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Chris Matthews

Christopher John Matthews (born December 17, 1945) is an American political commentator, talk show host, and author. Matthews is known for his nightly hour-long talk show, Hardball with Chris Matthews, on MSNBC.

Quotes

 * There's actually a network that I could think of that [does not ask difficult questions] for a living, which is tell the people at home the same answer all the time, because it makes them feel good. And they don't like hearing arguments on that network, the people that watch it. There are people out there that — there was a great scene at the end of Carnal Knowledge — remember that old movie — where Jack Nicholson is going to the hooker, and he wants it exactly the same every time. And when she— when Rita Moreno, who played the hooker, said something just a little bit different in their normal sort of business they did, and he couldn't do it. They want it exactly the same way, these people who watch Fox. Every night they want it the same way. They can't do it if it's not exactly the same way.
 * Real Time with Bill Maher, 27 August 2004; regarding the Fox News Channel

 * The period between 9/11 and [the invasion of] Iraq was not a good time for America. There wasn't a robust discussion of what we were doing. If we stop trying to figure out the other side, we've given up. The person on the other side is not evil. They just have a different perspective. The smartest people understand the enemy's point of view, because they understand what's driving them.
 * quote from Edmonton Sun, 21 November 2005

 * I have to tell you, you know, it's part of reporting this case, this election, the feeling most people get when they hear Barack Obama's speech. My, I felt this thrill going up my leg. I mean, I don't have that too often. No, seriously. It's a dramatic event. He speaks about America in a way that has nothing to do with politics. It has to do with the feeling we have about our country. And that is an objective assessment.
 * During live coverage of the presidential primaries on MSNBC, 12 February 2008

 * Chris Matthews: I have my own views of the word 'socialist' and I'd be glad to share them with you in private, and they go back to the early 1950s. I have an attitude about them. I remember the Cold War, I have an attitude towards Castro. I believe if Castro and the Reds had won the Cold War there would have been executions in Central Park and I might have been one of the ones getting executed. And certain other people would be there cheering, OK? So I have a problem with people who took the other side. I don't know who Bernie has supported over these years, I don't know what he means by socialism — one week it's Denmark, we're going to be like Denmark. OK, that's harmless. That's basically a capitalist country with good social welfare programs. Denmark is harmless. Chris Hayes: He's pretty clearly in the Denmark category. Chris Matthews: Is he? Are you sure? How do you know? Did he tell you that?
 * MSNBC Democratic debate post-coverage,, quoted in

 * I'm reading last night about the fall of France in the summer of 1940, and the general calls up Churchill and says, 'It's over,' and Churchill says, 'How can it be? You got the greatest army in Europe. How can it be over?' He said, 'It's over.'
 * comparing Bernie Sanders winning the Nevada caucus to the Nazi invasion of France

 * Elizabeth Warren: Mayor Bloomberg has non-disclosure agreements for who knows how many women. And it's not just the one. And the whole point is, how can you actually trust someone who will not just say, "Look, I'm going to waive on non-disclosure on sexual harassment, and discrimination. Anybody who has a story to tell can come tell their story. Chris Matthews: Sure, I agree everybody deserves a credible response when they make a charge like that. My question about him, you believe he's lying? Warren: I believe the women— Matthews: You believe he's lying. Warren: Which means he's not telling the truth. Matthews: And why would he lie? Because just to protect himself? Warren: Yeah. And why would she lie? I mean, that's the question, Chris. Why do you assume that he's the guy— Matthews: I just want to make sure that you're clear about this— you're confident of your accusation? Warren: Look, all I know is what she said and what he said.
 * post-debate interview of Elizabeth Warren, quoted in

Quotes about Matthews

 * Chris Matthews is the most vivid example of all that is wrong with political coverage. He's endlessly obsessed with personality-based politics and likes to promote the strong, masculine tough guy who you can have a beer with, versus the nerdy loser.
 * Glenn Greenwald, interview with Harper's Magazine, 21 February 2008.

title: Chris Matthews


text:
User talk:69.209.210.0

stop vandalizing wikipedia

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

title: User talk:69.209.210.0


text:
Cokie Roberts

Mary Martha Corinne Morrison Claiborne Roberts [née Boggs], (27 December 1943) – (17 September 2019), generally known as Cokie Roberts, was an American journalist and bestselling author. Her career included decades as a political reporter and analyst for National Public Radio and ABC News, with prominent positions on Morning Edition, The MacNeil/Lehrer NewsHour, World News Tonight, and This Week.

Quotes

 * Senator John Tower (R-Texas): What is your definition of womanizing? Roberts: Well, I think most women know it when they see it, Senator.
 * February 26, 1989, on the ABC News program This Week With David Brinkley

 * The truth is, the notion that gay marriage is harmful to marriage, is sort of mind-boggling, because these are people trying to get married. But it seems to me, if you want to defend marriage against something, defend it against divorce.
 * Real Time with Bill Maher (6 August 2004)

Wellesley Commencement Address (1994)

 * Commencement Address to Wellesley Graduating Class (1994)

 * I say, in politics, it is the women who are constantly bringing the civilizing issues to the forefront, the caretaking issues, the issues of concern to families and children.

 * I have to tell you I don't just see this role of women as caretakers in the world that I cover, I see it in the world I live in. Slowly, slowly, slowly but definitely, the workplace is becoming a more humane place because of the presence of women. The idea that time can be taken for family, whether it's having children or caring for sick people or elderly people in your family. That is becoming more possible for the men in the work place as well as for the women in the work place because of the fights that we have fought over the last several decades.

 * Life is long. You have many opportunities ahead of you. You have so many more opportunities than so many people. You are privileged and blessed. And you will have the opportunity to say "Yes" to many different things, but you also will have the opportunity in the saying of "Yes" to say "No" sometimes, to say "No, it's not right for me, and my family, right now, to take this great job offer." And you know what? Another one will come along. I'm living proof of that. You can do it all. There are times when you have to not do it all at once. There are times when you don't sleep. But you can do it if you have some sense about saying, "This is what's right now, this is where I am now, and this is the care I need to take right now." I think that it is important to look at the long view as you go out of here and realize that there's a long time ahead, and there is time to see it all, to do it all, and to do it in ways that make you proud and happy in the end.

So I say to you, young women of Wellesley, open up those cases. '''Take up the tools and put on the jewels — of your foremothers and sisters. Go out into this world and take good care of it.'''
 * The long view: when we were living in Greece, we used to go to this beach at Marathon — just think of it .... And there was a little museum there, a little tiny museum from well before the Battle of Marathon that you've studied, with artifacts from 7000 years ago. And you looked in these cases, and there were buttons, there were frying pans, there were mirrors, there was jewelry — and it was remarkable to look at. You could open them and put on — you could put it on and use it right away! It was totally recognizable to the lives of women today. For men, what was in those cases? Well, there were some bows and arrows, and there were some articles of worship, so if you were a soldier or a priest there was something. But if you just went about leading your daily lives, there wasn't something terribly recognizable for you. That's what we have: we have this wonderful, wonderful continuum.

title: Cokie Roberts


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Joseph C. Wilson

Joseph C. Wilson (November 6, 1949 – September 27, 2019) was an American diplomat who served as the U.S. Ambassador to Gabon and to Sao Tome and Principe from 1992 to 1995.

Wilson was known for an opinion-editorial published in the New York Times, entitled "What I Didn't Find in Africa," in which he documents a February 2002 trip investigating whether Iraq purchased or attempted to purchase Yellowcake from Niger in the late 1990s. He accused the Bush administration of "exaggerating the Iraqi threat" in order to justify war, which resulted in the public disclosure of his wife Valerie Plame as a CIA officer, in what became known as "the Plame affair."

What I Didn't Find in Africa (2003)

 * Op-ed piece in The New York Times (6 July 2003)

 * Based on my experience with the administration in the months leading up to the war, I have little choice but to conclude that some of the intelligence related to Iraq's nuclear weapons program was twisted to exaggerate the Iraqi threat.

 * Those news stories about that unnamed former envoy who went to Niger? That's me. In February 2002, I was informed by officials at the Central Intelligence Agency that Vice President Dick Cheney's office had questions about a particular intelligence report. While I never saw the report, I was told that it referred to a memorandum of agreement that documented the sale of uranium yellowcake — a form of lightly processed ore — by Niger to Iraq in the late 1990's. The agency officials asked if I would travel to Niger to check out the story so they could provide a response to the vice president's office.

 * For reasons that are understandable, the embassy staff has always kept a close eye on Niger's uranium business. I was not surprised, then, when the ambassador told me that she knew about the allegations of uranium sales to Iraq — and that she felt she had already debunked them in her reports to Washington. Nevertheless, she and I agreed that my time would be best spent interviewing people who had been in government when the deal supposedly took place, which was before her arrival.

 * In September 2002, however, Niger re-emerged. The British government published a white paper asserting that Saddam Hussein and his unconventional arms posed an immediate danger. As evidence, the report cited Iraq's attempts to purchase uranium from an African country. Then, in January, President Bush, citing the British dossier, repeated the charges about Iraqi efforts to buy uranium from Africa. The next day, I reminded a friend at the State Department of my trip and suggested that if the president had been referring to Niger, then his conclusion was not borne out by the facts as I understood them. He replied that perhaps the president was speaking about one of the other three African countries that produce uranium: Gabon, South Africa or Namibia. At the time, I accepted the explanation.

 * Those are the facts surrounding my efforts. The vice president's office asked a serious question. I was asked to help formulate the answer. I did so, and I have every confidence that the answer I provided was circulated to the appropriate officials within our government. The question now is how that answer was or was not used by our political leadership. If my information was deemed inaccurate, I understand (though I would be very interested to know why). If, however, the information was ignored because it did not fit certain preconceptions about Iraq, then a legitimate argument can be made that we went to war under false pretenses.

 * I was convinced before the war that the threat of weapons of mass destruction in the hands of Saddam Hussein required a vigorous and sustained international response to disarm him. Iraq possessed and had used chemical weapons; it had an active biological weapons program and quite possibly a nuclear research program — all of which were in violation of United Nations resolutions. Having encountered Mr. Hussein and his thugs in the run-up to the Persian Gulf war of 1991, I was only too aware of the dangers he posed. But were these dangers the same ones the administration told us about? We have to find out. America's foreign policy depends on the sanctity of its information. For this reason, questioning the selective use of intelligence to justify the war in Iraq is neither idle sniping nor "revisionist history," as Mr. Bush has suggested. The act of war is the last option of a democracy, taken when there is a grave threat to our national security. More than 200 American soldiers have lost their lives in Iraq already. We have a duty to ensure that their sacrifice came for the right reasons.

Quotes about Wilson

 * What he calls a "smear campaign" against the couple has catalyzed his transformation from nonpartisan diplomat — he worked closely with the first President Bush and his top aides during the first gulf war — to anti-Bush activist. … To have such a carefully nurtured identity shattered in a single stroke was traumatic, Mr. Wilson said. "Your whole network of personal relationships over 20 years are compromised," he said. … Despite conservatives' efforts to portray him as a left-wing extremist, he insisted he remained a centrist at heart. But after his tangle with the current administration, he admits "it will be a cold day in hell before I vote for a Republican, even for dog catcher."
 * Scott Shane, in "Private Spy and Public Spouse Live at Center of Leak Case" in The New York Times (5 July 2007)

title: Joseph C. Wilson


text:
Frida Kahlo

Frida Kahlo (6 July 1907 – 13 July 1954) was a Mexican painter. She was married to cubist painter Diego Rivera.

Quotes of Frida Kahlo

 * chronologically arranged, after the date of the quotes by Frida Kahlo

1925 - 1945

 * A little while ago, not much more than a few days ago, I was a child who went about in a world of colors, of hard and tangible forms. Everything was mysterious and something was hidden, guessing what it was was a game for me. If you knew how terrible it is to know suddenly, as if a bolt of lightning elucidated the earth. Now I live in a painful planet, transparent as ice; but it is as if I had learned everything at once in seconds.
 * Quote of Frida Kahlo, in her letter to Alejandro Gómez Arias, 29 September 1926

 * I’m more and more convinced it’s only through communism that we can become human.
 * Quote of Frida Kahlo, in her letter from US, during the 1930s, from

 * I'll be in Detroit two more weeks. I would like to tell you every thing that happened to me since the last time we saw each other, but most of them are sad and you mustn't know sad things now. After all I shouldn't complain because I have been happy in many ways though. Diego is good to me, and you can't imagine how happy he has been working on the frescoes here. I have been painting a little too and that helped. I thought of you a lot and never forget your wonderful hands and the color of your eyes. I will see you soon. I am sure that in New York I will be much happier. If you still in the hospital when I come back I will bring you flowers.
 * Quote of Kahlo, in her letter to Georgia O'Keeffe, 1 March 1933, from

 * I drank because I wanted to drown my sorrows, but now the damned things have learned to swim.
 * Quote in a letter to Ella Wolfe, "Wednesday 13," 1938, as cited in Frida: A Biography of Frida Kahlo by Hayden Herrera (1983) ISBN 0-06-091127-1, p. 197. In a footnote (p.467), Herrera writes that Kahlo had heard this joke from her friend, the poet José Frías.

 * Until always and forever. Now in 1944. After all the hours lived through. The vectors continue in their original direction. Nothing stops them. With no more knowledge than live emotion. With no other wish than to go on until they meet. Slowly. With great unease, but with the certainty that all is guided by the "golden section". There is cellular arrangement. There is movement. There is light. All centers are the same. Folly doesn’t exist. We are the same as we were and as we will be. Not counting on idiotic destiny.
 * Quote of Frida Kahlo, from her letter to Diego Rivera (1944), as cited in The Diary of Frida Kahlo: An Intimate Self-Portrait; ed. Carlos Fuentes & C. Fuentes; Abrams, Harry N. Inc. 2005

 * I paint self-portraits because I am so often alone, because I am the person I know best.
 * Quoted from: Antonio Rodríguez, "Una pintora extraordinaria," Así (17 March 1945)

1946 - 1953

 * I am a poor little deer.
 * written line on a photograph she gave Diego. (1946)
 * In 1946 Frida painted 'The Little Deer', her self-portrait as a wounded stag; her health took an irreversible turn for the worse, then.

 * His [Diego Rivera's] supposed mythomania is in direct relation to his tremendous imagination. That is to say, he is as much of a liar as the poets or as the children who have not yet been turned into idiots by school or mothers. I have heard him tell all kinds of lies: from the most innocent, to the most complicated stories about people whom his imagination combined in a fantastic situation or actions, always with a great sense of humor and a marvelous critical sense; but I have never heard him say a single stupid or banal lie. Lying, or playing at lying, he unmasks many people, he learns the interior mechanism of others, who are much more ingenuously liars than he, and the most curious thing about the supposed lies of Diego, is that in the long and short of it, those who are involved in the imaginary combination become angry, not because of the lie, but because of the truth contained in the lie, that always comes to the surface.
 * Frida's quote On Diego Rivera, in 'Portrait of Diego' [Retrato de Diego] (22 January 1949), first published in Hoy (Mexico City) and posthumously (17 July 1955) in Novedades (Mexico City): "México en la Cultura"

 * I have suffered two grave accidents in my life, one in which a streetcar knocked me down... The other accident is Diego.
 * Quote in Imagen de Frida Kahlo by Gisèle Freund in Novedades (Mexico City) (10 June 1951)

 * Since Trotsky came to Mexico I have understood his error. I was never a Trotskyist.
 * Diary illustration, dated 4 November 1952

 * They thought I was a Surrealist, but I wasn't. I never painted dreams. I painted my own reality.
 * Quoted in Time magazine, "Mexican Autobiography" (27 April 1953)

 * I am not sick. I am broken. But I am happy to be alive as long as I can paint.
 * Quoted in Time, "Mexican Autobiography" (27 April 1953)

 * Pies, para qué los quiero Si tengo alas para volar.
 * Feet, what do I need them for If I have wings to fly.
 * Diary illustration, dated 1953, preceding a foot amputation in August of that year; reproduced on page 415 of Frida: A Biography of Frida Kahlo by Hayden Herrera (1983)

 * I hope the exit is joyful and I hope never to return.
 * Last words in her diary (July 1954)

"Song of herself"; interviews by Olga Campos, Sept. 1950

 * Quotes of Frida Kahlo, from: Song of herself; interviews by Olga Campos - ed. & translation Salomon Grimberg; Merrell London, New York, 2008

 * I was fascinated by Papa's studio [he was photographer]. I would help him wash, crop and press photos and afterwards sell them, when we were poor. When I was in Prepa, [following college] they would send me to help my father when he had epileptic attacks. After school I would go to his office, which was downtown, and accompany him everywhere. I would also do my homework there, and he would help me. I remember the fear that Papa's epileptic attacks make me feel. Christina and I would hide under the bed. (9 September 1950)
 * In: Chapter 'My life', p. 63

 * I was really ugly [circa 8 a 10 years old] and had an admiration complex for Christi [her beautiful sister]. They sent us tot the ous of senora Maria a Campos for instruction.. .I asked about the mysteries of the Bible, and I think I behaved badly so they sent me to a retreat. It was the usual thing: "to dedicate oneself mor to God"..  ..it was a house where one spent about fifteen days..  .I asked the priest so many questions about how Christ was born, and was the virgin really a virgin, that they threw me out. (9 September 1950)
 * In: Chapter 'My life', p. 64

 * I remember the first time I was sick. I had gone to play with a boy, Luis Léon, and on the patio he threw a wooden log at my foot, and this was the pretext they used at home when my leg began to grow thin. I remember they said that it was a white tumor or paralysis. I missed a lot of school [Frida spent nine months in bed, and at seven she wore (polio) booties]. I do not remember a lot, but I continued jumping, only not with the right leg anymore. I developed a horrible complex, and I hide my leg. I wore thick wool socks onto the knee, with bandages underneath. This happened when I was seven years old, and my papa and my mama begun to spoil me a lot and to love me more. The foot leaned to the side, and I limped a little. This was during the period when I had my imaginary friend. (9 September 1950)
 * In: Chapter 'My life', p. 65

 * ..when I had my imaginary friend I would look out of the small glass panes of the window and fill them with steam. Then, I would draw a little window and go out through it. Opposite our house, there was a milk store that was named Pinzon, and I would travel from the little window through the "o" in Pinzon, and from there into the center of the earth, where I had my friend, and we would dance and play.. .I do not remember my friend's house, and she had no name. She was like me in age. She had no face. The truth is, I do not remember if she had a face or not, and she was very lively. I could not describe her. (9 September 1950)
 * In: Chapter 'My life', pp. 66-67

 * I first met Diego [who became later her husband] while he was painting the amphitheater [at the Escuela National Preparatoria, where Rivera was painting the mural 'La Créación', 1922 -1923] and I would really cherish going to see him paint. Orozco [famous Mexican painter] was also painting [murals] in the Prepa, and I remember one time a group of kids wanted to scratch the paintings of Diego and Orozco.. .Every day we went for ice cream at a stand opposite the law school..  .Sometimes Diego himself would pass by, and we would tease him. One day they asked me who I wanted to marry, and I said I would not marry, but I did want to have a child by Diego Rivera. – (27 October 1950)
 * In: Chapter 'My life', p. 71

 * I was already interested in painting when I was about twelve. I was about fifteen when I began to draw. I have the first drawing, a self-portrait that I did in 1925 [in fact she did this self-portrait in 1927 and gave it to a grade-school friend and wrote above her drawn head: 'Here I am sending you my portrait, so you will remember me'] I began to paint after the [bus] accident, I made the self-portrait with the clouds [1926] and the portraits of Adriana Kahlo, Lira, Alicia Galant, Christina Kahlo and Agustin Olmedo. All, more or less, are from the same period. With the last ones, I was wearing the cast corset [because of her injury by the bus accident in 1925 with her boy-friend Gomez Arias]. I would get out of the bed and paint at night. (1950)
 * In: Chapter 'My Painting', p. 73

 * Papa painted small landscapes by the river in Coyoacán, and copied sentimental paintings in watercolour and oil. Afterwards, he gave me a little box of paints that belonged to him. Ángel Salas gave me a small book that told me how to prepare the canvases, and I made them smooth, smooth. The courtship with Gómez Arias lasted from 1922 until 1925, when the bus crushed us both. Gómez Arias brought me books on painting and painters from Europe. These were the first books on art that fell into my hands. (1950)
 * In: Chapter 'My Painting', p. 73

 * José Clemente Orozco [became later a famous Mexican painter as well] and I would travel on the same trolley from Coyoacán to Mexico City, and I would carry his papers. We became pals, and I invited him to the house. I had painted four or five things when he visited, and he gave me a hug and said I had a lot of talent, and he chatted on about the horrors of Diego [Rivera]. There was beginning to be talk about Diego; that he had returned from Russia and was giving talks on on Russian theater and art. I would go to hear him. Afterwards, he began to paint at the Prepa. [Escuela Prepatoria] and later at the Secretaríade Educación. I was studying at the Prepa, but the [bus] accident [in 1925] messed me up. (1950)
 * In: Chapter 'My Painting', pp. 73-74

 * I returned to school [after the bus accident], but I felt very sore and had little strength. I took my paintings to Diego [Rivera], and he liked them a lot, most of all the self-portrait. But of the rest he told me that I was influenced by Doctor Atl [a Mexican painter and revolutionary] and by Montenegro, and that I should try to paint whatever I wanted without being influenced by anyone else. That impressed me a lot, and I began to paint that I believed in. Then the friendship and almost courtship with Diego began. I would go to see him paint in the afternoon, and afterwards he would take me home by bus or in a Fordcito – a little Ford that he had – and he would kiss me. (1950)
 * In: Chapter 'My Painting', p. 74

 * One Sunday, Diego came to the house to see my paintings and critiqued all of them in a very clear manner, and he told me all the possibilities he saw in them. Then I painted two or three things, which are around the house, that to me seem very influenced by him [circa 1928]. They are portraits of thirteen- or fourteen-year-old kids.. .In 1929, I joined the Communist Party, I got married to Diego, and I had my first abortion. In that year I painted a portrait of Cristina Moya..  ..and other drawings that Morillo Safa [her main patron] owns. The unfinished [self-]portrait of my first abortion was my first Surrealist painting ['Frida and the Caesarean', she painted in 1929] but not completely. I have it [at home]. (1950)
 * In: Chapter 'My Painting', p. 74

 * We [Frida and Diego] moved from the house on Reforma [street] to Coyoacán, and that had an enormous influence on me. How we painted the house and the Mexican furniture, all that influenced my painting a lot. While still on Reforma, I painted a self-portrait [Self-portrait 'Time Flies', 1929] that is owned by Morillo Safa. Once in Coyoacán I began to make paintings with backgrounds and Mexican things in them. I painted the portraits of Hale's sister.. ..and the one of Diego, which I did not finish [this painting is lost and was never documented before]. Those three paintings, who knows where they are. Mirillo Safa has the third self-portrait [her Self-portrait of 1930], showing me bald and sitting in a cane chair. (1950)
 * In: Chapter 'My Painting', p. 75

Misattributed

 * It's true I'm here, and I'm just as strange as you.
 * This is usually attributed to the Diary of Frida Kahlo, which does not contain the quotation. As explained on the Quote Investigator website, a postcard containing the quotation and a portion of a photo of Frida Kahlo was sent anonymously in 2008 to the PostSecret website, which posted a photo of the postcard, but the probable author was Becky Martin (Rebecca Katherine Martin). The actual quotation is: I used to think I was the strangest person in the world but then I thought, there are so many people in the world, there must be someone just like me who feels bizarre and flawed in the same ways I do. I would imagine her, and imagine that she must be out there thinking of me too. Well, I hope that if you are out there you read this and know that yes, it’s true I’m here, and I’m just as strange as you.

Quotes about Frida Kahlo

 * chronologically arranged, after the date of the quotes about Frida Kahlo

 * A very common theme in [Kahlo's] work was fertility, fertility, fertility.. .In one painting, she draws pelvic bones. In another, a uterus is directly drawn. Another is showing the fetus. She's telling us what she's thinking about, but she never put her finger on what exactly was wrong.
 * Quote of Fernando Antelo

 * The art of Frida Kahlo is a ribbon around a bomb.
 * Quote of André Breton, Surrealism and Painting (1972)

 * Who is a revolutionary woman? A revolutionary woman wants change, not mere cosmetic change but change to the status quo, and she is willing to sacrifice to make this happen. We have some extraordinary examples: Sojourner Truth, Las Adelitas, Frida Kahlo, Sor Juana Inés de la Cruz, Dorothy Day, Malala Yousafzai, Coretta Scott King, and others.
 * Dolores Huerta "Reflections on Revolutionary Women" in Revolutionary Women of Texas and Mexico by Kathy Sosa (2020)

 * If I were a painter, I'd be Frida Kahlo.
 * Quote of Madonna in "Super Pop" - video

 * Although I knew about Frida Kahlo back in Mexico, she really wasn’t that famous back home. But in the US she was a superhero. Everyone used her as a symbol for many different things. And I started realizing that I wasn’t sure that the sense some people have about Frida in the U.S. was the one I had from her. I wanted to learn more about Frida Kahlo through my own perspective. So I had this idea for a while about creating a book about her. I also wanted to because she was a woman who, in the creation of her own identity, from how she dressed to what she did to her political activities—all of those things, were part of her own pride in who she was. And it was through creating this identity that she also was creating art. It wasn’t only because of her painting [that I was inspired]. She was very proud of her Mexican heritage, and she showed it in the way she dressed and all sorts of things. I had just come to the United States, a place where I didn’t know how I felt about my identity as a Mexican woman, and it was her pride that had an impact on me and made me realize that I had things to be proud of too.
 * Yuyi Morales Interview (2015)

 * She painted what she painted because she had to, because she was passionate about it. She didn't care at all if people bought her paintings. As she said, she painted her reality.
 * Quote of Julie Taymor in "Bill Moyers Interviews Julie Taymor" at PBS (25 October 2002)

title: Frida Kahlo


text:
Leonhard Euler

Leonhard Euler (15 April 1707 – 18 September 1783) was a Swiss mathematician, physicist, astronomer, geographer, logician, and engineer who founded the studies of graph theory and topology and made pioneering and influential discoveries in many other branches of mathematics such as analytic number theory, complex analysis, and infinitesimal calculus. He introduced much of modern mathematical terminology and notation, including the notion of a mathematical function. He is also known for his work in mechanics, fluid dynamics, optics, astronomy, and music theory. He is considered to be one of the greatest mathematicians of all time.

 * See also:
 * Euler's identity

Quotes

 * Madam, I have come from a country where people are hanged if they talk.
 * In Berlin, to the Queen Mother of Prussia, on his lack of conversation in his meeting with her, on his return from Russia; as quoted in Science in Russian Culture : A History to 1860 (1963) Alexander Vucinich
 * Variant: Madame... I have come from a country where one can be hanged for what one says.

 * Now I will have less distraction.
 * Upon losing the use of his right eye; as quoted in In Mathematical Circles (1969) by H. Eves

 * Mathematicians have tried in vain to this day to discover some order in the sequence of prime numbers, and we have reason to believe that it is a mystery into which the human mind will never penetrate.
 * As quoted in Calculus Gems (1992) by G. Simmons

 * All the greatest mathematicians have long since recognized that the method presented in this book is not only extremely useful in analysis, but that it also contributes greatly to the solution of physical problems. For since the fabric of the universe is most perfect, and is the work of a most wise Creator, nothing whatsoever takes place in the universe in which some relation of maximum and minimum does not appear. Wherefore there is absolutely no doubt that every effect in the universe can be explained as satisfactorily from final causes, by the aid of the method of maxima and minima, as it can from the effective causes themselves. Now there exist on every hand such notable instances of this fact, that, in order to prove its truth, we have no need at all of a number of examples; nay rather one's task should be this, namely, in any field of Natural Science whatsoever to study that quantity which takes on a maximum or a minimum value, an occupation that seems to belong to philosophy rather than to mathematics. Since, therefore, two methods of studying effects in Nature lie open to us, one by means of effective causes, which is commonly called the direct method, the other by means of final causes, the mathematician uses each with equal success. Of course, when the effective causes are too obscure, but the final causes are more readily ascertained, the problem is commonly solved by the indirect method; on the contrary, however, the direct method is employed whenever it is possible to determine the effect from the effective causes. But one ought to make a special effort to see that both ways of approach to the solution of the problem be laid open; for thus not only is one solution greatly strengthened by the other, but, more than that, from the agreement between the two solutions we secure the very highest satisfaction.
 * introduction to De Curvis Elasticis, Additamentum I to his Methodus Inveniendi Lineas Curvas Maximi Minimive Proprietate Gaudentes 1744; translated on pg10-11, "Leonhard Euler's Elastic Curves", Oldfather et al 1933

 * To those who ask what the infinitely small quantity in mathematics is, we answer that it is actually zero. Hence there are not so many mysteries hidden in this concept as they are usually believed to be.
 * As quoted in Fundamentals of Teaching Mathematics at University Level (2000) by Benjamin Baumslag, p. 214

 * La construction d'une machine propre à exprimer tous les sons de nos paroles, avec toutes les articulations , seroit sans-doute une découverte bien importante. … La chose ne me paroît pas impossible.
 * It would be a considerable invention indeed, that of a machine able to mimic speech, with its sounds and articulations. … I think it is not impossible.
 * Letter to Friederike Charlotte of Brandenburg-Schwedt (16 June 1761)
 * Lettres à une Princesse d'Allemagne sur différentes questions de physique et de philosophie, Royer, 1788, p. 265
 * As quoted in An Introduction to Text-to-Speech Synthesis (2001) by Thierry Dutoit, p. 27; also in Fabian Brackhane and Jürgen Trouvain "Zur heutigen Bedeutung der Sprechmaschine Wolfgang von Kempelens" (in: Bernd J. Kröger (ed.): Elektronische Sprachsignalverarbeitung 2009, Band 2 der Tagungsbände der 20. Konferenz "Elektronische Sprachsignalverarbeitung" (ESSV), Dresden: TUDpress, 2009, pp. 97–107)

 * It will seem a little paradoxical to ascribe a great importance to observations even in that part of the mathematical sciences which is usually called Pure Mathematics, since the current opinion is that observations are restricted to physical objects that make impression on the senses. As we must refer the numbers to the pure intellect alone, we can hardly understand how observations and quasi-experiments can be of use in investigating the nature of numbers. Yet, in fact, as I shall show here with very good reasons, the properties of the numbers known today have been mostly discovered by observation, and discovered long before their truth has been confirmed by rigid demonstrations. There are many properties of the numbers with which we are well acquainted, but which we are not yet able to prove; only observations have led us to their knowledge. Hence we see that in the theory of numbers, which is still very imperfect, we can place our highest hopes in observations; they will lead us continually to new properties which we shall endeavor to prove afterwards. The kind of knowledge which is supported only by observations and is not yet proved must be carefully distinguished from the truth; it is gained by induction, as we usually say. Yet we have seen cases in which mere induction led to error. Therefore, we should take great care not to accept as true such properties of the numbers which we have discovered by observation and which are supported by induction alone. Indeed, we should use such discovery as an opportunity to investigate more exactly the properties discovered and to prove or disprove them; in both cases we may learn something useful.
 * Opera Omnia, ser. 1, vol. 2, p. 459 Spcimen de usu observationum in mathesi pura, as quoted by George Pólya, Induction and Analogy in Mathematics Vol. 1, Mathematics and Plausible Reasoning (1954)

Introduction to the Analysis of the Infinite (1748)

 * Original title: Introductio in analysin infinitorum. Translated as Introduction to Analysis of the Infinite (1988–89) by John Blanton (Book I ISBN 0387968245; Book II ISBN 0387971327 (online version).

 * A function of a variable quantity is an analytic expression composed in any way whatsoever of the variable quantity and numbers or constant quantities.
 * §4

A conjecture about the nature of air (1780)

 * A conjecture about the nature of air, by which are to be explained the phenomenon which have been observed in the atmosphere (Conjectura circa naturam aeris, pro explicandis phaenomenis in atmosphaera observatis) (1870) (online version).

 * Quanquam nobis in intima naturae mysteria penetrare, indeque veras caussas Phaenomenorum agnoscere neutiquam est concessum: tamen evenire potest, ut hypothesis quaedam ficta pluribus phaenomenis explicandis aeque satisfaciat, ac si vera caussa nobis esset perspecta.
 * Although to penetrate into the intimate mysteries of nature and thence to learn the true causes of phenomena is not allowed to us, nevertheless it can happen that a certain fictive hypothesis may suffice for explaining many phenomena.
 * §1

Quotes about Euler

 * Alphabetized by author

 * He calculated without any apparent effort, just as men breathe, as eagles sustain themselves in the air.
 * François Arago; Variant: Euler calculated without apparent effort, as men breathe, or as eagles sustain themselves in the wind.

 * The most influential mathematics textbook of ancient times is easily named, for the Elements of Euclid has set the pattern in elementary geometry ever since. The most effective textbook of the medieval age is less easily designated; but a good case can be made out for the Al-jabr of Al-Khwarizmi, from which algebra arose and took its name. Is it possible to indicate a modern textbook of comparable influence and prestige? Some would mention the Géométrie of Descartes or the Principia of Newton or the Disquisitiones of Gauss; but in pedagogical significance these classics fell short of a work by Euler titled Introductio in analysin infinitorum.
 * Carl B. Boyer on Euler's Introduction to the Analysis of the Infinite in "The Foremost Textbook of Modern Times" (1950)

 * The Introductio does not boast an impressive number of editions, yet its influence was pervasive. In originality and in the richness of its scope it ranks among the greatest of textbooks; but it is outstanding also for clarity of exposition. Published two hundred and two years ago, it nevertheless possesses a remarkable modernity of terminology and notation, as well as of viewpoint. Imitation is indeed the sincerest form of flattery.
 * Carl B. Boyer in "The Foremost Textbook of Modern Times" (1950)

 * Of no little importance are Euler's labors in analytical mechanics. ...He worked out the theory of the rotation of a body around a fixed point, established the general equations of motion of a free body, and the general equation of hydrodynamics. He solved an immense number and variety of mechanical problems, which arose in his mind on all occasions. Thus on reading Virgil's lines. "The anchor drops, the rushing keel is staid," he could not help inquiring what would be the ship's motion in such a case. About the same time as Daniel Bernoulli he published the Principle of the Conservation of Areas and defended the principle of "least action," advanced by P. Maupertius. He wrote also on tides and on sound.
 * Florian Cajori, A History of Mathematics (1893) "Euler, Lagrange and Laplace" p. 240.

 * Somebody said "Talent is doing what others find difficult. Genius is doing easily what others find impossible." ...by that definition, Euler was a genius. He could do the seemingly impossible, and he did it throughout his long and illustrious life. ...Way to Go, Uncle Leonhard!
 * William Dunham, "A Tribute to Euler" (Oct 14, 2008) 49:10, Clay Public Lecture, Harvard University Science Center, from the.

 * Euler calculated the force of the wheels necessary to raise the water in a reservoir … My mill was carried out geometrically and could not raise a drop of water fifty yards from the reservoir. Vanity of vanities! Vanity of geometry!
 * Frederick the Great, Letters of Voltaire and Frederick the Great (1927), translated by Richard Aldington, letter 221 from Frederick to Voltaire (25 November 1777)

 * Euler lacked only one thing to make him a perfect genius: He failed to be incomprehensible.
 * , as quoted by William Dunham, "A Tribute to Euler" (Oct 14, 2008) 48:27, Clay Public Lecture, Harvard University Science Center, from the.

 * The study of Euler's works will remain the best school for the different fields of mathematics and nothing else can replace it.
 * Carl Friedrich Gauss, as quoted by Louise Grinstein, Sally I. Lipsey, Encyclopedia of Mathematics Education (2001) p. 235.

 * It is customary to consider Chebyshev, Gauss, Jacobi, and Legendre as the main creators of the theory of orthogonal polynomials. However, their contributions were directly influenced by Brouncker and Wallis who, in March of 1655, made discoveries which influenced the development of analysis for the next hundred years. Namely, Wallis found an infinite product of rational numbers converging to 4/π and Brouncker gave a remarkable continued fraction for this quantity. ...The only mathematician who understood the importance of these discoveries was Euler. ...he felt that the recovery of the original Brouncker's proof could open up new perspectives for analysis. As usual, Euler was right.
 * Fritz Gesztesy, Spectral Theory and Mathematical Physics in Proceedngs of Symposia in Pure Mathematics (2007) Vol.76, Part 2

 * Following a suggestion by Daniel Bernoulli, Euler gave the first treatment of elastic lines by means of the in the Additamentum I to his Methodus inveniendi (1744...) which carries the title De curvis elasticus. Euler characterized the equilibrium position of an elastic line by the following variational principle: Among all curves of equal length, joining two points where they have prescribed tangents, to determine that which minimizes the value of the expression $$\int ds/\rho^2$$ [where $$\rho$$ is the radius of curvature]. In other words, Euler interpreted an elastic line as an inextensible curve $$\boldsymbol\zeta$$ with a "" of $$\int \kappa^2 ds$$,   $$\kappa$$ [i.e., $$1/\rho$$] being the  function  of $$\boldsymbol\zeta$$, whose positions of (stable) equilibrium are characterized by the minima of the potential energy, i.e., by 's principle of . Thus the problem of the elastic line leads to the isoperimetric problem $$\int_{\boldsymbol \zeta} \kappa^2 ds \to min \qquad with \int_{\boldsymbol\zeta} ds = L$$...
 * , Stefan Hildebrandt, Calculus of Variations I (2004) Grundlehren der mathematischen WissenSchaften Vol. 310.

 * Euler published so much and in so many different fields that an edited volume is probably the only way (at least at this time) to do him something like justice, since no one person will know enough to span all of his work.

 * Galileo does not attempt any theory to account for the flexure of the beam. This theory, supplied by, was applied by Mariotte, Leibnitz, De Lahire, and Varignon, but they neglect compression of the fibres, and so place the neutral in the lower face of Galileo's beam. The true position of the neutral plane was assigned by James Bernoulli 1695, who in his investigation of the simplest case of bent beam, was led to the consideration of the curve called the "elastica." This "elastica" curve speedily attracted the attention of the great Euler (1744), and must be considered to have directed his attention to the s. Probably the extraordinary divination which led Euler to the formula connecting the sum of two elliptic integrals, thus giving the fundamental theorem of the addition equation of s, was due to mechanical considerations concerning the "elastica" curve; a good illustration of the general principle that the pure mathematician will find the best materials for his work in the problems presented to him by natural and physical questions.
 * A. G. Greenhill, Nature (Feb. 3, 1887) Review of A History of the Theory of Elasticity, Volume 35, pp. 313-314.

 * Who has studied the works of such men as Euler, Lagrange, Cauchy, Riemann,, and Weierstrass, can doubt that a great mathematician is a great artist? The faculties possessed by such men, varying greatly in kind and degree with the individual, are analogous with those requisite for constructive art. Not every mathematician possesses in a specially high degree that critical faculty which finds its employment in the perfection of form, hi conformity with the ideal of logical completeness; but every great mathematician possesses the rarer faculty of constructive imagination.
 * E. W. Hobson, "Presidential Address British Association for the Advancement of Science" (1910) in: Nature, Vol. 84, p. 290. Cited in: Moritz (1914, 182); Mathematics as a fine art

 * To the reader of today much in the conception and mode of expression of that time appears strange and unusual. Between us and the mathematicians of the late seventeenth century stands Leonhard Euler... He is the real founder of our modern conception. However non-rigorous he may be in details: he ends and conquers the previous epoch of direct geometric infinitesimal considerations and introduces the period of mathematical analysis according to form and content. Whatever was written after him on the logarithmic series is necessarily based no longer on the already obscured predecessors in the receding mathematical Renaissance, but on Euler's Introductio in analysin infinitorum... in which the entire seventh chapter [De Quantitabus exponentialibus ac Logarithmis] treats of logarithms.
 * Josef Ehrenfried Hofman, "On the Discovery of the Logarithmic Series and Its Development in England up to Cotes" (Oct., 1939) National Mathematics Magazine, Vol. 14, No. 1, pp. 37-38.

 * Read Euler: he is our master in everything.
 * Pierre-Simon Laplace, as quoted in Calculus Gems (1992). variant: Read Euler, read Euler. He is the master of us all. As quoted by S. H. Hollingdale, "Leonhard Euler (1707-1783): A Bicentennial Tribute", Bulletin (1983) Volumes 19-20, Institute of Mathematics and Its Applications, & by Edwin Joseph Purcell, Dale E. Varberg, Calculus with Analytic Geometry (1987), Vol. 1.

 * He was later to write that he had made some of his best discoveries while holding a baby in his arms surrounded by playing children.
 * Richard Mankiewicz, in The Story of Mathematics (2000), p. 142

 * If we compared the Bernoullis to the Bach family, then Leonhard Euler is unquestionably the Mozart of mathematics, a man whose immense output... is estimated to fill at least seventy volumes. Euler left hardly an area of mathematics untouched, putting his mark on such diverse fields as analysis, number theory, mechanics and hydrodynamics, cartography, topology, and the theory of lunar motion. ...Moreover, we owe to Euler many of the mathematical symbols in use today, among them i, π, e, and f(x). And as if that were not enough, he was a great popularizer of science...
 * , e: The Story of a Number (1994)

 * Euler and Ramanujan are mathematicians of the greatest importance in the history of constants (and of course in the history of Mathematics ...)

This analogy... is beset with pitfalls. How did Euler avoid them? ...Euler's reasons are not demonstrative. Euler does not reexamine the grounds for his conjecture... only its consequences. ...He examines also the consequences of closely related analogous conjectures... Euler's reasons are, in fact, inductive.
 * Euler's step was daring. In strict logic, it was an outright fallacy... Yet it was justified by analogy, by the analogy of the most successful achievements of a rising science that he called... "Analysis of the Infinite." Other mathematicians, before Euler, passed from finite differences to infinitely small differences, from sums with a finite number of terms to sums with an infinity of terms, from finite products to infinite products. And so Euler passed from equations of a finite degree (algebraic equations) to equations of infinite degree, applying the rules made for the finite...
 * George Pólya, Induction and Analogy in Mathematics (1954) Vol. 1 Of Mathematics and Plausible Reasoning

 * It is the invaluable merit of the great Basle mathematician Leonard Euler, to have freed the analytical calculus from all geometric bounds, and thus to have established analysis as an independent science, which from his time on has maintained an unchallenged leadership in the field of mathematics.
 * Thomas Reid, as quoted in Mathematical Maxims and Minims (1988) by N. Rose

 * In 1736, during his first stay in St. Petersburg, Euler tackled the now famous problem of the seven bridges of Königsberg. His contribution to this problem is often cited as the birth of graph theory and topology.

 * I discovered the works of Euler and my perception of the nature of mathematics underwent a dramatic transformation. I was de-Bourbakized, stopped believing in sets, and was expelled from the Cantorian paradise. I still believe in abstraction, but now I know that one ends with abstraction, not starts with it. I learned that one has to adapt abstractions to reality and not the other way around. Mathematics stopped being a science of theories but reappeared to me as a science of numbers and shapes.
 * Alexander Stepanov, in "Bjarne Stroustrup: Evolving a language in and for the real world: C++ 1991-2006" in ACM HOPL-III (June 2007)

 * Perhaps the most surprising thing about mathematics is that it is so surprising. The rules which we make up at the beginning seem ordinary and inevitable, but it is impossible to foresee their consequences. These have only been found out by long study, extending over many centuries. Much of our knowledge is due to a comparatively few great mathematicians such as Newton, Euler, Gauss, or Riemann; few careers can have been more satisfying than theirs. They have contributed something to human thought even more lasting than great literature, since it is independent of language.
 * Edward Charles Titchmarsh as quoted in Mathematical Maxims and Minims (1988) by N. Rose

 * As analysis was more cultivated, it gained a predominancy over geometry; being found to be a far more powerful instrument for obtaining results; and possessing a beauty and an evidence, which, though different from those of geometry, had great attractions for minds to which they became familiar. The person who did most to give to analysis the generality and symmetry which are now its pride, was also the person who made Mechanics analytical; I mean Euler.
 * William Whewell, History of the Inductive Sciences (1859) Vol. 1, pp. 363-363.

title: Leonhard Euler


text:
Chuck Hagel

Charles Timothy "Chuck" Hagel (born October 4, 1946) is an American military veteran and former politician who served as a United States senator from Nebraska from 1997 to 2009 and as the 24th United States secretary of defense from 2013 to 2015 in the Obama administration. A member of the Republican Party, he was first elected in 1996 and was reelected in 2002. He declined to run for reelection in 2008. He is often characterized as a political maverick and moderate, similar to fellow Vietnam War veteran Republican Senator John McCain.

2005

 * I took an oath of office to the Constitution, I didn't take an oath of office to my party or my president.
 * On Bush, the GOP, and the Patriot Act,

2006

 * If he'd been in the military, he would have learned gun safety.

 * We are the adult power in the world. It is because of the United States, our action or inaction, that there will be a resolution here.

 * We are perceived as a nation at war with Muslims. This debilitating and dangerous perception must be reversed.

 * We have misunderstood, misread, misplanned and mismanaged our honorable intentions in Iraq with an arrogant self-delusion reminiscent of Vietnam.

2007

 * This is a ping-pong game with American lives. These young men and women that we put in Anbar province, in Iraq, in Baghdad, are not beans. They're real lives. And we better be damn sure we know what we're doing, all of us, before we put 22,000 more Americans into that grinder.
 * On the Iraq troop surge of 2007,

 * If you wanted a safe job, go sell shoes. This is a tough business.
 * Asking his fellow Senators to support a joint resolution opposing President George W. Bush's troop deployment plan,

2013

 * I believe, and always have, that America must engage — not retreat — in the world.
 * Transcript: Hearing of the Senate Armed Services Committee on the Nomination of Chuck Hagel to be Secretary of Defense, submitted by Robert Naiman on February 1, 2013 at Justforeignpolicy.org, accessed February 10, 2013.

title: Chuck Hagel


text:
Network (film)

Network is a 1976 film about a TV network that cynically exploits a mentally ill but enlightened ex-TV anchor's epiphany and subsequent revelations about the media for its own profit. It won the Academy Award for Best Screenplay (Written Directly for the Screen) and three of the four Oscars for film acting. It is #66 on the AFI's 100 Movies list.
 * Directed by Sidney Lumet. Written by Paddy Chayefsky.

Television will never be the same! Taglines

Howard Beale

 * I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work, or scared of losing their job. The dollar buys a nickel's worth, banks are going bust, shopkeepers keep a gun under the counter, punks are running wild in the street, and there's nobody anywhere who seems to know what to do, and there's no end to it! We know the air is unfit to breathe and our food is unfit to eat, and we sit watching our TVs while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that's the way it's supposed to be! We know things are bad — worse than bad. They're crazy. It's like everything everywhere is going crazy, so we don't go out anymore. We sit in the house, and slowly the world we are living in is getting smaller, and all we say is: 'Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials and I won't say anything. Just leave us alone.' Well, I'm not gonna leave you alone. I want you to get MAD! I don't want you to protest, I don't want you to riot, I don't want you to write to your congressman, because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first, you've got to get mad! [shouting] You've got to say: 'I'm a human being, goddammit! My life has value!' So, I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window, open it, and stick your head out, and yell: I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE! I want you to get up right now. Sit up. Go to your windows. Open them and stick your head out and yell: 'I'm as mad as hell and I'm not gonna take this anymore!' Things have got to change. But first, you've gotta get mad!...You've got to say: I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE! Then we'll figure out what to do about the depression and the inflation and the oil crisis! But first, get up out of your chairs, open the window, stick your head out, and yell, and say it: I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!
 *  "I'm as mad as hell, and I'm not going to take this anymore!" is ranked #19 in the American Film Institute's list of the top 100 movie quotations in American cinema.
 * Edward George Ruddy died today! Edward George Ruddy was the Chairman of the Board of the Union Broadcasting Systems, and he died at eleven o'clock this morning of a heart condition, and woe is us, we're in a lot of trouble! So, a rich little man with white hair died. What does that got to do with the price of rice, right? And why is that woe to us? Because you people and sixty-two million other Americans are listening to me right now. Because less than three percent of you people read books! Because less than fifteen percent of you read newspapers! Because the only truth you know is what you get over this tube! Right now, there is a whole, an entire generation that never knew anything that didn't come out of this tube! This tube is the Gospel, the ultimate revelation! This tube can make or break Presidents, Popes, Prime Ministers! This tube is the most awesome goddamn force in the whole godless world! And woe is us if it ever falls into the hands of the wrong people, and that's why woe is us that Edward George Ruddy died! Because this company is now in the hands of CCA, the Communication Corporation of America. There's a new chairman of the board, a man called Frank Hackett sitting in Mr. Ruddy's office on the 20th floor. And when the twelfth largest company in the world controls the most awesome goddamn propaganda force in the whole godless world, who knows what shit will be peddled for truth on this network?! So, you listen to me. Listen to me! Television is not the truth. Television's a goddamned amusement park! Television is a circus, a carnival, a traveling troupe of acrobats, storytellers, dancers, singers, jugglers, sideshow freaks, lion tamers, and football players. We're in the boredom-killing business! So if you want the truth, go to God! Go to your gurus! Go to yourselves! Because that's the only place you're ever gonna find any real truth! But man, you're never gonna get any truth from us. We'll tell you anything you wanna hear. We lie like hell. We'll tell you that, uh, Kojak always gets the killer, and that nobody ever gets cancer at Archie Bunker's house. And no matter how much trouble the hero is in, don't worry, just look at your watch, at the end of the hour he's gonna win. We'll tell you any shit you want to hear. We deal in illusions, man! None of it is true! But you people sit there day after day, night after night, all ages, colors, creeds. We're all you know! You're beginning to believe the illusions we're spinning here! You're beginning to think that the tube is reality and that your own lives are unreal! You do whatever the tube tells you, you dress like the tube, you eat like the tube, you raise your children like the tube. You even think like the tube. This is mass madness, you maniacs! In God's name, you people are the real thing! We are the illusion! So turn off your television sets! Turn them off now! Turn them off right now! Turn them off and leave them off! Turn them off right in the middle of this sentence I am speaking to you now! Turn them off!
 * Last night I got up here and asked you people to stand up and fight for your heritage, and you did, and it was beautiful. Six million telegrams were received at the White House. The Arab takeover of CCA has been stopped. The people spoke, the people won. It was a radiant eruption of democracy. But I think that was it, fellas. That sort of thing is not likely to happen again. Because at the bottom of all our terrified souls, we know that democracy is a dying giant, a sick, sick dying, decaying political concept, writhing in its final pain. I don't mean that the United States is finished as a world power. The United States is the richest, the most powerful, the most advanced country in the world, light-years ahead of any other country. And I don't mean the Communists are gonna take over the world, because the Communists are deader than we are. What is finished is the idea that this great country is dedicated to the freedom and flourishing of every individual in it. It's the individual that's finished. It's the single, solitary human being that's finished. It's every single one of you out there that's finished. Because this is no longer a nation of independent individuals. It's a nation of some two hundred odd million transistorized, deodorized, whiter-than-white, steel-belted bodies, totally unnecessary as human beings and as replaceable as piston rods. Well, the time has come to say 'Is 'dehumanization' such a bad word?' Whether it's good or bad, that's what is so. The whole world is becoming humanoid, creatures that look human but aren't. The whole world, not just us. We're just the most advanced country, so we're getting there first. The whole world's people are becoming mass-produced, programmed, numbered, insensate things.
 * The American people are good people: Democrats, Independents, Republicans and others. Under no circumstances will I, and I hope no others, capitulate to those that want to undercut what's all good in America. [This quote is from a clip of President Ford that is broadcast right before Howard Beale announces that he is leaving the network.]

Diana Christiansen

 * I was married for four years, and pretended to be happy; and I had six years of analysis, and pretended to be sane. My husband ran off with his boyfriend, and I had an affair with my analyst, who told me I was the worst lay he'd ever had. I can't tell you how many men have told me what a lousy lay I am. I apparently have a masculine temperament. I arouse quickly, consummate prematurely, and can't wait to get my clothes back on and get out of that bedroom. I seem to be inept at everything except my work. I'm goddamn good at my work and so I confine myself to that. All I want out of life is a 30 share and a 20 rating.

Narrator

 * By mid-October, The Howard Beale Show had settled in at a 42% share, more than equaling all the other network news shows combined. In the Nielsen ratings, The Howard Beale Show was listed as the fourth highest rated show of the month, surpassed only by The Six Million Dollar Man, All in the Family and Phyllis - a phenomenal state of affairs for a news show - and on October the 15th, Diana Christensen flew to Los Angeles for what the trade calls "powwows and confabs" with our west coast programming execs and to get production rolling on the shows for the coming season.
 * It was a perfectly admissible argument that Howard Beale advanced in the days that followed. It was, however, also a very depressing one. Nobody particularly cared to hear his life was utterly valueless. By the end of the first week in June, The Howard Beale Show had dropped one point in the ratings and its trend of shares dipped under 48% for the first time since last November.
 * The initial response to the new Howard Beale Show was not auspicatory. The press was, without exception, hostile and industry reaction, negative. The ratings for the Thursday and Friday shows were both 14%, but Monday's rating dropped a point, clearly suggesting the novelty was wearing off.
 * [Final line in the film] This was the story of Howard Beale: The first known instance of a man who was killed because he had lousy ratings.

Frank Hackett

 * The business of management is management.

Dialogue

 * Howard Beale: I'm gonna blow my brains out right on the air, right in the middle of the seven o'clock news.
 * Max Schumacher: Well, you'll get a hell of a rating, I'll tell you that. A 50 share, at least. We could make a series of it. Suicide of the Week. Aw, hell, why limit ourselves? Execution of the Week.
 * Howard Beale: Terrorist of the Week.
 * Max Schumacher: I love it. Suicides, assassinations, mad bombers, Mafia hitmen, automobile smash-ups: The Death Hour. A great Sunday night show for the whole family. It'd wipe that fuckin' Disney right off the air.

 * Howard Beale: [on the air] Good evening. Today is Wednesday, September the 24th, and this is my last broadcast. Yesterday I announced on this program that I was going to commit public suicide, admittedly an act of madness. Well, I'll tell you what happened: I just ran out of bullshit. I just ran out of bullshit.
 * Harry Hunter: [picks up ringing phone in editing room] Mr. Schumacher's right here, do you want to talk to him?
 * Howard Beale: Am I still on the air? I really don't know any other way to say it other than I just ran out of bullshit. Bullshit is all the reasons we give for living. And if we can't think up any reasons of our own, we always have the God bullshit.
 * Max Schumacher: [on the phone] Yeah, Tom, what is it?
 * Howard Beale: We don't know why we go through all this pointless pain, humiliation, and decay. So there better be someone somewhere who does know. That's the God bullshit.
 * Max Schumacher: He's saying that life is bullshit, and it is, so what are you screaming about?
 * [hangs up]
 * Howard Beale: And then there's the noble man bullshit. That man is a noble creature that can order his own world who needs God? Well, if there's anybody out there that can look around this demented slaughterhouse of a world we live in and tell me that man is a noble creature, believe me: That man is full of bullshit. I don't have anything going for me. I haven't got any kids. And I was married for 33 years of shrill, shrieking fraud. So I don't have any bullshit left. I just ran out of it, you see.

 * Diana Christensen: I think we can get a hell of a Movie of the Week out of it, maybe even a series...Look, we've got a bunch of hobgoblin radicals called the Ecumenical Liberation Army who go around taking home movies of themselves robbing banks. Maybe they'll take movies of themselves kidnapping heiresses, hijacking 747's, bombing bridges, assassinating ambassadors. We'd open each week's segment with their authentic footage, hire a couple of writers to write some story behind that footage, and we've got ourselves a series.
 * George Bosch: A series about a bunch of, uh, bank-robbing guerrillas?
 * Barbara Schlesinger:What are we gonna call it - the Mao Tse-Tung Hour?
 * Diana Christensen: Why not? They've got 'Strike Force', 'Task Force', 'SWAT'. Why not Che Guevara and his own little 'Mod Squad'. Look, I sent you all a concept analysis report yesterday. Did any of you read it? Well, in a nutshell, it said, 'The American people are turning sullen. They've been clobbered on all sides by Vietnam, Watergate, the inflation, the depression. They've turned off, shot up, and they've screwed themselves limp and nothing helps.' So this concept analysis report concludes, 'The American people want somebody to articulate their rage for them.' I've been telling you people since I took this job six months ago that I want angry shows. I don't want conventional programming on this network. I want counter-culture. I want anti-establishment. [She shuts the door] I don't want to play butch boss with you people. But when I took over this department, it had the worst programming record in television history. This network hasn't one show in the top 20. This network is an industry joke. We better start putting together one winner for next September. I want a show developed, based on the activities of a terrorist group. 'Joseph Stalin and his Merry Band of Bolsheviks.' I want ideas from you people. That is what you're paid for. And, by the way, the next time I send an audience research report around, you'd all better read it or I'll sack the fuckin' lot of you, is that clear?

 * Diana Christensen: We just increased our audience by twenty or thirty million people in one night. Now, you're not gonna get something like this dumped in your lap for the rest of your days, and you can't just piss it away. Howard Beale got up there last night and said what every American feels, that he's tired of all the bullshit. He's articulating the popular rage. I want that show, Frank. I can turn that show into the biggest smash on television.
 * Frank Hackett: What do you mean, you want that show? It's a news show. It's not your department.
 * Diana Christensen: I see Howard Beale as a latter-day prophet, a magnificent messianic figure, inveighing against the hypocrisies of our times, a strip Savonarola, Monday through Friday. I tell you, Frank, that could just go through the roof. And I'm talking about a six dollar cost per thousand show! I'm talking about a hundred, a hundred thirty thousand dollar minutes! Do you want to figure out the revenues of a strip show that sells for a hundred thousand bucks a minute? One show like that could pull this whole network right out of the hole! Now, Frank, it's being handed to us on a plate. Let's not blow it!

 * Nelson Chaney: All I know is that this violates every canon of respectable broadcasting.
 * Frank Hackett: We're not a respectable network. We're a whorehouse network, and we have to take whatever we can get.
 * Nelson Chaney: Well, I don't want any part of it. I don't fancy myself the president of a whorehouse.
 * Frank Hackett: That's very commendable of you, Nelson. Now sit down. Your indignation is duly noted; you can always resign tomorrow.

 * Max Schumacher: He could be jumping off a roof for all I know. The man is insane. He's not responsible for himself. He needs care and treatment. And all you grave-robbers think about is that he's a hit!
 * Diana Christensen: You know, Max, it's just possible that he isn't insane, that he is, in fact, imbued with some special spirit.
 * Max Schumacher: My God, I'm supposed to be the romantic. You're supposed to be the hard-bitten realist.
 * Diana Christensen: All right. Howard Beale obviously fills a void. The audience out there obviously wants a prophet, even a manufactured one, even if he's as mad as Moses. By tomorrow, he'll have a 50 share, maybe even a 60. Howard Beale is processed instant God, and right now, it looks like he may just go over bigger than Mary Tyler Moore.
 * Max Schumacher: I am not putting Howard back on the air.
 * Diana Christensen: It's not your show any more, Max, it's mine.
 * Frank Hackett: I gave her the show, Schumacher. I'm putting the network news show under programming. Mr. Ruddy has had a mild heart attack and is not taking calls. In his absence, I'm making all network decisions, including one I've been wanting to make a long time - you're fired.

 * Louise: Then get out. Go anywhere you want. Go to a hotel, go live with her, but don't come back! Because, after 25 years of building a home and raising a family and all the senseless pain that we have inflicted on each other, I'm damned if I'm gonna stand here and have you tell me you're in love with somebody else! Because this isn't a convention weekend with your secretary, is it? Or -- or some broad that you picked up after three belts of booze. This is your great winter romance, isn't it? Your last roar of passion before you settle into your emeritus years. Is that what's left for me? Is that my share? She gets the winter passion, and I get the dotage? What am I supposed to do? Am I supposed to sit at home knitting and purling while you slink back like some penitent drunk? I'm your wife, damn it! And if you can't work up a winter passion for me, the least I require is respect and allegiance! [sobbing] I hurt! Don't you understand that? I hurt badly! Does she love you, Max?
 * Max Schumacher: [about Diana] I'm not sure she's capable of any real feelings. She's television generation. She learned life from Bugs Bunny. The only reality she knows comes to her from over the TV set. She has very carefully devised a number of scenarios for all of us to play, like a Movie of the Week. And, my God, look at us, Louise. Here we are going through the obligatory middle-of-act-two 'scorned wife throws peccant husband out' scene. But don't worry, I'll come back to you in the end. All of her plot outlines have me leaving her and coming back to you because the audience won't buy a rejection of the happy American family.

 * Arthur Jensen: You have meddled with the primal forces of nature, Mr. Beale! And I won't have it! Is that clear?! You think you've merely stopped a business deal? That is not the case. The Arabs have taken billions of dollars out of this country, and now they must put it back! It is ebb and flow, tidal gravity! It is ecological balance! You are an old man who thinks in terms of nations and peoples. There are no nations, there are no peoples, there are no Russians, there are no Arabs, there are no third worlds, there is no West! There is only one holistic system of systems, one vast and immane, interwoven, interacting, multivariate, multinational dominion of dollars. Petro-dollars, electro-dollars, multi-dollars, reichmarks, rins, rubles, pounds, and shekels. It is the international system of currency which determines the totality of life on this planet. That is the natural order of things today. That is the atomic and sub-atomic and galactic structure of things today! And you have meddled with the primal forces of nature! AND YOU WILL ATONE! Am I getting through to you, Mr. Beale? You get up on your little twenty-one inch screen and howl about America and democracy. There is no America. There is no democracy. There is only IBM and ITT and AT&T and DuPont, Dow, Union Carbide, and Exxon. Those are the nations of the world today. What do you think the Russians talk about in their councils of state? Karl Marx? They get out their linear programming charts, statistical decision theories, minimax solutions, and compute the price-cost probabilities of their transactions and investments, just like we do. We no longer live in a world of nations and ideologies, Mr. Beale. The world is a college of corporations, inexorably determined by the immutable by-laws of business. The world is a business, Mr. Beale. It has been since man crawled out of the slime. And our children will live, Mr. Beale, to see that perfect world in which there's no war or famine, oppression or brutality. One vast and ecumenical holding company, for whom all men will work to serve a common profit, in which all men will hold a share of stock. All necessities provided, all anxieties tranquilized, all boredom amused. And I have chosen you, Mr. Beale, to preach this evangel.
 * Howard Beale: Why me?
 * Arthur Jensen: Because you're on television, dummy. Sixty million people watch you every night of the week, Monday through Friday.
 * Howard Beale: I have seen the face of God.
 * Arthur Jensen: You just might be right, Mr. Beale.

 * Diana Christensen: (on the phone) You're his goddamn agent. I'm counting on you to talk some sense into the lunatic. Nobody wants to hear about dying democracy and dehumanization.
 * Max Schumacher: I'm sorry I'm late.
 * Diana Christensen: (still on the phone) We're starting to get rumbles from the agencies. Another couple of weeks and the sponsors will be bailing out! This is a breach of contract. This isn't the Howard Beale we signed. Get him off that corporate universe kick, or so help me, I'll pull it off the air! I told him, Lou! I've been telling him every day for a week! I'm sick of telling him. Now you tell him! (hangs up) Jesus Christ. You could help me out with Howard if you wanted to. He listens to you. You're his best friend.
 * Max Schumacher: I'm tired of all this hysteria about Howard Beale.
 * Diana Christensen: Every time you come from seeing somebody in your family you come back in one of these middle-aged moods.
 * Max Schumacher: And I'm tired of finding you on the god-damn telephone every time I turn around. I'm tired of being an accessory in your life! And I'm tired of pretending to write this dumb book about my maverick days in the great early years of television. Every god-damned executive fired from a network in the last twenty years has written this dumb book about the great early years of television. And nobody wants a dumb, damn, god-damn book about the great years of television...
 * Diana Christensen: Terrific, Max! Maybe you can start a whole new career as an actor.
 * Max Schumacher: After living with you for six months, I'm turning into one of your scripts. Well, this is not a script, Diana. There's some real actual life going on here. I went to visit my wife today because she's in a state of depression, so depressed that my daughter flew all the way from Seattle to be with her. And I feel lousy about that. I feel lousy about the pain that I've caused my wife and my kids. I feel guilty and conscience-stricken and all of those things that you think sentimental, but which my generation called simple human decency. And I miss my home because I'm beginning to get scared shitless. Because all of a sudden, it's closer to the end than it is to the beginning, and death is suddenly a perceptible thing to me - with definable features. You're dealing with a man that has primal doubts, Diana, and you've got to cope with it. I'm not some guy discussing male menopause on the 'Barbara Walters Show'. I'm the man that you presumably love. I'm part of your life. I live here. I'm real. You can't switch to another station.
 * Diana Christensen: What exactly is it you want me to do?
 * Max Schumacher: I just want you to love me. I just want you to love me, primal doubts and all. You understand that, don't you?

 * Diana Christensen: I think the time has come to re-evaluate our relationship, Max.
 * Max Schumacher: So I see.
 * Diana Christensen: I don't like the way this script of ours is turning out. It's turning into a seedy little drama. Middle-aged man leaves wife and family for young heartless woman, goes to pot. The Blue Angel with Marlene Dietrich and Emil Jannings. I don't like it.
 * Max Schumacher: So you're gonna cancel the show.
 * Diana Christensen: Right.
 * Max Schumacher: Here, let me do that.
 * Diana Christensen: The simple fact is, Max, that you're a family man. You like a home and kids. That's beautiful. I'm incapable of any such commitment. All you'll get from me is a couple months of intermittent sex and recriminate and ugly little scenes like the one we had last night. I'm sorry for all those things I said to you last night. You're not the worst fuck I've ever had. Believe me, I've had worse. You don't puff or snorkle and make death-like rattles. As a matter of fact, you're rather serene in the sack.
 * Max Schumacher: Why is it that a woman always thinks that the most savage thing she can say to a man is to impugn his cocksmanship?
 * Diana Christensen: Well, I'm sorry I impugned your cocksmanship.
 * Max Schumacher: I gave up comparing genitals back in the schoolyard.
 * Diana Christensen: You're being docile as hell about this.
 * Max Schumacher: Oh, hell, Diana, I knew it was over with us weeks ago.
 * Diana Christensen: Will you go back to your wife?
 * Max Schumacher: I'll give it a try, but I don't think she'll jump at it. But don't worry about me. I'll manage. I always have, I always will. I'm more concerned about you. You're not the boozer type. So I figure a year, maybe two, before you crack up. Or jump out of your 14th floor office window.
 * Diana Christensen: Stop selling, Max. I don't need you. I don't want your pain. I don't want your menopausal decay and death! I don't need you, Max. Now get out of here!
 * Max Schumacher: You need me. You need me badly. Because I'm your last contact with human reality. I love you. And that painful, decaying love is the only thing between you and the shrieking nothingness you live the rest of the day.
 * Diana Christensen: [hesitatingly] Then, don't leave me.
 * Max Schumacher: It's too late, Diana. There's nothing left in you that I can live with. You're one of Howard's humanoids. If I stay with you, I'll be destroyed. Like Howard Beale was destroyed. Like Laureen Hobbs was destroyed. Like everything you and the institution of television touch is destroyed. You're television incarnate, Diana: Indifferent to suffering; insensitive to joy. All of life is reduced to the common rubble of banality. War, murder, death are all the same to you as bottles of beer. And the daily business of life is a corrupt comedy. You even shatter the sensations of time and space into split seconds and instant replays. You're madness, Diana. Virulent madness. And everything you touch dies with you. But not me. Not as long as I can feel pleasure, and pain... and love.
 * [Kisses her]
 * Max Schumacher: And it's a happy ending: Wayward husband comes to his senses, returns to his wife, with whom he has established a long and sustaining love. Heartless young woman left alone in her arctic desolation. Music up with a swell; final commercial. And here are a few scenes from next week's show.

Taglines

 * Television will never be the same!
 * Prepare yourself for a perfectly outrageous motion picture!

Cast

 * Faye Dunaway - Diana Christensen
 * William Holden - Max Schumacher
 * Peter Finch - Howard Beale
 * Robert Duvall - Frank Hackett
 * Wesley Addy - Nelson Chaney
 * Ned Beatty - Arthur Jensen
 * Arthur Burghardt - Great Ahmed Kahn
 * Kathy Cronkite - Mary Ann Gifford
 * Conchata Ferrell - Barbara Schlesinger

title: Network (film)


text:
Jello Biafra

Jello Biafra (born Eric Reed Boucher on June 17, 1958) is a punk rock musician, spoken word artist, and activist.

Quotes

 * I am Emperor Ronald Reagan Born again with fascist cravings Still, you made me president Human rights will soon go 'way I am now your  today Now I command all of you Now you're going to pray in school I'll make sure they're Christian too ... You'll go quitely to boot camp They'll shoot you dead, make you a man Don't you worry, it's for a cause Feeding global corporations' claws  Die on our brand new poison gas El Salvador or Afghanistan Making money for President Reagan And all the friends of President Reagan
 * Dead Kennedys: ', ' (1981).

 * Shut up, be happy. Obey all orders without question. The happiness you have demanded is now mandatory.
 * "Message From Our Sponsor", No More Cocoons (1987) (Also appears in Ice-T's track "Shut Up, Be Happy" on Freedom of Speech, Just Watch What You Say)

 * Some day, even the experts will figure out, that crime is not caused by rap music...or even my music, but by a power structure of self-absorbed property owners so brain dead and stupid they won't even see that if you're too goddamn greedy to pay taxes for schools and services, they're not going to be any good any more! And that uneducated time bombs are a very poor investment as a future work force. And if you go on teaching people that life is cheap, and leave them to rot in ghettos and jails, they may one day feel justified in coming back to rob and kill you. Duh!
 * "Rob Now, Pay Later", Home Alive: The Art of Self Defense (1996)

 * Jimi Hendrix once said, 'You will never hear surf music again.' Well, tonight, you will hear 'serf' music again -- S-E-R-F music.
 * Introducing the song "New Feudalism" with The No WTO Combo on (30 November 1999)

 * "Buy my soda!" said the Moose Diarrhea Salesman. And we did. We all did. But when we got it home and opened up the package, it was not what they said it was. And rather than chucking it all and searching for something better, we're content with looking for another Moose Diarrhea Salesman.
 * "Eric Meets the Moose Diarrhea Salesman", Beyond the Valley of the Gift Police, in an allegory on the current state of politics.

 * We on the left keep dividing ourselves into little splinter groups. "Anyone who isn't a vegetarian is automatically evil!" "Anyone who isn't an environmentalist wants to pollute the world!" "If you're not gay, then you must be homophobic!" "Look at me wrong? You're a racist!" "Wear lipstick? You can't be a feminist!" Divide, Divide, Divide, Divide, Divide! And while the left is all up their own asses with their little pet causes, the right comes in and takes control over that which is rightly everyone's. And speaking of splinters, most pathetic of all: "The only thing that matters in the entire universe is the punk rock scene! And you're an evil, sell-out traitor to the sacred punk rock scene if you disagree with anything I say, listen to music that I don't like, dress funny, dress normal, laugh without permission, or even so much as speak to another artist who ever made a dime off of their years of hard work without at least beating them up first!"...how pathetic is that? Every day, I walk from my home to the offices of Alternative Tentacles, and I lose count of the number of people, including entire families, holding up cardboard signs saying "Homeless: Will Work for Food"! Hard as it may be for some crybabies to believe, people in that situation could care less that "Green Day and The Offspring sold out when they signed to major labels."! Other things are more important!
 * "Wake up and Smell the Noise", If Evolution is Outlawed, Only Outlaws Will Evolve

Become the Media (2000)

 * Here we are at the gates of the great and powerful OZ! And we have come for your children! We are the REAL Politically Incorrect ! Our lives are not Charmed ! We WORK for a living! When was the last time [network television] admitted we even EXIST? Roseanne ? Sanford and Son ? Taxi ? [disgusted] Jerry Springer ! Our young people are NOT Teenage Witches! Nor are they Clueless! Fact is, they neither have NOR WANT ANYTHING in common with Dawson's Creek, Popular or Spoiled White Rich BABIES 90210 !
 * "Become the Media" (Track 10)

 * And we will NOT let Campbell's Soup, Old Navy, or anybody ELSE, HAMMER into the minds of girls as YOUNG as SIX YEARS OLD that they should ALWAYS hate their bodies and ALWAYS be on a diet!
 * "Become the Media" (Track 10)

 *  Come, on, EMPTY-V!! [As] far as I'm concerned, Beavis and Butt-head and Dora (sic) are the only two good things you ever DID! [wild applause from audience]'' But can't you think of a better way to raise audience awareness of domestic violence, than to make it look COOL?
 * On the "Irene Getting Smashmouthed" incident on The Real World)''"Become the Media" (Track 10)

Address to the US Green Party

 * We don't need a flat tax, but a flattening tax, to truly level the playing field.

 * Our biggest national security threat is the environmental destruction of our planet and the arms race with ourselves.

 * I am an anarchist in my personal life. I try to live my life in a way that I don't need cops or baby-sitters to keep me from infringing on others. But I don't feel we have evolved far enough as a species to make anarchy work in society itself. We still need government to transfer the wealth from those who have too much to those who have too little, to make sure important projects get done, and keep territorial humans from screwing over and killing each other.

 * What does it say about our country when people are so desperate for an alternative to our one-party state masquerading as a two-party state that they'll even elect a professional wrestler governor?

 * Don't hate the media, become the media.

Biafra's nicknames for various political figures

 * Ronald Reagan - "Grandpa Caligula"; "Ronald McReagan" - No More Coccoons
 * George H. W. Bush - "King George the 1st" - Beyond the Valley of the Gift Police
 * Bill Clinton - "Mr. Bill" - ibid.
 * Al Gore - "Prince Albert" - Become the Media
 * George W. Bush - "King George the 2nd", "Cowboy 'Peabrain' Cornholio" - In the Grip of Official Treason
 * Dick Cheney - "Dick 'The Dick' Cheney", Dick Chinny
 * Condoleezza Rice - "CondolSleazea Rice" - ibid.
 * John Ashcroft - "John Ashcrack" - ibid.
 * Donald Rumsfeld - "Ronald Dumbsfeld" - ibid.
 * Barack Obama -  "BaRockstar O'Bummer" -

title: Jello Biafra


text:
Kinky Friedman

Richard S. "Kinky" Friedman (October 31, 1944 – June 27, 2024) was an American singer, songwriter, novelist, humorist, politician, and former columnist for Texas Monthly. He was one of two independent candidates in the 2006 election for the office of Governor of Texas. Had he been successful, Friedman would have been the first independent candidate elected to the post since Sam Houston in 1859, as well as the first Jewish governor of Texas.

Quotes

 * Let Saigons be bygones / Don't you blow this world in two.
 * "We Reserve the Right to Refuse Service to You", Sold American (1973)

 * "Poly" means more than one, and ticks are bloodsucking parasites.
 * Friedman quoting an aphoristic "definition" of "politics" from "some guy in Corpus"
 * Quoted in

 * No lesbian left behind.
 * "Keep Gomorrah Weird", Texas Monthly (December 2004) http://www.texasmonthly.com/2004-12-01/friedman.php

 * Find what you like, and let it kill you.
 * 1986 September 18, Houston Chronicle, Section: Houston, “‘Just another side of me’ – Friedman swaps music for mystery” by Michael Spies (Houston Chronicle Staff), Quote Page 1, Houston, Texas. (NewsBank Access World News)

title: Kinky Friedman


text:
Mutant X

Mutant X is a science fiction television series that debuted on October 6, 2001. The show was created by Avi Arad, and it centers on Mutant X, a team of "New Mutants" who possess extraordinary powers as a result of genetic engineering. The members of Mutant X were used as test subjects in a series of covert government experiments. The mission of Mutant X is to seek out and protect their fellow New Mutants. The series was filmed in Toronto, Ontario, Canada.

Past as Prologue [1.1]

 * Gabriel: You don't understand. I was born to rule. It's the ones who get in my way who die.

Power Play[1.2]

 * Brennan: Would you just relax? You're making me nervous.
 * Emma: I'm sorry. I'm just used to all my pieces being in one piece.
 * Brennan: Okay, listen. Would it make you feel better if I told you that I surfed the web last night, and I figured out everything there is to know about remotely-detonated bombs?
 * Emma: It'd be a start.
 * Brennan: Good, then that's what I did.
 * Emma: You know, I certainly hope that you are a better bomb expert than you are a liar.

Time Squared [1.3]

 * Shalimar: We just traveled through time and you're telling me not to freak out?

Whose Woods These Are [1.4]

 * Brennan: In case you haven't noticed – blind trust, not my favorite course of action, okay?

The Future Revealed [1.5]

 * Shalimar: (about Ashlocke) Adam, I know you feel some kind of responsibility for that maniac, but he is rabid and it's your job to put him down. And maybe your conscience may have a problem with it, but I assure you my conscience is fine with it.

 * Gabriel: Congratulations, Adam. I feel like a new mutant.

No Man Left Behind [1.6]

 * Jesse: Never figured Brennan for a death wish, huh?

 * Emma: I'm going to go broadband. You might want to hold on to something.

 * Irina: (after knocking Brennan over the head) What are you doing here?
 * Brennan: (waking up) I'd heard the girls are knockouts. Guess I should have asked what they meant.

Sign from Above [1.8]

 * Dr. Wolf: I need you to help me, Shalimar Fox. I need you to tell me about Adam Kane's database of mutants.
 * Shalimar: I need you to spontaneously combust---any chance of that?

 * Adam: If you want to play around with mutant genetics I'm the last person you want to play around with.
 * Shalimar: If I'm going down I'm going down, but I'm going to leave a little something for you to remember me by.

 * Dr. Wolfe: Wishing for the impossible is not one of humanity's more ingratiating qualities.

Body and Soul[1.9]

 * Emma: Could you please not use the word 'adjustment'? It makes me feel like a skirt that's been hemmed.

Understudy[1.10]

 * Shalimar: You gonna say something, Brennan, or are you gonna just stand there staring at me?
 * Brennan: How'd you know it was me?
 * Shalimar: I may not be the top feral around here anymore, but I can still sense you from a hundred feet away.

 * Shalimar: She's smarter, stronger and sexier than me...
 * Brennan: I may not be an expert on smarter and stronger, but she's got a long way to go to be sexier than you.

The Gift[1.11]

 * Emma: Last time I saw you, you bolted out of here without saying two words.
 * Brennan: Okay, here's two words – I'm sorry.

At Destiny's End [1.12]

 * Jesse: Being a terrorist is one thing, but at least these guys could be neat.

Within These Walls [1.13]

 * Christina: How did you see your death?
 * Adam: Well, I always saw myself dying of old age, you know, with lots of friends and colleagues lined up to pay their respects. Of course, as it turns out I don't have any friends and colleagues except for Mutant X, and the way things are going I don't think they'd show up.

 * Brennan: Come on. If someone is going to jack that truck, they wouldn't expect the back-up to be in a vintage Cutlass.
 * Shalimar: You know, that's so stupid it's almost clever.
 * Brennan: I knew you'd come around.

Hard Time[1.14]

 * Brennan: At least we didn't hurt anyone.
 * Jesse: Yeah, well, tell that to the people you robbed.
 * Brennan: I was talking physically, smart ass.

Under the Cloak of War [1.15]

 * Noel: You're a lone wolf, like me. But even a lone wolf needs a pack at times.
 * Shalimar: Well, give me a job. Show me what it's like to be in your pack.
 * Noel: You prove yourself to me, Shalimar, and you'll have your job.
 * Shalimar: Didn't I prove myself tonight?
 * Noel: Anyone can fight. I have to see you kill.

 * Shalimar: (to Brennan) Aren't you gonna say something? (she spins in her dress)
 * Brennan: You look good, You look really good.

Once Around [1.16]

 * Vic: Look, I never signed up for this hero thing, okay? It's not who I am.
 * Brennan: Thanks for shattering that image for me.

Final Judgment [1.17]

 * The Judge: This is not about defendant's rights. This is not about due process. This is about uncovering the truth.

One Step Closer [1.19]

 * Brennan: Why don't you just admit that I'm dying?
 * Adam: Cause I'm not gonna admit that, and you shouldn't even think it.
 * Brennan: I don't believe you Adam. You don't even believe yourself. I fought for you and what you stood for. But what you did to us... Adam, I accepted my fate and I made it my own, but you lied to us. I'm not doing it your way anymore.
 * Adam: Listen I can help you. I just don't want to put you in anymore danger. Now why can't you understand that? I am not gonna let you die.
 * Brennan: It's too late. Okay, I'm sorry, I've got something I've gotta do.
 * Adam: Anything you do you put yourself in danger. Do you understand that?
 * Brennan: The reality is, Adam, I got nothing to lose.

Reality Check[1.20]

 * Brennan: Keep your eye out for the trade commissioner. According to Adam he has a serious eye for the ladies.
 * Shalimar: I assume that's why I was the one wearing this dress.
 * Brennan: Trust me - you in that dress is always a good idea.

Reawakening [1.21]

 * Shalimar: Why don't we just coat ourselves in BBQ sauce for that thing?

Lest He Become[1.22]

 * Brennan: Emma, it's good to have morals, but you've got to know when to cut them loose.

Understudy" [2.10]

 * Shalimar: Excuse me?
 * Nicky: Shalimar.
 * Shalimar: What's going on here?
 * Brennan: Nothing.
 * Shalimar: Stay outta this Brennan. [to nicky]I think you overstayed your wellcome.
 * Nicky: I'm sorry?
 * Shalimar: No, I'm sorry. Time for you to get your things and get outta here. You are wearing my clothes in my room trying to take over my life. Now, get the hell out!
 * {others run to Shalimar and Nicky]
 * Adam: Shalimar....get ahold of yourself.

 * Nicky: This is useless. Just give it up.
 * Shalimar: You're right, Nicky.
 * Nicky: Smart girl.
 * Shalimar: I'd like to think so.
 * [they fight and Shalimar wins]
 * Adam: Shalimar?
 * Shalimar: I had to. She tried to kill me.
 * Brennan: It's okay. We believe you. You okay?
 * Shalimar: Yeah.
 * Emma: It's okay, Shal.

 * [last lines of the episode]
 * '''Shalimar:Guess I was lucky.
 * Adam:Yeah. Good night.
 * Shalimar: Good night.

Lest He Become [2.22]

 * Brennan: We should have taken them.
 * Shalimar: Were you unconscious when they were beating the crap out of the rest of us?

The Assault [3.22]

 * [last lines of the series]
 * Jesse: Where the hell do we go now?
 * Lexa: We need to find Adam The only way to cure Jessie is with an antidote.
 * Shalimar: Yeah, but sanctuary is gone. The helix is gone. The Dominion...
 * Brennan: No, they think they won. It's not over yet.
 * [the building explodes]
 * Jesse: We'll be if we don't move. Come on.
 * '''[Shalimar, Brennan, Lexa, and Jesse escapes from the exploding building]

Main cast

 * John Shea - Adam Kane
 * Victoria Pratt - Shalimar Fox
 * Forbes March - Jesse Kilmartin
 * Victor Webster - Brennan Mulwray
 * Lauren Lee Smith - Emma DeLauro
 * Karen Cliche - Lexa Pierce

Recurring cast

 * Tom McCamus - Mason Eckhart
 * Andrew Gillies - Dr. Kenneth Harrison
 * Michael Easton - Gabriel Ashlocke
 * George Buza - Lexa's Dominion Contact

title: Mutant X