "What would you like me to be that I'm not?" "Nothing," I said with complete sincerity. "I wouldn't want you different in any way."
 * She once told me to define my ideal woman:

Interview with Sheliah Wells

 * Interview by Marcia Borie Screenland (November 1969)

 * Sharon Tate was my best friend. Once, we were roommates. She introduced me to my husband. She was the godmother to my baby daughter who is named for her. In the six years time that I knew her, she never said an unkind word about anyone.

 * My friends used to tease me. 'How can you wake up in the morning and look at that face of hers?' It was a good question. Sharon was so over whelmingly, so incredibly beautiful that anyone not knowing her might think it took a lot to live with such a beauty. But you see that was another thing about Sharon. With all her beauty, everyone loved her. I never heard anyone say a bad word about her, not even another actress. And in this town that's not only a rarity, it's an impossibility!

 * Sharon was the type of a girl who had no defenses, no pretenses, she was just herself all the time... She was so trusting, so eager to accept people as they were, so generous... Sharon never shut her door to anyone.

 * She always had a way of finding such goodness in others. If someone hurt her, she'd say, "Oh, Sheliah, I'm sure they didn't mean to.' She'd always make excuses for others. Sharon was just totally loving and also totally vulnerable. She was just a remarkable person, she never gave up on anybody.

 * As far as Sharon's marriage was concerned, all I can tell you is that Sharon and Roman were in love. They were a combination of beauty and genius.

 * She was always going out on a limb for everyone. Everyone but herself. There was an ethereal quality about her. She had this thing I sometimes wished I'd had, even though I knew that eventually it might be bad for me. Do you understand? She had this kind of beauty and fragility, and you just knew she was bound to get hurt because of it. But still you couldn't help but admiring that quality in her. She was just such a special person.

 * In just the last few months Sharon was beginning to come into her own. She never cared about being beautiful. She never even really cared about acting. She just wanted to love and be loved. And have her baby. I know that if she'd lived and had the baby everything would have been different for her. Because that is what Sharon really wanted. She was just a little girl from Texas who was so incredibly beautiful that she got swept up in all of the Hollywood nonsense. But all she ever wanted was what every woman wants — a man to love and a baby of her own. I can't believe that the murderers knew her. To know Sharon, to really know her, was to love her. There is just no way that anyone who knew her could have hurt her so.

title: Sharon Tate


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Rob Thomas

Robert Kelly "Rob" Thomas (February 14, 1972– ) is an American singer, songwriter, and multi-instrumentalist best known for being the lead singer of the rock band Matchbox Twenty as well as a solo artist.

Quotes

 * Some things you don't need until they leave you, they're the things that you miss
 * "Bright Lights" (from the Matchbox Twenty album More Than You Think You Are)

 * I'm the flame I can't get burnt
 * "Busted" (from the Matchbox Twenty album Yourself or Someone Like You)

 * Everyone's trusting in their hearts, like their heart don't lie
 * "All I Need" (from the Matchbox Twenty album More Than You You Think You Are)

 * If I fall along the way, pick me up and dust me off; If I get too tired to make it, be my breath so I can walk; If I need some other love then, give me more than I can stand; When my smile gets old and faded, just wait around I'll smile again; It shouldn't be so complicated, just hold me and then, just hold me again

 * Can you help me? I'm bent, I'm so scared that I'll never get put back together.

 * "Bent" (from the Matchbox Twenty album Mad Season)

 * We're all looking for something, something to be.
 * "Something to Be" (From the Rob Thomas album Something to Be)

 * Wrong step, you got off track, you need someone to help us back, now.
 * "I Am An Illusion" (From Something to Be)

 * I'm not crazy, I'm just a little unwell; I know right now you can't tell; But stay a while and maybe then you'll see; A different side of me
 * "Unwell" (from the Matchbox Twenty Album More Than You Think You Are)

title: Rob Thomas


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User talk:82.23.255.111

Incidents of deliberate vandalism have resulted in this IP address being temporarily blocked from editing. ~ Kalki 13:07, 24 October 2005 (UTC)

UDScott 18:09, 7 December 2005 (UTC)

title: User talk:82.23.255.111


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Tim O'Reilly

Tim O'Reilly  (born 6 June 1954) is the founder of O'Reilly Media (formerly O'Reilly and Associates) that specializes in technology transfer through book publishing, the internet and conferences.

Quotes

 * Work on Stuff that Matters

 * Create more value than you Capture

 * Collective intelligence. Think of how Wikipedia works, how Amazon harnesses user annotation on its site, the way photo-sharing sites like Flickr are bleeding out into other applications... We're entering an era in which software learns from its users and all of the users are connected.
 * When asked "What innovation will most alter how we live in the next few years, as quoted in TIME magazine (24 October 2005)

 * For a typical author, obscurity is a far greater threat than piracy.
 * Sunday Tribune magazine (25 September 2005)

 * "I find, Andrew Keen's, his whole pitch, I think he was just pure and simple looking for an angle, to create some controversy and sell a book, I don't think there's any substance whatever to his rants."
 * The Truth According to the Wikipedia- IJsbrand van Veelen

 * "Just do something that lights you up, and lights up your customers, and lights up the world and scale to that."
 * Interview in New York by Publishing Point group (29 September 2010)

 * Healthcare is one of the areas where open data will potentially take off soonest and have the biggest impact.
 * "Open Source and the future of print in the age of the Social Network", Linux Voice, February 20, 2015. (WebCite archive)

 * If you are not paying for the product, you are the product.
 * This is a quote about television advertising from the 1970s. The earliest known reference is from a YouTube video. It was circulated in various forms, but the one nearest to this one was tweeted in 2010 by publisher Tim O’Reilly. (sourced from Quora)

 * "Learning JavaScript used to mean you weren’t a serious software developer. Today, not learning Javascript means the same thing."

title: Tim O'Reilly


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Kevin Kline

Kevin Delaney Kline (born 24 October 1947) American actor; husband of Phoebe Cates

Quotes

 * It was all completely incomprehensible to me. I was fearful of the language. You had to look up every third word.
 * On his initial reaction, as a student, to the works of Shakespeare, The Washington University Record (25 January 1996)

 * Nobody sees the same movie. I'm sure there are people who saw Butch Cassidy and the Sundance Kid and thought "Finally a gay movie about men who really care about each other. Thank God!" That's not what I saw necessarily — but I don't think any two people see the same movie.
 * Interview at CrankyCritic.com

 * Don't kiss a man who hasn't shaved.
 * Interview with Rebecca Murray, movies.about.com/od/delovely/a/delovekk062904_2.htm

title: Kevin Kline


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Ang Lee

Ang Lee [李安 : Lǐ Ān] (born 23 October 1954) is a Taiwanese-American film director

Quotes

 * It's the first movie I feel really proud of. But I know it's not a movie for everyone. Some people will embrace it, but some people will hate it, and I'm not really sure how to deal with that. In the past I've made movies that were pretty universally liked. You can't really hate them. You can discard them, but you can't really hate them.
 * On The Ice Storm (1997) Salon (17 October 1997).

 * Gradually I got tuned into the world — that happens on every movie. I did a women's movie, and I'm not a woman. I did a gay movie, and I'm not gay. I learned as I went along.
 * On developing a sensitivity for authentic details in the making of movies, Salon (17 October 1997).

 * The stern dad stuff doesn't work anymore. You have to be level with the kids, you have to be a nice guy... The authority thing just doesn't work anymore. It's like directing a Chinese film vs. directing an American film. On a Chinese film you just give orders, no one questions you. Here, you have to convince people, you have to tell them why you want to do it a certain way, and they argue with you. Democracy.
 * On parenting, Salon (17 October 1997).

 * Mainstream films have occupied Hollywood but you can get bored very easily. It can be very repetitive and I think now we want something fresh and something inspiring and different, daring. The mainstream film is very expensive to make and it scares people. It's made for the worldwide audience, you have to please so many people, and the business men start running the movies rather than artists. This is back to the oldest way of Hollywood filmmaking, creating a fantasy, but it has been lost. It seems to take a foreign language film to recoup that ultimate movie viewing experience.
 * On Crouching Tiger, Hidden Dragon, quoted at IMDb Movie/TV News (12 March 2001).

title: Ang Lee


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User talk:156.110.25.10

Deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 19:40, 24 October 2005 (UTC)

title: User talk:156.110.25.10