text:
Mean Creek

Mean Creek is a 2004 American coming-of-age psychological drama film in which, when a teen is bullied, his brother and friends lure the bully into the woods to seek revenge.
 * Directed and written by Jacob Aaron Estes..

You can never go back. (taglines)

Sam Maris

 * I dare you to pull your pants down and your underwear, and show us that famous dick of yours for at least ten seconds. {to Marty in Truth or Dare}
 * I'm sorry, George.
 * We were planning on stripping you, throwing you in the river, then make you run home naked.
 * Uncle Martini!
 * You always attack for no reason.

Rocky Maris

 * Shut the fuck up, George! Shut the fuck up!
 * Oh, You son of a bitch! Oh, You asshole! I wanna fuck your asshole!
 * Oh yeah baby girl, oh yeah, oh yeah, oh yeahhhhh squirt all over me

George Tooney

 * Hey! What do you think you're doing?! You're a punk, Sam! I ought to kill you! You fucking dickhead! I told you to never touch my camera! Didn't I?! Fucker! You little wimp! Bitch! Pussy! I told you! I ought to fucking kill you! And I will kill you, you little punk, if I ever catch you fucking with my camera again. (he gets up to leave after tackling Sam, pushing onlookers out of the way) Get out of my way!
 * So, let's see the penis. Bring on the penis!
 * You're a fucking lying son of a bitch, Sam, all right? And I fucking hope you go to hell. (Millie: Don't make things worse, George.) Shut the fuck up, Millie, you fucking stupid JAP cunt! (Clyde: Sit down, George. You're out of control.) SHUT THE FUCK UP, CLYDE! You faggot! Fucking skinny, butt-munching faggot. I hate you, you know that? I really do. Because all you do is fucking prance around school talking about your fucking faggoty, fairy fathers. I'll tell you what! I don't want to hear about your fucking fathers and how their assholes work, all right?! It makes me sick! And I... I fucking hope they fucking die of fag disease! Yeah, and speaking of dead fathers..., I just remember why bonehead, white trashed fucking donkey dick Marty, got so fucking freaked when I started talking about his daddy. His neanderthal, drunk dad, put a gun in his mouth and splattered his brains all over the wall. You know... I almost forgot that my mom told me that. She said he splattered his brains all over the wall. I thought it was sad at first, but now... I like it. His daddy splattered his brains all over the wall.
 * Why'd you drop the anchor?
 * Happy Birthday, Sam!
 * His daddy splattered his brains all over the wall!
 * Somebody help! (after he hits his head with his camera underwater, then dies)
 * I know it's your birthday, Sam, but shut your trap.
 * Why don't you speak for yourself, faggot?
 * {On his dyslexia} My doctor says it's a genetic variation, like for evolution.

Marty Blank

 * Fat boy's gonna get what he's got coming.
 * If you're really feeling like a party animal... you wanna smoke a birthday doobie?
 * I'm a man who likes to follow through with his plans.
 * That's what happens when you fuck with Martini Blank! Martini's friends back him up. That's what friends do, fuck-o. That's why you're in the water. 'Cause you've got none.
 * I don't want anyone else wimping out on their dares.
 * We gotta bury the body.

Millie

 * {To Sam} So, what's it like being a male?
 * {To Sam} If you could snap your fingers right now, and he would drop dead in his tracks, would you do it?
 * {To Sam} Fuck you! Fuck you! Fuck You!
 * {To Sam} It was your guys' plan. I was just there.

Clyde

 * {On George} No, screw that guy.
 * No, I never do anything to anybody.
 * He doesn't smoke, Marty.
 * No one talks to people like that.

Taglines

 * You can never go back.
 * Beneath the surface, everyone has a secret.

Cast

 * Rory Culkin - Sam
 * Josh Peck - George
 * Scott Mechlowicz - Marty
 * Trevor Morgan - Rocky
 * Carly Schroeder - Millie
 * Ryan Kelley - Clyde

title: Mean Creek


text:
User:New WoW vandal

~ Kalki 14:28, 13 January 2007 (UTC)

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

title: User:New WoW vandal


text:
User talk:New WoW vandal

~ Kalki 14:29, 13 January 2007 (UTC)

title: User talk:New WoW vandal


text:
User:SimonDeDanser

 * 1) REDIRECT Simon De Danser

title: User:SimonDeDanser


text:
User talk:SimonDeDanser

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 11:37, 14 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
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 * To sign with a date, write four tildes (~~) and save.
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 * Be bold.

 * I'm afraid I have had to remove the redirect that you placed in this page because it prevents Wikiquotians from communicating with you, which is the purpose of user talk pages. Thank you for your cooperation. ~ Jeff Q (talk) 11:42, 14 January 2007 (UTC)

title: User talk:SimonDeDanser


text:
David Noel Freedman

 David Noel Freedman (born 12 May 1922 – 8 April 2008) is a biblical scholar, "bookmaker" (author and editor), archaeologist, advocate, and initiator of inter-faith cooperation.

Quotes

 * The first Greek-speaking people in the southern Balkan Peninsula arrived in Macedonia, Thessaly, and Epirus sometime after 2600 B.C. and developed, probably due to the extreme mountainous nature of the country, their several different dialects.
 * The Anchor Bible Dictionary (Doubleday, 1992) p. 1093.

title: David Noel Freedman


text:
Robert Morkot

Robert George Morkot, FSA (born 1957) is an archaeologist and academic, specialising in Ancient Egypt.

Quotes

 * Certainly the Thracians and the Illyrians were non-Greek speakers, but in the northwest, the peoples of Molossis (Epirot province), Orestis and Lynkestis spoke West Greek. It is also accepted that the Macedonians spoke a dialect of Greek and although they absorbed other groups into their territory, they were essentially Greeks.
 * "The Penguin Historical Atlas of Ancient Greece", Penguin Publishing USA, January 1997

title: Robert Morkot


text:
Ed McCully

Theophilus "Ed" McCully (June 1 1927– January 8, 1956) was an evangelical Christian missionary to Ecuador who, along with four others — Jim Elliot, Pete Fleming, Nate Saint, and Roger Youderian — was killed while attempting to evangelize the Huaorani people through efforts known as Operation Auca.

Quotes

 * Since taking this job things have happened. I've been spending my free time studying the Word. Each night the Lord seemed to get hold of me a little more. Night before last I was reading in Nehemiah. I finished the book, and read it through again. Here was a man who left everything as far as position was concerned to go do a job nobody else could handle. And because he went the whole remnant back in Jerusalem got right with the Lord. Obstacles and hindrances fell away and a great work was done. Jim, I couldn't get away from it. The Lord was dealing with me. On the way home yesterday morning I took a long walk and came to a decision which I know is of the Lord. In all honesty before the Lord I say that no one or nothing beyond Himself and the Word has any bearing upon what I've decided to do. I have one desire now - to live a life of reckless abandon for the Lord, putting all my energy into it. Maybe He'll send me someplace where the name of Jesus Christ is unknown. Jim, I'm taking the Lord at His word, and I'm trusting Him to prove His Word. It's kind of like putting all your eggs in one basket, but we've already put our trust in Him for salvation, so why not do it as far as our life is concerned? If there's nothing to this business of eternal life we might as well lose everything in one crack and throw our present life away with out life hereafter. But if there is something to it, then everything else the Lord says must hold true likewise. Pray for me, Jim.''

 * Man, to think the Lord got hold of me just one day before I was to register for school! I've got money put away and was all set to go. Today was registration day so I went over to school to let them know why I wouldn't be back. I really prayed like the apostle asked the Ephesians to pray, that I might "open my mouth boldly." I talked to all the fellows that I knew well. Then I went in to see a professor I thought a lot about. I told him what I planned to do, and before I left he had tears in his eyes. I went in to see another professor and talked to him. All I got was a cold farewell and a good luck wish.''

 * Well, that's it. Two days ago I was a law student. Today I'm an untitled nobody. Thanks, Jim, for the intercession on my behalf. Don't let up. And brother, I'm really praying for you too as you're making preparation to leave. I only wish I were going with you.
 * Letter to Jim Elliot during his time as a law student and working as a hotel night clerk (22 September 1950).

title: Ed McCully


text:
User talk:JazzD~enwikiquote

Hi. Welcome to English Wikiquote. Enjoy!--Aphaia 19:31, 13 January 2007 (UTC)
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 * Be bold.

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:27, 17 March 2015 (UTC)

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

title: User talk:JazzD~enwikiquote


text:
User talk:Greenhead

Hi. Welcome to English Wikiquote. Enjoy!--Aphaia 19:32, 13 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Greenhead


text: Category:Animators

title: Category:Animators


text:
Talk:Stonewall Jackson

At least one source for this quote -- "Captain, my religious belief teaches me to feel as safe in battle as in bed. God has fixed the time for my death. I do not concern myself about that, but to be always ready, no matter when it may overtake me." -- is "Stonewall Jackson" a Thesarus of Anecdotes of and Incidents in the Life of Lieut-General Thomas Jonathan Jackson, by Elihu Samuel Riley, Annapolis MD: 1920, p. 140

title: Talk:Stonewall Jackson


text:
User talk:68.205.146.235

- InvisibleSun 01:52, 14 January 2007 (UTC)

title: User talk:68.205.146.235


text:
User talk:62.171.194.9

- InvisibleSun 01:54, 14 January 2007 (UTC)

~ Ningauble 15:10, 15 December 2009 (UTC)

title: User talk:62.171.194.9


text:
User talk:62.171.194.38

- InvisibleSun 01:56, 14 January 2007 (UTC)

title: User talk:62.171.194.38


text:
User:Jondel

Thanks for the compliments! You're welcome to add your favorite quotes. KaElin

title: User:Jondel


text:
User talk:86.27.66.233

Thanks for experimenting with the page English proverbs on Wikiquote. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Please see the welcome page if you would like to learn more about contributing to our compendium of quotations. Thanks. —LrdChaos (talk) 04:36, 14 January 2007 (UTC)

title: User talk:86.27.66.233


text:
User:Fnord

=== All statements are true in some sense, false in some sense, meaningless in some sense, true and false in some sense, true and meaningless in some sense, false and meaningless in some sense, and true and false and meaningless in some sense. ~ Principia Discordia ===

This is, of course, very true in some sense, and very false in some sense, and very meaningless in some sense, and is a valuable mantra of awareness with 7 valuable perspectives on all statements anyone could ever make. Contemplating its truths led me to devise "the four fnordian corollaries" to the 7 profound perspectives of "The Free Mantra of Sri Syadasti" while in the holy process of taking a shower about a half hour ago:

All statements are not equally true, equally false, nor equally meaningless — in devotion to the holy processes of life, liberty and love, there are always many observations and statements that are more valuable than others.

Don't take anything that anyone says too seriously, too literally, or too lightly — Always seek and cherish the beautiful forms of balance and imbalance that lead to greater awareness, appreciation, and vitality.

Be skeptical but not cynical — be reasonably faithful that there are important truths to be found, but cautious about declaring any of them sufficient or supreme.

Don't be stupidly dogmatic about anything.

 * ~ [[Image:Circled K (all rights reversed).svg|23px|]] fnord [[Image:Wikiquote-logo.svg|11px]] 16:44, 29 January 2007 (UTC) - revised 17:11, 29 January 2007 (UTC) - revised again 17:17, 29 January 2007 (UTC) - revised again 17:44, 29 January 2007 (UTC) - revised again 17:55, 29 January 2007 (UTC) - minor revison 18:33, 29 January 2007 (UTC) - revised 20:55, 29 January 2007 (UTC) - revised again 21:44, 29 January 2007 (UTC)

The totally convinced and the totally stupid have too much in common for the resemblance to be accidental. ~ Robert Anton Wilson

title: User:Fnord


text:
Category:Uncategorized article cleanup

This category lists articles that need significant work in order to conform to Wikiquote's Manual of Style and preferred article structure, but for which another Wikiquote editor was unable to find a more-specific category of article cleanup. See the other article cleanup categories at Category:Wikiquote cleanup.

To add an article to this category, edit the article and insert after the article's introduction (if any).

NOTE: The following pages are included here for maintenance reasons and do not themselves need to be cleaned up:
 * Template:Cleanup
 * User:RoboAction/templates
 * Template messages
 * Template messages/Clean-up

title: Category:Uncategorized article cleanup


text:
User talk:70.59.224.164

- InvisibleSun 07:30, 14 January 2007 (UTC)

title: User talk:70.59.224.164


text:
Law & Order: Special Victims Unit

 * Seasons: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | Main

Law & Order: Special Victims Unit (1999–present) is a long-running crime drama, part of the popular Law & Order franchise created by Dick Wolf. The show focuses on the Special Victims Unit, a special squad dealing with sex crimes and crimes against children.

Opening

 * Narrator: In the criminal justice system, sexually based offenses are considered especially heinous. In New York City, the dedicated detectives who investigate these vicious felonies are members of an elite squad known as the Special Victims Unit. These are their stories.

"Last Week Tonight with John Oliver", (September 11, 2022)

 * [G]enerally, the thesis on SVU is that the cops deeply care about getting justice for victims, and their gut instincts mean they almost always get the job done in the end. In one episode, we learn that Stabler has a 97% case closure rate.
 * Government and press reports have repeatedly shown that New York’s actual sex crimes unit is set up to fail victims of sexual assault. Because its case closure rate is a long way from Elliot Stabler’s 97%. The NYPD’s official figures show they only close about a third of sexual-assault cases. But one analysis of cases handled over a two-year period found a closure rate of just 6%. And a damning 2018 investigation into New York’s SVD quoted multiple prosecutors describing improper handling of cases by overloaded or inexperienced investigators, who until recently were only given five days of formal specialized training. Is it any wonder that some cops are watching SVU for tips?
 * [I]t’s worth knowing: some survivors have spoken about what it’s like seeing these detectives valorized on tv, with one saying, Law & Order: SVU gave me the false impression that this squad cared deeply about victims and their jobs, and another saying, “if I had a dollar for every time I heard, ‘this can’t be true. Olivia Benson would never let this happen!’ I would have enough to cover my hospital bills and therapy for my trauma.” And you should know: even the real-world version of the tenacious, uncompromising Olivia Benson, and the show’s tough ADA, Alexandra Cabot, has a significant asterisk, because a major inspiration for both characters is Linda Fairstein, the woman infamous for prosecuting the Central Park Five, or as they’re now known, the Exonerated Five.
 * [I]t’s completely understandable to want Olivia Benson to exist. But it is important to remember just how far it is from representing anything resembling reality.

"“What Doesn’t Kill You Makes You Stronger:” The Fallacy of Rape Narratives as Paths to Women’s Empowerment in Contemporary Television" (2020)
Alessia S., "“What Doesn’t Kill You Makes You Stronger:” The Fallacy of Rape Narratives as Paths to Women’s Empowerment in Contemporary Television" (2020).
 * The longest-running live-action prime time television show of all time deals exclusively with topics that have historically been ignored as being a ubiquitous part of America’s culture: sexual assault, domestic violence, sexual harassment, and child abuse. Law & Order’s (Wolf, 1990–2010) sex-crimes-focused spin-off does not shy away from such topics but shines a light on them while keeping the victims of these crimes and the always-sympathetic Captain Olivia Benson (Mariska Hargitay) at the forefront of every narrative. Hargitay was so inspired by the series that she became an activist, founding the Joyful Heart Foundation for survivors of sexual violence and working to end the backlog of rape kits throughout the US. She views SVU as “a longtime force for positive change” (Barcella),and many others who work or have worked on the series in the last two decades agree with her. Episodes do not simply dramatize sexual violence; they are “laden with real-life lessons about consent, domestic violence, and the psychological impacts of sexual assault,” which is why the creative team behind SVU“ see their show partly as a vehicle for education” (Minich, 5). Procedural detective dramas have historically been “the primary masculine television genre, with a predominantly male audience” (Cuklanz, 19); SVU’s audience, however, is “made up mostly of women” (Minich, 5) because it depicts a world in which the United States judicial system takes sexual violence seriously. Critics have argued that the way the show portrays how the justice system treats survivors is “the heart of the show’s appeal” (Minich, 5).
 * p.18

 * SVU has consistently made an effort “to keep pace with the times” (Minich, 5), and has always incorporated the latest theory on sexual assault—from changing their language to refer to “victims” as “survivors,” to having the detectives participate in trauma-informed interviews with survivors in their latest season, which acknowledges that people’s memories are affected by trauma. Trauma-informed interviews allow survivors to focus on the memories that their senses provide—for example, what they heard, smelled, etc.—to give a description of what happened to them, rather than try to remember specific details which is often difficult for someone to do after experiencing trauma. These interviews affect not only the answers the survivors give the detectives on the show, but also how their trauma is portrayed on-screen.
 * pp.19-20

 * SVU has always believed survivors. The show has debunked rape myths—such as sex workers cannot be assaulted, someone cannot be raped by their partner, consent is not reversible, and countless others—for over twenty years by having their detectives and prosecutors always believe the survivors who come to them. Such commitment to survivors makes it no wonder why the show is so popular with them. Additionally, the series helps viewers learn the signs and attributes of sexual violence, proving Cuklanz’s point that because rape is discussed so infrequently in American society, “film, serial prime time television, and television talk shows have been more useful in making rape reform ideas available to a mainstream audience”.
 * p.21

Seasons

 * Law & Order: Special Victims Unit/Season 1
 * Law & Order: Special Victims Unit/Season 2
 * Law & Order: Special Victims Unit/Season 3
 * Law & Order: Special Victims Unit/Season 4
 * Law & Order: Special Victims Unit/Season 5
 * Law & Order: Special Victims Unit/Season 6
 * Law & Order: Special Victims Unit/Season 7
 * Law & Order: Special Victims Unit/Season 8
 * Law & Order: Special Victims Unit/Season 9
 * Law & Order: Special Victims Unit/Season 10
 * Law & Order: Special Victims Unit/Season 11
 * Law & Order: Special Victims Unit/Season 12
 * Law & Order: Special Victims Unit/Season 13
 * Law & Order: Special Victims Unit/Season 14
 * Law & Order: Special Victims Unit/Season 15
 * Law & Order: Special Victims Unit/Season 16
 * Law & Order: Special Victims Unit/Season 17
 * Law & Order: Special Victims Unit/Season 18
 * Law & Order: Special Victims Unit/Season 19
 * Law & Order: Special Victims Unit/Season 20
 * Law & Order: Special Victims Unit/Season 21
 * Law & Order: Special Victims Unit/Season 22
 * Law & Order: Special Victims Unit/Season 23

Principal cast

 * Christopher Meloni - Detective Elliot Stabler (1999-2011, 2020)
 * Mariska Hargitay - Captain Olivia Benson (1999-present)
 * Danny Pino - Detective Nick Amaro (2011-2015)
 * Richard Belzer - Detective/Sergeant John Munch (1999-2014)
 * Michelle Hurd - Detective Monique Jeffries (2000)
 * Ice T -Sergeant Odafin "Fin" Tutuola (2000-present)
 * Kelli Giddish - Detective Amanda Rollins (2011-present)
 * Adam Beach - Detective Chester Lake (2007-2008)
 * Dann Florek - Captain Donald Cragen (1999-2014)
 * Stephanie March - ADA Alexandra Cabot (2000-2003, 2009, 2011-present)
 * B.D. Wong - Dr. George Huang (2002-2011)
 * Diane Neal - ADA Casey Novak (2003-2008, 2011-present)
 * Tamara Tunie - Dr. Melinda Warner (2005-present)
 * Michaela McManus - ADA Kim Greylek (2008)
 * Raúl Esparza - ADA Rafael Barba (2012-2018)
 * Peter Scanavino- Detective Dominick "Sonny" Carisi, Jr. (2014-present)
 * Jamie Gray Hyder - Detective Katriona "Kat" Tamin (2018-2021)

title: Law & Order: Special Victims Unit


text:
Mark Rothko

Mark Rothko (September 25, 1903 – February 25, 1970), born Marcus Rothkowitz, was a Latvian-born American painter usually considered an Abstract Expressionist.

Quotes of Mark Rothko

 * sorted chronologically, after date of the quotes of Mark Rothko

1940s

 * It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academism. There is no such thing as good painting about nothing. We assert that only that subject matter is valid which is tragic and timeless. That is why we profess spiritual kinship with primitive and archaic art.
 * Joint statement with Adolph Gottlieb, to Edwin A. Jewell, often referred to as a Manifesto. (written June 7, 1943; published June 13, 1943)

 * If our titles recall the known myths of antiquity, we have used them again because they are the eternal symbols upon which we must fall back to express basic psychological ideas.. ..(they) express something real and existing in ourselves.
 * radio broadcast, together with Adolph Gottlieb, 1943

 * For the first time a subject is present, not by virtue of its absence, but actually present, though its appearance is torn away, and only the structure bared. The Modern City! Precise, rectangular, squared, whether seen from above, below, or on the side; bright lights and sterilized life; Broadway, whites and blacks; and boogie-woogie; the underground music of the at once resigned and rebellious.. .Mondrian has left his white paradise, and entered the world. [1942, on the late painting Broadway Boogie Woogie of Piet Mondrian ]
 * Quote of Rothko, in Painters Objects, Robert Motherwell, pp. 95, 96; as cited in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, (1983), pp. 128-129

 * We are concerned with similar states of consciousness and relationship to the world.. .If previous abstractions paralleled the scientific and objective preoccupations of our times, ours are finding a pictorial equivalent for man's new knowledge and consciousness of his more complex inner self.
 * common statement in The New York Times (July 8, 1945)

 * For me, Still's pictorial dramas are an extension of the Greek Persephone myth. As he himself has expressed it, his paintings are 'of the Earth, the Damned, and of the Recreated'. Every shape becomes an organic entity, inviting the multiplicity of associations inherent in all living things. To me they form a theogony of the most elementary consciousness, hardly aware of itself beyond the will to live – a profound and moving experience. [in the catalogue introduction for the first one-man-show of Clyfford Still]
 * in Art of this Century (February 12 – March 2, 1946), Peggy Guggenheim Papers on the work of Clyfford Still; as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York (1990), p. 203

 * I do not believe that there was ever a question of being abstract or representational. It is really a matter of ending this silence and solitude, of breathing, and stretching one's arms again transcendental experiences became possible.
 * in The Romantics were prompted, essay by Mark Rothko (1947/48); as quoted in Possibilities, vol 1, no. 1 (winter 1947-48), Kate Rothko Prizel and Christophor Rothko.

 * The progression of a painter's work, as it travels in time from point to point, will be toward clarity: toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer. As examples of such obstacles, I give (among others) memory, history or geometry, which are swamps of generalization from which one might pull out parodies of ideas (which are ghosts) but never an idea in itself. To achieve this clarity is, inevitably, to be understood.
 * In Tiger’s Eye, Vol. 1, no 9 (October 1949); as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York 1990, p. 170

Manifesto (1943)

 * Quotes of Rothko, from: June 13, 1943 edition of the New York Times, brief manifesto: Mark Rothko, with Adolph Gottlieb

1. To us art is an adventure into an unknown world, which can be explored only by those willing to take the risk.

2. This world of imagination is fancy-free and violently opposed to common sense.

3. It is our function as artists to make the spectator see the world our way—not his way.

4. We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.

5. It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism. There is no such thing as a good painting about nothing. We assert that the subject is crucial and only that subject-matter is valid which is tragic and timeless. That is why we profess spiritual kinship with primitive and archaic art.

Beyond the Aesthetics (1946)

 * Quotes of Rothko, from: 'Beyond the Aesthetics', ed. Robert Motherwell, in 'Design 47', no 8 (April 1946)

 * The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition.. .We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist’s task; and it is the qualities of this object that constitute its felt content.
 * p. 38

 * The passions are a kind of thirst, inexorable and intense, for certain feelings or felt states. To find or invent 'objects' (which are, more strictly speaking, relational structures) whose felt quality satisfies the passions, - that for me is the activity of the artist, an activity which does not cease even in sleep. No wonder the artist is constantly placing and displacing, relating and rupturing relations; his task is to find a complex of qualities whose feeling is just right – veering toward the unknown and chaos, yet ordered and related in order to be apprehended.
 * pp. 38-39

 * The activity of the artist makes him less socially conditioned and more humans. It is then that he is disposed to revolution. Society stands against anarchy; the artist stands for the human against society; society therefore threats him As an anarchist. Society's logic is faulty, but its intimation of an enemy is not. Still, the social conflict with society is an incidental obstacle in the artist's path.
 * pp. 38-39

 * It is Cézanne's feeling that determined the form of his pictorial structure. It is his pictorial structure that gives off his feeling. If all his pictorial structures were to disappear from the world, so would a certain feeling.
 * pp. 38-39

 * Feeling must have a medium in order to function at all; in the same way, thought must have symbols. It is the medium, or the specific configuration of the medium that we call a work of art that brings feeling into being, just as do responses tot the objects of the external world.. .The medium of painting is such changing and ordering on an ideal plane, ideal in that the medium is more tractable, subtle, and capable of emphasis (abstraction is a kind of emphasis) than everyday life.
 * pp. 38-39

 * Drama moves us: conflict is an inherent pattern in reality. Harmony moves us too: faced as we are with ever imminent disorder. It is a powerful idea. Van Gogh's drama and Seurat's silent harmony were born in the same country and epoch: but they do not contradict one another; they refer to different patterns among those which constitute reality.
 * pp. 39-40

 * But the most common error among the whole-hearted abstractionists nowadays [in 1946] is to mistake the medium for an end in itself, instead of a means. On the other hand, the surrealists erred in supposing that one can do without a medium, that in attacking the medium one does not destroy just one means for getting into the unknown. Color and space relations constitute such a means because from them can be made structures which exhibit the various patterns of reality.
 * pp. 39-40

 * Like the Cubists before them, the abstractionists felt a beautiful thing in perceiving how the medium can, of its own accord, carry one into the unknown, that is to the discovery of new structures. What an inspiration the medium is..
 * pp. 39-40

 * Like Rimbaud before them, the surrealists abandoned the aesthetic altogether; it takes a certain courage to leave poetry for Africa [as Rimbaud himself did]. They revealed their insight as essentially moral in never forgetting for a moment that most living is a process of conforming to an established order which is inhuman in its drives and consequences. Their hatred sustained them through all the humiliating situations in which the modern artist find himself, and led them to conceptions beyond the reach of more passive souls. For them true 'poetry' was freedom from mechanical social responses. No wonder they loved the work of children and the insane – if not the creatures themselves.
 * pp. 39-40

 * [O]ne must agree with Rilke when he says that with 'nothing can one touch a work of art so little as with critical words...'. It was Marcel Duchamps who was critical, when he drew a moustache on the Mona Lisa. And so was Mondrian when he dreamed of the dissolution of painting, sculpture, and architecture into a transcendent ensemble.
 * pp. 39-40

1950s

 * I paint very large pictures. I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them however, - I think it applies to other painters I know -, is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn't something you command.
 * In: Interiors, Vol. 110, no 10 (May 1951); as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York (1990), p. 172

 * Since I have a deep sense of responsibility for the life my pictures will lead out in the world, I will with gratitude accept any form of their exposition in which their life and meaning can be maintained, and avoid all occasions where I think that this cannot be done.. ..unfortunately, there are few existing alternatives for the kind of activity which your museum represents. Nevertheless, in my own life at least, there must be some congruity between convictions and actions if I am to continue to function and work.
 * Quote from Rothko's letter to Whitney's director Lloyd Goodrich, End of 1952; as cited in Mark Rothko, a biography, James E. B. Breslin, University of Chicago Press (1993), p. 304
 * Rothko was turning down a museum purchase
 * It's a risky business to send a picture out into the world. How often it must be impaired by the eyes of the unfeeling and the cruelty of the impotent who could extend their affliction universally!
 * As quoted in Conversations with Artists (1957) by Selden Rodman, p. 92; later published in 'Notes from a conversation with Selden Rodman, 1956' in Writings on Art : Mark Rothko (2006) ed. Miguel López-Remiro ISBN 0300114400

 * I am not an abstractionist...I am not interested in the relationships of color or form or anything else...I'm interested only in expressing basic human emotions — tragedy, ecstasy, doom and so on — and the fact that a lot of people break down and cry when confronted with my pictures show that I communicate those basic human emotions...The people who weep before my pictures are having the same religious experience I had when I painted them. And if you, as you say, are moved only by their color relationships, then you miss the point!
 * In: Conversations with Artists, Selden Rodman, New York Devin-Adair (1957). p. 93.; reprinted as 'Notes from a conversation with Selden Rodman, 1956', in Writings on Art: Mark Rothko (2006) ed. Miguel López-Remiro p. 119 books.google

 * I hope to paint something that will ruin the appetite of every son of a bitch who ever eats in that room.
 * As quoted in The New Yorker (April 5, 2010), p. 26
 * quote of Rothko (c. 1958), on his commissioned murals for the 'Four Seasons' restaurant in the Seagram Building; Rothko returned his advance and kept the paintings for himself.

 * [the first ingredient of his work]... is a clear preoccupation with death - intimations of mortality.
 * Quote from Rothko's lecture (1958) at the Pratt Institute; as cited in Mark Rothko, a biography, James E. B. Breslin, University of Chicago Press (1993), p. 28

 * [I]t was with the utmost reluctance that I found the figure could not serve my purposes...But a time came when none of us could use the figure without mutilating it. [his quote in 1959, looking back to the 1930s]
 * As quoted in Abstract Expressionism, Davind Anfam, Thames and Hudson, London (1990), p. 143

 * A painting is not a picture of an experience; it is an experience.
 * As quoted in "Mark Rothko", Dorothy Seiberling in LIFE magazine (November 16, 1959), p. 82

Posthumous sources (after 1970)

 * One does not paint for design students or historians but for human beings, and the reaction in human terms is the only thing that is really satisfactory to the artist. [in conversation with W.C. Seitz]
 * Quote of Rothko in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts (1983), p. 116

 * [I am] dealing not with the particular anecdote, but rather with the Spirit of Myth, which is generic to all myths at all times.
 * Abstract Expressionism, David Anfam, Thames and Hudson Ltd London (1990), p. 81

 * It was not that the figure had been removed, not that the figures had been swept away, but the symbols for the figures, and in turn the shapes in the later canvases were substitutes for the figures.. ..these new shapes say..  ..what the symbols said. [Rothko, explaining Seitz his new way of painting during the mid-1940s]
 * Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, (1983), p. 142

 * I will say without reservations that from my point of view there can be no abstractions. Any shape or area that has not the pulsating concreteness of real flesh and bones, its vulnerability to pleasure or pain is nothing at all. Any picture that does not provide the environment in which the breath of life can be drawn does not interest me.
 * letter to Clyfford Still, undated; as quoted in Mark Rothko : A Biography (1993), James E. B. Breslin / and Abstract Expressionism, Creators and Critics, ed. Clifford Ross, Abrams Publishers New York (1990), p. 170

'Abstract Expressionism, Creators and Critics', 1990

 * Quotes of Rothko, from: Abstract Expressionism, Creators and Critics, ed. Clifford Ross, Abrams Publishers New York (1990), p. 167- 173

 * The romantics were prompted to seek exotic subjects and to travel to far off places. They failed to realize that, though the transcendental must involve the strange and unfamiliar, not everything strange or unfamiliar is transcendental. The unfriendliness of society to his activity is difficult for the artists to accept. Yet this very hostility can act as a lever for true liberation.. .Both the sense of community and of security depend on the familiar. Free of them, transcendental experiences become possible.
 * p. 167

 * I think of my pictures as dramas; the shapes in the pictures are the performers. They have been created from the need for a group of actors who are able to move dramatically without embarrassment and execute gestures without shame. Neither the action nor the actors can be anticipated, or described in advance. They begin as an unknown adventure in an unknown space.. .Ideas and plans that existed in the mind at the start were simply the doorway through which one left the world in which they occur. The great cubist pictures thus transcend and belie the implications of the cubist program.
 * pp. 167-168

 * The most important tool the artist fashions through constant practice is the faith in his ability to produce miracles when they are needed. Pictures must be miraculous; the instant one is completed, the intimacy between the creation and the creator is ended. He is an outsider. The picture must be for him, as for anyone experiencing it later, a revelation, an unexpected and unprecedented resolution of an eternally familiar need.
 * p. 168

 * On shapes:
 * - They are organisms with volition and a passion for self-assertion.
 * - They move with internal freedom, and without need to conform with or to violate what is probable in the familiar world.
 * - They have no direct association with any particular visible experience, but in them one recognizes the principle and passion of organisms.
 * p. 168

 * With us the disguise must be complete. The familiar identity of things has to be pulverized in order to destroy the finite associations with which our society increasingly enshrouds every aspect of our environment.
 * p. 168

 * I use colors that have already been experienced through the light of day and through the state of mind of the total man. In other words, my colors are not colors that are laboratory tools which are isolated from all accidentals or impurities so that they have a specified identity or purity.
 * p. 173 : working notes, undated

Quotes about Mark Rothko

 * sorted chronologically, after date of the quotes about Mark Rothko

 * ..For example; in the early forties Rothko and I decided to paint a certain subject matter. Perhaps if we saw some of those paintings now.. ..they might not seem so different as they did at the time. However, at no point was there ever any sort of a doctrine or a program or anything that would make a school. I think it was simply a situation in which all of the painters [of the New York School] were at that time; they were trying to break away from certain things.
 * Quote of Adolph Gottlieb (March 1960), in an interview with David Sylvester, edited for broadcasting by the BBC first published in Living Arts (June 1963); as quoted in Interviews with American Artists, David Sylvester; Chatto & Windus, London (2001), pp. 27-28

 * Rothko and I came to an agreement on the question of the subject matter; if we were to do something which could develop in some direction other than the accepted directions of that time, it would be necessary to use different subjects to begin with, and 1942, we embarked on a series of paintings that attempted to use mythological subject matter, preferably from Greek mythology. I did a series of paintings on the theme of Oedipus and Rothko did a series of paintings on other Greek themes.. ..this offered a possibility of a way out [of a. o. Social Realism and Cubism ]
 * Quote of Adolph Gottlieb (March 1960), in an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', June 1963; as quoted in Interviews with American Artists, David Sylvester; Chatto & Windus, London 2001, p. 31

 * There is a moment of blinding light. There is a moment that seems like death, a paralysis. Then a new man, Paul, emerges from the experience. Rothko, the most famous example, changed his name, his wife and his style in a few months of profound self-questioning.
 * Quote of Thomas B. Hess, in Barnett Newman (1971)

 * I wanted to be soft like Rothko and ruthless like Ad Reinhardt.
 * Jenny Holzer Art Is the Highest Form of Hope & Other Quotes by Artists, Phaidon (2016) p 172

 * [B]ut Rothko was hypnotized by his own role and there was just one. The role was that of the Messiah-I have come; I have the word. I mean, Rothko had a very healthy self-worship and he did feel that he had discovered some great secret. He felt that this was of universal import...Rothko became totally involved in his own mythology, more than anyone I know except Barney Newman. They both were tremendously involved with their self-image. As the Kennedy White House was - where everything was done in terms of its fitting in with the self-image.
 * Quote of Elaine de Kooning, in 'Oral history interview with Elaine de Kooning' (August 27, 1981), conducted by Phyllis Tuchman; Archives of American Art, Smithsonian Institution

 * And Milton Avery influenced Rothko. Rothko explained to me that Avery was the first person that Rothko knew who was a professional artist 24 hours a day. And he gave Rothko the idea that that was a possibility. But also Avery's attitude toward color - I mean, Rothko had much more to do with Avery. Of course, what Rothko had that Avery did not have was scale. And also Rothko freed the color from shapes. I mean, with Avery the color always inhabited shapes and, you know, logical divisions. So Avery was a very powerful influence on Rothko's life. However, when I mentioned that in my article about Rothko, he [Rothko] wanted me to delete it. He had this curious lack of generosity that certain artists have toward people to whom they are in debt.
 * Quote of Elaine de Kooning, in 'Oral history interview with Elaine de Kooning' (August 27, 1981), conducted by Phyllis Tuchman; Archives of American Art, Smithsonian Institution

 * Well, I interpreted them [the late 'gray' paintings of Rothko] differently from his self-image right then and there. We argued about the significance of his paintings because he felt that they had a certain sense of foreboding and so on, and I didn't feel that at all. I felt they were very involved with comfort and luxury and they looked very natural in Jeanne Reynal's luxurious house, and people looked very well against them. They made a wonderful graceful decor, all of which was anathema to Rothko. I think in his very last paintings that he had down at the Rice Institute that there he got what he was talking about to me in the early '50s, but I don't think he had it then. I think when he got away from the pretty colors, beautiful colors and he got into those mysterious blacks and nameless deep, dark colors, that then the paintings did have this sense of foreboding. And I think they're his most magnificent paintings [in the Rothko Chapel....But those big black paintings, they took me by surprise. ...I was tremendously impressed. I found them very grand and the scale of them, the size, it was just quite amazing.
 * Elaine de Kooning, in "Oral history interview with Elaine de Kooning" (August 27, 1981), conducted by Phyllis Tuchman; Archives of American Art, Smithsonian Institution

 * Mark Rothko was very conscious of his sources, both as location and as cultural heritage.
 * Quote of Stanley Kunitz, as quoted in Mark Rothko : A Biography (1993) by James E. B. Breslin

title: Mark Rothko


text:
Joseph Stella

Joseph Stella (June 13, 1877 – June 11, 1946) was an Italian-born American Futurist painter best known for his depictions of industrial America.

Quotes

 * At my arrival [in Paris], Fauvism. Cubism, and Futurism were in full swing. There was in the air the glamour of a battle, the holy battle raging for the assertion of a new truth. My youth plunged full in it.
 * Joseph Stella (1911); Quoted in: Judith Zilczer (1983) Joseph Stella: : The Hirshhorn Museum and Sculpture Garden Collection, p. 10

 * There was in the air the glamor of a battle, the holy battle raging for the assertion of a new truth. My youth plunged full in it.
 * Joseph Stella (1911); Quoted in: Ruth L. Bohan. Looking into Walt Whitman: American Art, 1850–1920, (2006). p. 193

 * I was thrilled to find America so rich with so many new motives to be translated into a new art. Steel and electricity had created a new world. A new drama had surged from the unmerciful violation of darkness at night, by the violent blaze of electricity and a new polyphony was ringing all around with the scintillating, highly colored lights. The steel had leaped to hyperbolic altitudes and expanded to vast latitudes with the skyscrapers and with bridges made for the conjunction of worlds. A new architecture was created, a new perspective.
 * Joseph Stella (1912); As cited in: Metropolitan Museum of Art (1965) American Painting in the Twentieth Century. p. 69

 * To realize this towering imperative vision in all its integral possibilities... I lived days of anxiety, torture, and delight alike, trembling all over with emotion as those railing[s] in the midst of the bridge vibrating at the continuous passage of the trains. I appealed for help to the soaring verse of Walt Whitman and to the fiery Poe’s plasticity. Upon the swarming darkness of the night, I rung all the bells of alarm with the blaze of electricity scattered in lightnings down the oblique cables, the dynamic pillars of my composition, and to render more pungent the mystery of the metallic apparition, through the green and red glare of the signals I excavated here and there caves as subterranean passages to infernal recesses.
 * Biographical note; Quotes in: Horst Woldemar Janson, Anthony F. Janson, History of Art: The Western Tradition, Prentice Hall Professional, 2004. p. 831

"The Brooklyn Bridge (A page of my life)," 1929
"The Brooklyn Bridge (A page of my life)," in: Eugène Jolas (1929) Transition. nr. 15-17 (1929)

 * During the last years of the war I went to live in BROOKLYN in the most forlorn region of the oceanic tragic city, in Williamsburg, near the bridge. Brooklyn gave me a sense of liberation. The vast view of her sky, in opposition to the narrow one of NEW YORK, was a relief — and at night, in her solitude, I used to find, intact, the green freedom of my own self.
 * p. 86

 * Opposite my studio a huge factory — its black walls scarred with red stigmas of mysterious battles — was towering with the gloom of a prison. At night fires gave to innumerable windows menacing blazing looks of demons — while at other times vivid blue-green lights rang sharply in harmony with the radiant yellow-green alertness of cats enjewelling the obscurity around.
 * p. 87

 * Many nights I stood on the bridge — and in the middle alone — lost — a defenseless prey to the surrounding swarming darkness — crushed by the mountainous black impenetrability of the skyscrapers — here and there lights resembling suspended falls of astral bodies or fantastic splendors of remote rites — shaken by the underground tumult of the trains in perpetual motion, like blood in the arteries—at times, ringing as alarm in a tempest, the shrill sulphurous voice of the trolley wires — now and then strange moanings of appeal from tugboats, guessed more than seen, through the infernal recesses below — I felt deeply moved, as if on the threshold of a new religion or in the presence of a new DIVINITY.
 * p. 88; Cited in: Beth Venn, Adam D. Weinberg. Frames of Reference: Looking at American Art, 1900-1950 : Works from the Whitney Museum of American Art. University of California Press, 1999. p. 123

Quotes about Joseph Stella

 * To Joseph Stella and other progressive artists of the early twentieth century, the timeworn conventions of European painting seemed powerless to convey the dynamism of modern life. An Italian immigrant, Stella arrived in New York City at a time of unprecedented urban growth and social change in America. He first encountered the new approaches of modernist painting on a trip to Paris and took particular interest in Futurism, an Italian movement that claimed to be “violently revolutionary” in its opposition to the traditions that had prevailed in art ever since the Renaissance. Upon returning to the United States, Stella himself converted to Futurism, convinced that only its new vision of reality could capture the complexities of the machine age
 * "JOSEPH STELLA [1877–1946 Brooklyn Bridge, c. 1919–1920]," in: Picturing America, (2008) p. 74

title: Joseph Stella


text:
User talk:NSRC

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User talk:Leanne~enwikiquote

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Your account will be renamed
Hello,

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

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

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Renamed
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title: User talk:Leanne~enwikiquote


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User talk:K Americo

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User talk:Kandy Talbot

Welcome
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Welcome template
Thanks for the tip about parameterizing the welcome template. I'll keep it in mind as I ponder some changes to it, if someone doesn't beat me to it. (If you decide you'd like to change it yourself, please note it on the talk page or add a no-include doc section to help folks realize it's been improved.) ~ Jeff Q (talk) 12:13, 17 January 2007 (UTC)

title: User talk:Kandy Talbot


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User talk:EZ Milloinies

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title: User talk:EZ Milloinies


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User talk:EZ Milloinies 1

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User talk:Fnord

All religions, arts and sciences are branches of the same tree. All these aspirations are directed toward ennobling man's life, lifting it from the sphere of mere physical existence and leading the individual towards freedom. ~ Albert Einstein

Without Art, we should have no notion of the sacred; without Science, we should always worship false gods. ~ W. H. Auden

The totally convinced and the totally stupid have too much in common for the resemblance to be accidental. ~ Robert Anton Wilson

Don't be stupidly dogmatic about anything. ~ Fnord

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User talk:Darknessinmyheart

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User talk:Heron

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User talk:Goriff~enwikiquote

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Your account will be renamed
Hello,

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

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

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

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Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:24, 17 March 2015 (UTC)

Renamed
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User talk:Brittanileah

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User talk:Por117

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User talk:Kniobo~enwikiquote

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Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:27, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:51, 19 April 2015 (UTC)

title: User talk:Kniobo~enwikiquote


text:
User talk:Cliff (usurped)~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 11:37, 14 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Request for usurpation
Hello, Cliff. A request is being made at the usurpation request page to usurp, or "take over", your username because another user would like to use it to edit. The changing username guideline allows a username that is not being actively used to be usurped if the user is given an opportunity to object and does not do so.

If you have an email set in your preferences, you should be getting an email from a bureaucrat explaining how to consent or object to this process.

If you do not object to being renamed to a new username in order for another user to use the name you currently have, please log in and post a reply here saying so (you may also tell us what username you would like to be renamed to, or we will provide you with a generic one).

If you do nothing : the request may be filled shortly, and your account will be moved to a generic username. You may request that it be moved to a new username of your choice at any time.

If you object to being renamed : please log in and erase this notification, or make an edit (either to this page or to Changing username/Usurpation) clearly stating that you object to usurpation.

Please note that even if your current username is usurped, you can still edit and your data will not be lost; your preferences, watchlist, and other user settings will be transferred to a new username.

Thank you for your time. Clifsportland (talk) 06:26, 24 March 2013 (UTC)

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:20, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:44, 19 April 2015 (UTC)

title: User talk:Cliff (usurped)~enwikiquote


text:
User talk:Drakarst~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 11:37, 14 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:22, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:46, 19 April 2015 (UTC)

title: User talk:Drakarst~enwikiquote


text:
User talk:Pagination

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 11:38, 14 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Pagination


text:
User talk:Aircristinab23

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 11:38, 14 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Aircristinab23


text:
User talk:Mrowlinson~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 11:38, 14 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:31, 17 March 2015 (UTC)

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

title: User talk:Mrowlinson~enwikiquote


text:
User talk:Tester~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 11:38, 14 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:37, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:59, 19 April 2015 (UTC)

title: User talk:Tester~enwikiquote


text:
User talk:Ghetto scholar~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 11:38, 14 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:22, 17 March 2015 (UTC)

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

title: User talk:Ghetto scholar~enwikiquote