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M.I.A.

Mathangi "Maya" Arulpragasam, MBE (born 18 July 1975), known by the stage name M.I.A., is a British artist, film maker, singer, songwriter, rapper, activist, visual artist, humanitarian, record producer, graphic designer, photographer, fashion icon, and refugee icon. She is often described as one of the most influential artists of the 21st century, covering multicultural and countercultural, convention defying themes and utilizing a range of genres in her music to form a unique avant-garde sound, and for having revolutionized indie/underground/independent/subcultural and mainstream music and culture since her rise to prominence.

Arular (2005)

 * Who the hell is huntin' you? In the BMW How the hell they find you? 1 4 7'd you Feds gonna get you Pull the strings on the hood One Paranoid you Blazing through the Hood.
 * Galang

 * I bongo with my Lingo, Beat it like a wing yo From Congo to Columbo, Can't sterotype my thing yo
 * Sunshowers

 * Can I get Control? Do you like me Vulnerable? I'm armed and I'm equal More fun for the people...
 * Bucky Done Gun

Kala (2007)

 * All I want to do is [gunshots, cash register ring sounds] take your money... No one on the corner has swagga like us Hit me on the banner prepaid wireless We pack and deliver like UPS trucks Already going hell just pumping that gas.
 * Paper Planes

 * Do you know that cost of AKs Up in Africa 20 dollars ain't shit to you But that's how much they are So they gonna use the shit just to get far
 * 20 Dollar

/\/\ /\ Y /\ (2010)

 * I'm here to paint what's written on your face Cause these are the days We are losing our ways To find better ways To say what nobody says
 * It Iz What It Iz

 * Yeah manmade power Stood like a tower Higher Higher, Hello And the higher you go you feel lower, oh I was close to the edge Staying undercover, staying undercover And with my nose to the ground I found my Sound
 * Born Free

Sourced quotes

 * I think I'm the edge finder
 * Video of Interview to Dazed & Confused magazine (2010)

 * I think I just kind of thought about all the artists that I really respected throughout the - just any genre of music really and I think everybody that I respected and liked. They were just them. You know, they're people who always stuck to who they were, and were true and honest about who they were. So I think that kind of gave me a real like confidence to just stick at it. Just thinking about people like Bjork - you know, I don't know, Bob Dylan, you know artists that truly were strong in themselves.
 * Interview on MuchMusic's MuchOnDemand (September 2005).

 * I'm more of a realist, than a theorist
 * Video of Interview to Dazed & Confused magazine (2010)

 * I performed at a show at the MoMA. There was this big dinner there, and I was seated in this hall with the mayor of New York and all these extremely wealthy art-supporting and art-buying people. There was a piece of work hanging in the hall-it was a fan. This fan was supposed to swing by the momentum of its own propeller. So, while we were having dinner, the fan was stopped, and the guy next to me, a curator at P.S.1, said, "Look, this is what art symbolizes today." Like, that piece of art is supposed to be moving, but just to have dinner we've stopped the art. That's what New York is like today. You can't have real art happen in an institution because rich people can make the world stop. The stuff on the street is a lot more interesting.
 * Interview with Kehinde Wiley on the "recycled object" for Interview magazine (2008)

 * I used to see songwriting like editing a film or something. You can edit music like you can edit a film. Or if I was painting or making a picture or something, that night I could sit down and write a song. I think it really helps to break things up. Sometimes when you sit down to write songs, you write three or four songs in a row feeling the same sort of vibe. But if you stop in-between that time and change something, you break the pattern – you prevent yourself from unconsciously falling into a format.
 * Interview to Westword (2008)

 * OK, let's go and explore the rest of the world, and how easy is it to put together music through found objects and stuff, and people, and ideas and certain electricity, certain environments.
 * Interview on Kala to Rolling Stone (2009)

 * Kala is about my mum and her struggle–how do you work, feed your children, nurture them and give them the power of information?
 * Interview to URB (2007)

 * I saw firsthand where the music we made ended up. It turned up in sterile bullshit clubs in LA, separated from the spirit we made it in.
 * Quote on her decision to ditch party music on /\/\ /\ Y /\ reprinted in NME (2010)

 * It's important for communities to be put together on a different basis. It's really shitty that we're taught to be really patriotic when 99 percent of the shit that we wear and we use and eat and everything comes from everywhere all the time, and musically, it's the same.
 * Interview on world music and culture mixing to Rolling Stone (2009)

 * Nobody wants to be dancing to political songs. Every bit of music out there that’s making it into the mainstream is really about nothing. I wanted to see if I could write songs about something important and make it sound like nothing. And it kind of worked.
 * Interview with Nirali magazine (October 2004)

 * They wanted me to be the face of Coca Cola. I was like 'Wow. Have you guys got any idea what you’re talking about?' Then Pepsi called me the next week. My mother-in-law called me and said 'Oh my God, Maya, they’re offering you so much money.
 * Quote on corporate sponsorship reprinted in NME (2010)

 * I feel like I'm a fucking infomercial for issues around the world this year. I don’t want it to be like that though. I feel like for the first time I'm truly falling in love with music in its own right.
 * Quote on her political importance reprinted in NME (2010)

 * I was never really affected by it because I don’t have the time to go up to every grime kid and explain the ideology and the lifestyle. It’s too hard....Look at Afrikan Boy, he still has that problem. You have this talent to see something and articulate something new, but you can’t because the arena to do that doesn’t exist. It’s easier to breed movements in England than really support one artist, especially in urban culture.
 * Interview to RWD magazine on the rejection of her first album Arular by the UK grime scene (2007)

 * I didn't want to make huge political statements; in fact, I hate preachy shit and people saying, 'This is good; this is bad.' I talk about how I see things as an everyday person in England. I was saying things that were a bit controversial, and I wanted to say that there are some opinions that aren't black and white. Things are confusing and complex. If you really want to be a good person, you understand things from all points of view and you are empathetic towards every opinion and every voice. I was like, 'I'm going to make an album about how it's difficult to make sense of living today, and that is added to by the television and the media, the person at my bank and the person at my mobile phone company.' I want to make sense of all those people and what is going on, and that is what I tried to do lyrically, and not provide a manifesto.
 * Archive interview to Chicago Sun-Times (September 2005)

 * I haven't heard honesty in music for so long and this is how I feel, and this is what I think. You don't even have to say words … I was just being as raw as possible. I wanted to make music that you felt in your gut.
 * Archive Interview to Eye Weekly (January 2005)

 * I feel the reason why I'm really like outspoken and stuff is because all of these things were inflicted upon me, and I never went and caused any trouble, you know? I just feel like I was kind of skipping along in some country and somebody decides to drop a bomb and shake up my life and then it's all been survival from then on. And that's the reality for thousands - and millions - of people today. Why should I get censored for talking about a life that half the time I didn't choose to live?
 * Interview with PopMatters, 2005

 * It's good. You know, it's nice coming out and actually meeting all your fans - you make this thing in your bedroom and you don't really know who is going to get it or relate to it or anything, you know? And you just pour your heart out kind of thing, and then you find out you relate to people and that's the final process of it. You know, to meet people who are actually like you and that you connect with, you know what I mean? That's kind of cool. That's the best thing about touring.
 * On touring during Interview on MuchMusic's MuchonDemand (September 2005)

 * I'm not sure, but music now should be like sonic massage. You want to really feel it, internally. The police [sic] use sound cannons at public protests that explode people’s insides with a single note – human beings have to come up with the opposite of that.
 * Quote from interview with NME (2010)

 * As soon as I came to England, really, I must have about spent two or three months bouncing around the pop world trying to get an idea of what England was. I wasn't really motivated by anything else. And nothing really inspired me. I was really confused about who I was and where I stood in society, you know what I mean? You come there and you just don't know what the hell is going on. And then I remember the first house we stayed in and I watched 'Top of the Pops' and it was like- woah! It was the first music show that I saw on TV. I saw Madonna, Whitney Houston. It was amazing
 * Interview (2006)

 * I have to be true to that - I can't take certain things away. I do have a political background. I’m only in England, learning this language and building a life in this society, because of political reasons. Why would I deny that?

 * My approach to politics is that I never said I'm smart. But why aren't I allowed to write about my experience?
 * Interview to Rolling Stone (2010)

 * No one ever gives those kids the microphone and says, 'Tell us, what the fuck is going on.' They don't show them because none of them know how to talk to you. It took me 20 years to get over here, learn the language, become a pop star and say, 'Finally, I get the microphone!' This is what I was going to say if I got it when I was 10.
 * Interview to Rolling Stone (2010)

 * I don't know which is worse. The fact that I saw it in my life has maybe given me lots of issues, but there's a whole generation of American kids seeing violence on their computer screens and then getting shipped off to Afghanistan. They feel like they know the violence when they don't. Not having a proper understanding of violence, especially what it's like on the receiving end of it, just makes you interpret it wrong and makes inflicting violence easier."
 * Interview to Complex magazine (2010)

 * Google’s more powerful than any government now – people think it’s God. They’re storing all our data and one day they’re going to turn against us.
 * Quote reprinted in NME

 * The Third World deserves freedom of speech just like everyone else. We want to fight the battle to say what we want, whether to be serious or just make fun of ourselves. That's what "Worldtown" is about, that's what "Paper Planes" is about. It's what people in the third world live through.
 * Quote reprinted in NME

 * He asked my mum, 'Why would I devote myself to one woman and three children when I could be helping thousands?' She said: 'If you even have to ask that, you should go.'One of those times, when he came home, he didn't even know what I was called.
 * Interview, quote on her father to The Observer (2010)

 * I'm here for the people
 * Interview, quote to Miranda Sawyer of The Observer (2010)

 * Exactly! Trends picks up issues and makes them so disposable. At the time when I started making my art and my music, terrorism was getting chewed up and spat out by the fashion industry, put on the run way. Face magazine in England was doing fashion shoots with girls holding machine guns and fucking rocket launchers. Yet, when something genuine comes through that, like me, using the same language, it doesn’t apply. That’s what I’m learning because that’s what I’m about. I wanna learn what my limitations are within your value system
 * Interview to EGO Magazine (2005) after being asked if the Tiger image in her work was an ironic icon and that "People are making assumptions for themselves based on the very little they know about politics?"

 * I call bullshit on any system that holds me down. If the system changed my life the way it did and it totally abused my life and my family, then I’m willing to stand up against it. My goal is to bring people into the system. If I have to use some shocking imagery or if I have to use some honest up-front language to get in and wake people up, so be it. At least, it has sparked up some discussion and young people feel like they have the right to talk. That’s all you can hope for, to induce discussion and then make people feel like they have the right to discuss political issues.
 * Interview to EGO Magazine (2005)

 * When I come back to London, I feel really safe and familiar. But sometimes I feel like I'm on standby, waiting to go somewhere else – where something else is happening.
 * Interview to Metro (2007)

 * I can sing about songs with gunshots in the background because I heard them. It's almost like my music has been a way to smoke out the hatred that's been bubbling underneath what's going on in Sri Lanka. If there's 300,000 people who are trapped and they're dying, it should be talked about, it should be brought to the table, and I don't see anything wrong in sticking up for 300,000 dying people.
 * Video Interview to TIME (2009)

Interview with Romain Gavras for Interview (2010)

 * Interview with M.I.A./Gavras online

 * GAVRAS: So let’s talk a little bit about being a fashion icon. Do you think, for example, that Saddam Hussein was a fashion icon?

 * M.I.A.: No. My fashion icon is Colonel [Muammar al-] Gaddafi, and he always has been. He’s rock ’n’ roll.

 * GAVRAS: Yeah, he’s the best-dressed man on the planet.

 * M.I.A.: If he were a pop star, he’d be, like, Prince or something.

 * GAVRAS: Well, he’s bigger than a pop star. I mean, when he came to Paris in 2007, he was supposed to stay at the Hôtel de Marigny, which is the best hotel. But Gaddafi came with a tent. It was this huge flagged tent—just him and his army guards, who were all girls. They were in these crazy leopard outfits. I mean, Gaddafi is way better dressed than any pop star in the world.

 * M.I.A.: I’d love to raid his wardrobe.

 * GAVRAS: I’d love to have his hair. He has very good curly, shiny hair.

 * M.I.A.: He looks like he always has gel in it. Hold on. [to taxi driver] Can you pull over, please? I’m at Notting Hill Gate station.

Film and television industry

 * A. R. Rahman: "She’s a real powerhouse...Somebody played me her CD and I thought, ‘Who is this girl? She came here and knew all my work, had followed my work for ages. I said, ‘Cut the crap, this “my idol” crap. You have to teach me."

 * Aziz Ansari: "I was like a little girl at a John Mayer concert. “She stole my heart, man. It’s too much: the talent, the beauty. It’s more than this little Aziz can take.” I approached M.I.A. after her show, speaking in our native Tamil (“We’ve got a lot in common. Not a big deal.”). I said "Romba Nalla Paatu" which translates to "very good songs". She smiled, got in her car, and left. She didn’t contact me or anything after that. I guess we didn’t exchange information.” “People keep asking if she’s called me and I keep telling them no." ,

 * Claire Danes: "M.I.A. Sunshowers: It's impossible for me to resist dancing whenever I hear it."

 * Danny Boyle: "When I use somebody's song in a film, I like them to see the movie, if possible, so they know how it's used. She came into the cutting room and watched it. You get a lot of people giving you notes on films when you're making them, and most of them are rubbish, to be honest. People might think they're good. Well, she came in told me the film was very good, but said, "Do you want some notes?" She gave me two specific notes, both of which we included in the film, essentially saying, "If you do that there, you'll understand why he gets on the show." She's very smart."

 * David Hasselhoff: "M.I.A. is one of the hottest things around."

 * Leighton Meester: "I like fun music, too, like M.I.A. She has good things to say."

 * Kat Graham:
 * "I love what M.I.A. represents, who she is being a refugee from Sri Lanka. The beats are the closest I've found to my own music production when I make beats. Making music with a message to change the world. Good art can change the world."
 * "Definitely when I was younger, I was like a baby Janet [Laughs]. People even called me, "Baby Janet" for a long time! I watched a lot of her videos so I guess she crept into my subconscious. Really, I'm more influenced by M.I.A., Gwen Stefani and Grace Jones, style-wise. However, I think my voice, in terms of pop, is similar to Janet's." July 2010
 * I remember standing in line for M.I.A. for hours outside of The Echo. This venue is a hipsters' dream and is constantly showcasing both new and mainstream artists. It's a great place to discover your new favorite band.

 * Mike Nichols: Interviewer: Are you going to the afterparty? Nichols: I don't know, is there another party, after the party? Interviewer: Yeah. After your dinner. Nichols: I didn't know that. I don't think I'm invited. Interviewer: Do you listen to M.I.A.? Nichols: Yes! [at MoMA "Party in the Garden" 2008]

 * Romain Gavras:
 * "a million hit a day without showing your tits, M.I.A ur cool." 5 February 2012
 * "A lot of pop artists claim to be crazy. But it’s fake craze. [M.I.A.] on the other hand — she’s crazy. She’s the only female artist with this natural panache that comes across as effortless. She invests herself fully in projects that no one believes in. Creatively, no other contemporary pop artists are as interesting as she is.” March 2012 [after directing music video for "Bad Girls"]

 * Ruben Fleischer: "..The principle idea behind M.I.A.'s artwork is to have pretty heavy/political ideas, but to present them in a poppy candy-coated wrapper. So someone might buy her painting because it is pretty to the eye, and not necessarily consider that it is a rebellious image that she is presenting. However, after they've had it for a while, they might start to think - why do I have a pink tank on my wall? … I think that ["Galang"] is a very successful video in that we have true images of revolution playing on MTV. However, because there's lots of pretty colors and a pretty girl dancing, no one blinks an eye. Hopefully we have succeeded in subconsciously starting the revolution." May, 2005 [after directing music video for "Galang"]

 * Spike Jonze: "I met her right before she put out her first record, in 2005, and she insisted she wasn't a musician. To this day, she doesn't consider herself a musician. She has this wide range of talents and influences — she's a Sri Lankan refugee who didn't speak a word of English before she was 10, yet she's also a child of Chuck D and the Pixies and Fight Club and MySpace. There are no borders for her. She made me realize that you don't have to be from the West to have a favorite Biggie song. We are all listening to the same music. Last summer she was performing in Philadelphia, and she showed up at the venue, and it was an armory building. She felt kind of weird about it and decided she wasn't going to perform there unless she acknowledged that, so she found a group of Army veterans against the Iraq war and had them come and speak as her opening act. That's her mission — it's personal and evolving, focused but totally spontaneous. She's always for the underdog. And no matter how many times she's on the Grammys, she'll always see herself as the underdog."

Music industry

 * Alicia Keys:
 * "Working with other people is definitely something I want to do more of. I love it a lot. It takes me out of my element into a whole other world. I'd love to collaborate with Kings of Leon and M.I.A. I think would be crazy."
 * "I have a little list [of desired collaborators]. Prince is on it, M.I.A., Kings Of Leon and Maxwell. But I've always wanted to do something with U2....She added: "We are good friends and if we were to do something together, I think that would be really special."

 * Amy Lee of Evanescence: "She's so freaking powerful and awesome...I love her voice because it's weird, almost like she doesn't care."

 * Anthony Kiedis: "I'm very keen on M.I.A., I think she's a rocking live performer."

 * Avril Lavigne: "MIA sticking her middle finger out at Super Bowl is obscene? How about almost 50 million Americans living in poverty. That's obscene."

 * Beastie Boys
 * Adrock: "There’s a lot of people making a lot of good music out there. They were playing the new M.I.A. record at this record store I was at today. It’s pretty kookie."
 * Mike D: "I’d actually like to see M.I.A. live. We played at the Sasquatch festival and I was all excited to see her and then she wasn’t allowed in the country or something."
 * MCA: "I like the M.I.A. record. I like the production and I like her vocal melodies too. It was cool…"

 * Big Boi of OutKast: "Sooo 2 girls can kiss on TV, but M.I.A can't flip the middle finger, GTFOH"

 * Björk:
 * "She's a trooper."
 * "I have always felt that too many different things in electronic music are called “production.” In a rock band you have rhythm, bass line, keyboards, guitar and production. In electronic music all of this is called “production.” I have written a lot of songs in the past where someone comes in right at the end when the song is 90 percent ready and adds in a bass line and gets production credit. I feel a lot of it is because computers carry a lot of mystery around them and it is hard for people to see it for what it is. Also a part of it might be a pinch of sexism. I have seen over and over … obviously creative girl producers like Missy Elliott, Peaches and M.I.A. credited in the press as only singers and then whatever guy who was in a five-meter radius when the recording happened gets all the production credit, even though it says on the CD cover credit that they produced it. But I feel it is changing now. Everybody has computers, everybody is writing music on their computers at home, including girls. So we’ll see."
 * "I thought it was really weird and unfair when M.I.A. and Joanna Newsom were asked about Gaga and then because they didn’t like her music, it was immediately big news online and they had to shoot each other down. It’s like the three new, most happening female pop girls, the same kind of age, and they had to shoot each other down! Guys are never asked to do that. It’s just ‘the more, the merrier’, you know?."

 * Chris Brown: "Was in the studio with the incredible M.I.A and Polow!! Amazing artist! ReAl talent."

 * Christina Aguilera: "I just can't, 'cause I really want you guys to be surprised and to experience firsthand what I'm talking about or what I'm not talking too much about. Too soon in the game, but wrapping everything up now... I got a chance to sort of write with M.I.A. - artists that I really love."

 * Chuck D: "She is the future of music, and the future is here."

 * Feist: "I met Maya Arulpragasam about four or five years ago in England when I was on tour with the rapper Peaches, who was also my roommate. We stayed with Justine Frischmann, from Elastica, and she and Maya were roommates. Maya wasn't making music back then; she was making clothes and videos and art, spray-painting jackets. A couple months ago, I was at the South by Southwest Festival in Austin, and I saw her onstage, and it was just amazing. I can't stop listening to her new album, Arular (XL/Beggars U.S.). "Pull Up the People" is a song that's always rotating through my head. I didn't know I needed sunshine-dancehall-booty music until I got her record."

 * Havana Brown (DJ): "I love M.I.A, her music is so unique and brave." (November 2010)

 * James Murphy of LCD Soundsystem: "Yeah, I did [meet her at South by Southwest], she was incredibly sweet and really nice. It was really funny: She played, and I don't know what it sounded like 'cause I was on the side of the stage which just sounds like chaos because you don't hear what the PA's doing. She came off and I introduced myself, "Hi, I'm James, I hear we're doing a buncha shows together," and she said, "Really? You still wanna do shows after that shitty show?" Which I thought was great." May 2005

 * John Legend: "M.I.A. is killing it right now. Great beats. Distinctive voice."

 * Jon McClure of Reverend and the Makers:
 * "It's difficult because here there's no one doing it. There are people like Damon Albarn, Ian Brown and 3D from Massive Attack and people like that, but among new artists there's only me and MIA who seriously and permanently question British government foreign policy. That is really dark compared to the counter-culture in the 1960s and the punk movement in the 1970s and Red Wedge in the 1980s. They were a kind of social voice but now there's none. This is at a time with the current economic situation, being at war in two countries, with the possibility of a war in a third country - or fourth if you include Pakistan - there's the situation with climate change and there's the rise of the BNP. I would argue we need a politicised voice more than ever, but within mainstream music there's no one, and you have to ask yourself why. I think one of the reasons is that it has been recently a bit of a commercial suicide to entertain politics in your music. But my heroes were political - Bob Marley, John Lennon, Joe Strummer. It's become un-cool to care about the world you live in. It's become cool to take crack. I don't think that's a rebellious act. I think it's far more rebellious to question the country we live in and the government. I never fell out of love with the idea of it being cool to care about the world you live in."
 * "...in the last twenty years - hip-hop, rap, grime, gabba, jungle, bashment, dub-step - British MCs are continually innovative. In the meantime we've had the new rock revolution, brit-pop and new rave, all of which are backwards looking genres of music made by middle-class white people - see what I'm saying? In a narrative of British music, Black culture and Asian culture has been completely written out of the history of British music by white journalists who are essentially very conservative in their outlook. So therefore we're trying to address that. Secondly to that, there's only me and MIA amongst new artists that since 9/11 have continually questioned British foreign policy. And this record seriously takes this to task..."

 * Justine Frischmann: "In terms of the music scene today, I still think that Maya's work [MIA] is interesting. But I'm the wrong person to ask. I live in rural northern California where there are coyotes wandering in the streets. And I don't own a TV." July 2011

 * Kanye West:
 * "M.I.A's from the future. Our present is her past."
 * "Some mornings I have to play that old M.I.A album... I just have to... Bamboo Banga M.I.A coming back POOOWEEERRR POOOWERRRRR."
 * "PEEP M.I.A on Letterman... performance i s so creative.. She's got the Genius."
 * "I look up to M.I.A. and Thom Yorke."

 * Katy Perry: "I love M.I.A., but I don't think she likes me. I know how people who are anti-pop but are really pop feel about popstars" [August 2010, Rolling Stone]

 * Kim Gordon: "I went to see M.I.A. play at Mount Holyoke, and it was a hall filled with girls, and they were going crazy. I could hear the beats more live, the record is so dense. I like her lyrics. I like that her music is rhythms upon rhythms. It escapes genre. I wouldn’t even call it a hip-hop record, I’d just call it M.I.A. She had this great footage of tribal dancers and these two young girls dancing onstage who were amazing. “Kala” (Interscope) has great grooves — it’s very colorful, lots of texture and density. The rhythms aren’t generic. They’re intuitive and organic."

 * Kreayshawn: "The only show I saved all my money to go see was MIA.. Twice!!"

 * Krist Novoselic of Nirvana: "There's much to admire about the rapper M.I.A. She's a working mom, a dynamite performer, and a writer of songs, like "Bucky Done Gun," that command you to give the volume knob a twist. And with her outspoken political views and heart for her homeland, Mathangi Arulpragasam [sic] reflects the global consciousness of the information revolution....An ethnic Tamil, M.I.A. is a member of the minority that makes up the northern part of Sri Lanka, a country governed by the majority Sinhalese since the end of WWII. The Sinhalese-controlled government and Tamil's rebel fighters had been involved in a decades-long civil war until the rebel leader was killed and their fighters routed, thus putting an end to the conflict. M.I.A. has been giving interviews regarding the humanitarian costs of the military action, including the 300,000 displaced ethnic Tamils, many living in overcrowded camps. This reminds me of my situation in the early 1990s during the war in the former Yugoslavia. I had emerged from obscurity to play bass in the biggest band in the world. Being of Croatian heritage, I found myself speaking out about the war in the Balkans. (I lived in Yugoslavia in 1980 and have visited many times since.)...One person's terrorist is another's freedom fighter. We can toss this back and forth, but in the meantime too many innocents suffer. The Sri Lankan government has said that M.I.A. should stick with music and not worry about politics. It doesn't matter if she's Tamil or Sinhalese, M.I.A. is the most famous Sri Lankan in the world. She has the right to speak. I didn't know about Sri Lanka and the trouble there until M.I.A. made me aware. Her work can be political, but that aspect never seems overbearing. Thank you, Mathangi Arulpragasa, for bringing my attention to what's going on in that part of our world. And a big thanks for the great tunes as well!"

 * Lady Gaga: "My fellow hardworking female art student. Just like me, her song [Paper Planes] took almost a full year to climb to the top. But we worked hard, and we did it."

 * Madonna
 * "I'm a fan of her music but also I like her independence, her spirit. She's cheeky and unique and has an individual voice. She's not a conventional pop star and I really admire her. I love her actually." Feb 2012
 * I wasn’t happy about it. I understand it’s punk rock and everything, but to me there was such a feeling of love and good energy and positivity, it seemed negative,” she said. “It’s such a teenager, kind of irrelevant thing to do. But on the other hand, there was such a feeling of love and unity there, what was the point? It was just out of place" On Super Bowl gesture, Feb 2012
 * I was up in the bleachers doing my pom pom routine. I was oblivious. In fact, I didn’t really know about it until after I had come backstage and changed and came out to finish watching the football game…I was surprised, nobody knew about it. She surprised us all. I like her and you know I believe in people having individuality and I like her punk rock attitude. Actually I think she’s really cool and that’s why I asked her to be in my show and be on my record. But I didn’t think that was the time or the place for it, to tell you the truth. That’s the unfortunate thing and we were really careful to be super honest and the NFL was super honest with us about what we could and couldn’t do and I had no interest in rocking the boat or doing anything to offend anybody. We were all clear on that and it was a joyous evening…not the place for it. It felt like a negative note, you know what I mean? She has [apologized]. I know she feels bad…I accept her apology, but you know, I think she still has her head in the sand right now. I’m not sure. [The Super Bowl] was an overwhelming experience. I’ve never played in the round like that before in the middle of the stadium and so I was worried about that and also it was on NFL turf. I didn’t know how people were going to respond and it was just crazy. I think it was the best time I’ve ever had on stage. On Super Bowl gesture, Feb 2012
 * I was looking to collaborate with women who I think have a strong sense of themselves. They were a lot of fun to be around in the studio, for sure. I think we were all shy of each other in the beginning, that's just human nature. I think we got over that pretty quickly. They're both very self-possessed people, especially M.I.A. I don't think she's impressed much by stars and celebrities, so we just got down to business. I loved her. May 2012 on album collaboration

 * Mike Shinoda: "On our first Fort Minor tour, Styles of Beyond were touring with me. [Bucky Done Gun] by M.I.A. was practically the theme song that tour. I think our crew was sick of hearing it! At any rate, I think that's what one of my favorite things about music is: those times when hearing a song reminds you of a time in your past, when it connects you directly with the memory every time you hear it. Good song."

 * Missy Elliott:
 * "MIA! heyyy BadGal! Just shouting ya out:)"
 * "Thank u MIA!! This make the 2nd time we work 2gether. Hopefully there's more 2 come:) #Badgal!" [Following collaboration on remix for "Bad Girls" (2012)]

 * Nas: "Her sound is the future."

 * Nelly Furtado: "I have heard bits of the M.I.A Album and it is so cool..what a flow, what a style...and girl can dance!!!" [Listening to album Arular during the recording of Loose.]

 * Nicki Minaj: "I love M.I.A. … Based on that first video she put out ['Born Free'], She's not doing stuff for the mainstream applause, and I applaud her for that. She's a creative being and you're either gonna love it or hate it but you have to respect it. And I love her. When she hit me to do a record with her, I thought I had died and gone to heaven." Minaj also recalled the first time she heard "Paper Planes," when she thought, " 'Who is this bitch!?' I thought those were like the sickest lyrics. And then when I'd watch her videos, she doesn't give a fuck. That's what we want more of, we want people who don't give a fuck."

 * Nicole Scherzinger of Pussycat Dolls:
 * "The most righteous chick is M.I.A. She stands for so much that we really stand for."
 * "My favourite British female artist? M.I.A."
 * Melody Thornton of Pussycat Dolls:
 * "Well, musically there are a lot of people we’d like to work with that we haven’t yet had the pleasure of collaborating with - like Pharrell, Madonna… I mean, we were just talking about doing something with MIA - which would be so nuts!"

 * Patrick Wolf: "I've just fallen in love in the last couple of days with her work. She's great. I love "Bird Flu". I met her recently, and I'm a very, very big supporter of her work, and her attitude and what she stands for."

 * Peaches: "I first met M.I.A. as Maya in America way back in 2000 [laughs]. And she was a great videographer and she was also making her own films and her own clothes. I think that you can transfer your creativities to all different areas. She was a videographer, she made me clothes, she has a creative mind, and a passion and a drive."

 * Richard X: "It's very much who tickles my fancy," he says, although he's been lucky to meet a couple of "kindred spirits" - including Kelis and M.I.A"

 * Rihanna:
 * "M.I.A BadGirls Video is my new favorite shit!!! This chick is so #ILL" February 5, 2012, Twitter
 * "No one on da corner has swagga like us!!!" February 10, 2012, Twitter

 * Rye Rye:
 * I like my style to be colorful, with alot of patterns as well. The style sorta rubbed off from M.I.A. so it's like my style sometimes incorporated with hers. Me and M.I.A.'s relationship is funny. It's sorta like she's a parent one minute, then a sister, then a best friend. I mean, I feel like I bring the kid outta her. When I was on tour with her, we'd always do fun stuff together, or I would keep her laughing, it just felt like a childish moment, that spirit. It's a best friend type of thing. December 2011

 * Santigold:
 * She's always kind of M.I.A. She's this really blunt, charismatic person all the time. If you take her someplace, she'll probably say something to make you embarrassed. She's always on. If we go out to the store -- she lives around the corner from me -- or if we go to the gym, it's like, I put on the crackhead outfit and she puts on, like... the works." "You know what I mean? I find that inspiring! She's genuinely one of the most stylish people I've ever met."

 * Sleigh Bells:
 * Derek Miller: "She was one of our first fans," he says, "and she was and still is one of my favourite MCs. So that blew my mind. I read the email three times and was shaking a little, because something like that changes the direction of your life. It was an intense moment and I'm forever grateful to her for that."
 * Alexis Kraus: "It's really exciting to have her in our court and be able to work with her. At this point it's more about being part of a creative community and the day-to-day running of the business is pretty much Mom + Pop's job. It's the fact that she had interest in us literally before anyone else cared at all which definitely boosted our confidence."

 * Solange Knowles: "I went to a M.I.A. show and I thought the best moment of her show, is she literally invited anyone who wanted to onstage, just the energy of, you know, being with the crowd, and its people who love your music, it feels really good." September 2008, Jimmy Kimmel Show

 * Steven Wilson of Porcupine Tree:
 * "I love the MIA album, the Sri Lankan rapper girl."
 * "M.I.A is one of those people who has been embraced as much by the NME as The Wire, the Wire is a very arty magazine and I buy that because it's one of the few magazine's I can find interesting things in there...I'd love to collaborate with someone like M.I.A - interesting cultural differences and totally different style of music. For me it's a passion to work with different people and people from different musical genres [sic]."

 * Teddy Geiger: "That's that MIA thing. She has the bombs, they'll make you blow. Simple as that!"

 * Thom Yorke: "I really try to limit [listening to other people's music while working on new songs], but M.I.A.'s first record really seeped in. M.I.A. takes this complete block and chop repeat, chop repeat, chop, not finished [method]. Which really reminds me of that thing of just picking up a guitar and the first three chords you write and being like, yep, that's good. Stop. End. Not sort of sitting there fifteen hours later agonizing over the hi-hat sound. That seems to be what happens with programming and electronica a lot of the time. You can feel the pain going on."

 * Timbaland: "We wanna go to the world. The world is 'Big Pimpin'.' 'Big Pimpin' ' is an international hit, so we wanna do 10 of those. Meaning, some of the songs gonna sound like M.I.A. would rap on some of the beats. You gonna be like, 'Whoa!'"

 * Trent Reznor: "The only thing that I play in my car right now is Arular by a girl named M.I.A., the most innovative artist in years." (2005) [Reznor subsequently wanted to collaborate with M.I.A. in 2005, and added her songs "Pull Up The People", "Hombre" and "Galang" to the setlist of Pre-Show Music played at Nine Inch Nails Lights in the Sky concert tour (2008 - 2009).] 2005,

 * Vampire Weekend:
 * Chris Tomson: "I would like to say that I got to meet MIA at Coachella '08 when we played it. She came to say hello and she was in our backstage trailer. We bonded about raisins. She ate a lot of raisins. I personally enjoy raisins and trail mix a lot. I was eating some and she asked if she could have some. She said she was eating them all the time when she recorded her first album." 2010, Village Voice

 * Wayne Coyne of Flaming Lips: "The new M.I.A. I like the "Born Free" single with the Suicide sample. I didn't like the video that much. But I like her. I think she's a badass. She's a freak. She's cool. She's intense. I think she gets a bit too bitchy sometimes, but I don't care." - on what he was listening to, July 2010, Rolling Stone

Fashion industry

 * Carri "Cassetteplaya" Mundane:
 * "I've known M.I.A. about 7 years when she started doing music I started working with her. I wardrobed Galang and I made her African print tracksuits for tour and press. More recently i styled some shoots for her, made some graphics, I also spent a month in India with her when we did bird flu and got to work on the Boyz video in Jamaica. Working with Maya is the ultimate cos she is the ultimate artist, she is fearless and totally committed to every area of her career and identity. She's pushing boundaries sonically and culturally and she still as real as ever, sits and checks her MySpace, makes her own graphics, co directs her videos."
 * "BTW I didn't retweet "@TMZ:M.I.A. Flashes Middle Finger During Super Bowl”cos it was lol but cos I thought it was LOL anyone cld be offendedFebruary 6, 2012
 * "Tinie on the entrance music, M.I.A on at halftime, pretty bloody good for the UK i'd say.." [Retweet of Manny Norte]
 * Donatella Versace: "Her music and style seemed so fresh and innovative. She is a total artist." [for Designer's Musician Muses (2011)]

 * Eric Daman and Meredith Markworth-Pollack: "Vanessa is a breath of fresh air. She’s the Lower East Side, Raising Victor Vargas home-girl. One night we saw M.I.A. in concert wearing a sequin sailor suit and were like “Omigod, she is so Vanessa.”" [on M.I.A. being the inspiration for the costumes of character Vanessa Abrams on television series Gossip Girl.]

 * Jean-Charles de Castelbajac: "I have collaborated with M.I.A. for four years but I also like Metronomy and Ebony Bones. There are a lot of talented people around." 2010

 * Karl Lagerfeld: "Nowadays people give the middle finger quite quickly - it's not the best behaviour. Everybody does that, what's new about that? It's just become a bad habit. People in magazines are 50% bimbo and 50% pregnant women" February 7, 2012 [on M.I.A. flipping the middle finger to the camera during the 2012 Superbowl half-time show]

 * Kesh: "I appreciate M.I.A.. A real artist."

 * Luella Bartley: "She had an unabashed in-your-face craziness that I loved, admired, and identified with."

Photography industry

 * Ryan McGinley: "We had to basically rig a truss for this swing; it was a major production to make sure it was safe. I tried it out. M.I.A. might have gotten there and said, 'I'm not doing this; this is too crazy.' But she got on and just started swinging like it was something normal. "I remember her saying, 'If I'm going to go out, this is an awesome way to go.'"

Sports

 * Anthony Napolitan: "I think I have a thing for female singers; I like the way they sound. MIA is a very unique one at that. [Paper Planes] is an all-time favorite for me. I just like it!"

title: M.I.A.


text:
User talk:81.18.235.2

~ UDScott 15:56, 21 March 2006 (UTC)

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

title: User talk:81.18.235.2


text:
User:Gepvun~enwikiquote

Gepvun (*22. 1. 1987 in Prague), student, social democrat - member of ČSSD.

 * favourite quote: "Imagine the silence if everyone says only what he knows." (K. Čapek)

 * $$\lim_{8 \to 9} \sqrt{8} = 3$$

 * Home profile
 * my pages about Worms:Armageddon

cs:Uživatel:Gepvun

title: User:Gepvun~enwikiquote


text:
User:Zzedar/monobook.js

/* */ $(aKey) function aKey { ta['pt-userpage'] = ['z','My user page']; ta['n-mainpage'] = null; akeytt; } /* */

title: User:Zzedar/monobook.js


text:
User talk:64.251.48.82

~ Kalki 17:23, 21 March 2006 (UTC)

title: User talk:64.251.48.82


text:
User talk:81.111.198.178

~ Kalki 21:12, 21 March 2006 (UTC)

title: User talk:81.111.198.178


text:
Primer (film)

Primer is a 2004 film about four friends/fledgling entrepreneurs who, knowing that there's something bigger and more innovative than the different error-checking devices they've built, wrestle over their new invention, which appears to be able to distort time.
 * Written and directed by Shane Carruth.

If you always want what you can't have, what do you want when you can have anything? taglines

Aaron

 * You're talking about making a bigger one.
 * Are you hungry? I haven't eaten since later this afternoon.
 * I am trying, okay, I really am here.
 * What's worse, thinking you're being paranoid or knowing you should be?
 * That is no static shock.
 * [narrating] Meticulous, yes. Methodical. Educated. They were these things. Nothing extreme. Like anyone, they varied. There were days of mistakes and laziness and infighting. And there were days, good days, when by anyone's judgment, they would have to be considered clever. No one would say that what they were doing was complicated. It wouldn't even be considered new.  Except maybe in the geological sense. They took from their surroundings what was needed, and made of it something more.
 * How many times would it take before he got it right? Three? Four? Twenty? I've decided to believe that only one more would have done it. I can almost sleep at night, if there's only one more. Slowly and methodically, he reverse-engineered a perfect moment. He took from his surroundings what was needed, and made of it something more. And once the details had been successfully navigated, there was nothing left to do but wait for the conflict. Maybe the obligatory, last minute moral debate until the noise of the room escalates into panic and background screams, as the gunman walks in. And eventually, he must have got it perfect, and it must have been beautiful with all the praise and adoration he had coming. He had probably saved lives, after all. Who knows what would have happened if he hadn't been there?

Bradshaw

 * You know what they do with engineers when they turn 40? They take them out and shoot them.

Abe

 * Aaron, I can imagine no way in which this thing could be considered anywhere remotely close to safe. All I know is I spent six hours in there and I'm still alive... You still want to do it?
 * [His first experience in the machine] Maybe it was the dramamine kicking in, but I remember this moment in the dark with the reverberation of the machine. It was maybe the most content I've ever been.
 * And I don't think there's ever been any reason to show you what I'm capable of...but I'm telling you this now. Go out there and do whatever it is you want.  There's no way in the world I can stop you, but don't come back here.  And don't come near them.  Any of them.

Dialogue

 * Kara: Did you call pest control?
 * Aaron: Babe, I'm telling you, they're birds. You don't want a bunch of dead baby birds up there. Do you?
 * Kara: They don't sound like birds.
 * Aaron: [to Abe] She thinks there are rats in the attic.

 * Abe: I just want you to see it the way I saw it.
 * Aaron: I am trying, okay, I really am here.
 * Abe: Look, everything we're putting into that box becomes ungrounded, and I don't mean grounded like to the earth, I mean, not tethered. I mean, we're blocking whatever keeps it moving forward and so they flip-flop. Inside the box it's like a street - both ends are cul-de-sacs. I mean, this isn't frame dragging or wormhole magic, this is basic mechanics and heat 101.
 * Aaron: This is not mechanics and heat.

 * Abe: [Notices Aaron's ear is bleeding] Whoa. You're bleeding.
 * [Takes handkerchief and places in on his ear]
 * Aaron: I got it.
 * [Holds it to his ear]
 * Aaron: Is this normal? This isn't normal.
 * Abe: For the machine?
 * Aaron: [Irritated] No, for people! What you think, it's the machine?
 * [Abe looks as if to help]
 * Aaron: All right, I got it!

 * Abe: Do you have anything important going on at work today?
 * Aaron: I hope you're not implying that any day is unimportant at Cortex Semi.

 * Aaron: Do you feel like a steak?
 * [Abe gives him a bemused look]
 * Aaron: To eat?

 * Aaron: So...does it hurt?
 * Abe: Yeah. Yeah it does a little.

Taglines

 * If you always want what you can't have, what do you want when you can have anything?
 * What happens if it actually works?

Cast

 * Shane Carruth - Aaron
 * David Sullivan (actor) - Abe
 * Casey Gooden - Robert
 * Anand Upadhyaya - Phillip
 * Carrie Crawford - Kara
 * Keith Bradshaw - Bradshaw

title: Primer (film)


text:
Bill James

George William “Bill” James (born October 5, 1949, in Hotlon, Kansas) is an American baseball writer, historian and statistician whose work has been widely influential. James began writing baseball articles after leaving the United States Army in his mid-twenties. James self-published an annual book titled The Bill James Baseball Abstract beginning in 1977. His approach, which he termed sabermetrics in reference to the Society for American Baseball Research (SABR), scientifically analyzes and studies baseball, often through the use of statistical data, in an attempt to determine why teams win and lose.

Quotes

 * I didn't care about the statistics in anything else. I didn't, and don't pay any attention to the statistics of the stock market, the weather, the crime rate, the gross national product, the circulation of magazines, the ebb and flow of literacy among football fans and how many people are going to starve to death before the year 2050 if I don't start adopting them for $3.69 a month; just baseball. Now why is that? It is because baseball statistics, unlike the statistics in any other area, have acquired the powers of language.
 * 1985 Baseball Abstract

 * Standardization leads to rigidity, and rigidity causes things to break.
 * Quoted in
 * There will always be people who are ahead of the curve, and people who are behind the curve. But knowledge moves the curve.
 * The Mind of Bill James, 2006, p. 191

title: Bill James


text:
User talk:65.97.17.55

~ UDScott 22:38, 21 March 2006 (UTC)

title: User talk:65.97.17.55


text:
The King of Fighters

The King of Fighters (ザ·キング·オブ·ファイターズ), officially abbreviated KOF, is a series of fighting games by SNK Playmore (formerly SNK).

Andy Bogard

 * You can't win only by power.
 * King of Fighters '94, win quote vs. USA.

 * Stop Street Fighting!
 * King of Fighters '94, win quote vs. England.

 * You move like an elephant in a tutu! Hit the showers!
 * King of Fighters '95.

 * Faith is what wins. That and a devastating left hook!
 * King of Fighters '96.

 * If you can't play to win, go play a puzzle game, pansy.
 * King of Fighters '96.

 * In fighting, concentration is... Uh... Hmmm... Gee, I forgot.
 * King of Fighters '96.

Athena Asamiya

 * You rely on power too much!
 * King of Fighters '94, win quote vs. Mexico.
 * You stink of sweat!
 * King of Fighters '94, win quote vs. USA.
 * You should at least defeat us!
 * King of Fighters '94, win quote vs. Italy.
 * There's no tea time for heroines! Let's go!
 * King of Fighters '95.

Benimaru Nikaido

 * Did you think you can win?.
 * King of Fighters '94, win quote vs. China.
 * I've quite enjoyed it!
 * King of Fighters '94, win quote vs. Mexico.
 * Let's have more fun fighting!
 * King of Fighters '94, win quote vs. Brazil.
 * This is my style in battle.
 * King of Fighters '94, win quote vs. USA.
 * My looks and power are true!
 * King of Fighters '94, win quote vs. Japan.
 * Now I've got lots of fans!
 * King of Fighters '94, win quote vs. Italy.

Billy Kane

 * How does it feel to be well done? But I bet you taste terrible.
 * King of Fighters '98.

Blue Mary

 * This isn't about logic. It's about smashing your face in!
 * King of Fighters '98.

 * A first rate warrior wins without lifting a finger.
 * King of Fighters 99.

 * Everyone knows their limits. You just got more than others.
 * King of Fighters 2001.

 * It's been a while... Hate to bloody a buddy...
 * King of Fighters 2001.

Brian Battler

 * Stop playing soldiers!
 * King of Fighters '94, win quote vs. Brazil.
 * Team combination isn't too bad!
 * King of Fighters '94, win quote vs. Korea.
 * Psychic powers? Yeah, right!
 * King of Fighters '94, win quote vs. China

Chang Koehan

 * I smell injustice.
 * King of Fighters '94, win quote vs. China.
 * This is the natural result!
 * King of Fighters '94, win quote vs. England.
 * You are just like kids to me.
 * King of Fighters '94, win quote vs. USA.
 * Your handsome, it didn't help...
 * King of Fighters '94, win quote vs. Italy.

Chin Gentsai

 * I'm stronger when I'm drunk!
 * King of Fighters '94, win quote vs. Japan.
 * Sake is the best! Want some?
 * King of Fighters '94, win quote vs. Brazil.
 * You were beaten by an old man!
 * King of Fighters '94, win quote vs. USA.
 * I won the drinking battle, too.
 * King of Fighters '94, win quote vs. China.

 * Life's a wild mare, but endurance makes it tame.
 * King of Fighters 2001.

Choi Bounge

 * Now, we can be famous too!
 * King of Fighters '94, win quote vs. Italy.
 * Your blood is delicious!
 * King of Fighters '94, win quote vs. Mexico.
 * Your body is no use in war!
 * King of Fighters '94, win quote vs. USA.
 * You finished already? Heee!
 * King of Fighters '94, win quote vs. China.

Clark Steel

 * Go home and enjoy sports!
 * King of Fighters '94, win quote vs. USA.
 * Go home if you fear injury!
 * King of Fighters '94, win quote vs. England.
 * You must be an amateur in war!
 * King of Fighters '94, win quote vs. Japan.
 * China is so mysterious!
 * King of Fighters '94, win quote vs. China.

 * Oh, how I long for real battle. This is just too easy.
 * King of Fighters '95.

Goro Daimon

 * A peaceful world is the best one!
 * King of Fighters '94, win quote vs. Brazil.
 * Keep practicing hard!
 * King of Fighters '94, win quote vs. Italy.
 * A good fighter, as I expected!
 * King of Fighters '94, win quote vs. Mexico.
 * I hate copy cats!
 * King of Fighters '94, win quote vs. Japan.
 * You can become much stronger!
 * King of Fighters '94, win quote vs. China.
 * Life is only training! Training and bowling!
 * King of Fighters '95.

Heavy D!

 * We know all of your attacks.
 * King of Fighters '94, win quote vs. China.
 * You weren't worthy opponents.
 * King of Fighters '94, win quote vs. Brazil.
 * Your fans must be disappointed.
 * King of Fighters '94, win quote vs. Italy.
 * You came across real fighters.
 * King of Fighters '94, win quote vs. USA
 * My punch is invincible.
 * King of Fighters '94, win quote vs. Japan
 * Muscle counts here, girls!
 * King of Fighters '94, win quote vs. England

Heidern

 * To fight, one must know hell!
 * King of Fighters '94, win quote vs. China.
 * You won't last a minute in war!
 * King of Fighters '94, win quote vs. Italy.
 * Kyokugenryu is nothing!
 * King of Fighters '94, win quote vs. Mexico.
 * I can show you hell any time!
 * King of Fighters '94, win quote vs. USA.
 * Nobody can stop my chop!
 * King of Fighters '94, win quote vs. Korea.

 * You can't win against real style like us, bozo.
 * King of Fighters '95.
 * You can't avoid the bite of my steel. Scary, huh?
 * King of Fighters '95.
 * Some fight to win, I fight ot kill. Scary, huh?
 * King of Fighters '95.

Iori Yagami

 * A rose blooms best near death. You're in full bloom, pal!
 * King of Fighters '95.

 * Act like a cherry blossom... And scatter, you pinhead!
 * Versus Mature and Vice, King of Fighters 2002.

 * Do you know what I like best about you? Your screams!
 * SNK vs. Series.

Joe Higashi

 * All of you are just big!
 * King of Fighters '94, win quote vs. USA.
 * Maybe, we were too strong!
 * King of Fighters '94, win quote vs. Mexico.
 * Don't claim to be us, weakling!
 * King of Fighters '94, win quote vs. Italy.
 * Even an army can't beat us!
 * King of Fighters '94, win quote vs. Brazil.
 * Times are changing... Remember!
 * King of Fighters '94, win quote vs. China.

 * You never had a chance against the kick-boxing king!
 * King of Fighters '95.
 * You bring a song to mind. Heard of 'The Loser Blues?'
 * King of Fighters '99.

 * They say you can't buy love, but you'd be surprised how easy it is to rent sometimes.
 * Fatal Fury - The Motion Picture.

K'

 * Put you three together. And you get a bunch of losers.
 * King of Fighters 2002.

 * You just bleed there and think about what you've done!
 * King of Fighters 2002.

 * A killing machine? I'm not a machine. A machine has no heart.
 * King of Fighters XI.

 * My arm's flames still rage... that must mean you need more cookin'!
 * King of Fighters XI.

K9999

 * You will feel my wrath of pain brought on from the inner inner soul of my dog.

Kasumi Todoh

 * Someday, everyone will know Todoh. No, not the dog!
 * To win, believe in yourself. But I think you're hopeless!

Kim Kaphwan

 * Don't make light of Taek-won-do!
 * King of Fighters '94, win quote vs. USA.
 * You get stronger by training.
 * King of Fighters '94, win quote vs. Japan.
 * It's us who will go forward!
 * King of Fighters '94, win quote vs. Brazil.
 * I wanna fight you again!
 * King of Fighters '94, win quote vs. Mexico.
 * I don't forgive you, fraud!
 * King of Fighters '94, win quote vs. Korea.
 * You fought the wrong opponent!
 * King of Fighters '94, win quote vs. England.

 * I fight in the name of justice. Meet my wrath, kimchee breath!
 * King of Fighters '95.

 * Carelessness is an awesome enemy....
 * King of Fighters 2000 (losing phrase).

 * Violence is not the answer. Belief soothes a lost soul.
 * King of Fighters 2000.

 * Strength without justice is simply violence. Got that?
 * King of Fighters 2000.

King

 * Strong. Worthy of your fame.
 * King of Fighters '94, win quote vs. China.
 * Challenge me anytime.
 * King of Fighters '94, win quote vs. Italy.
 * Great power. But that's all.
 * King of Fighters '94, win quote vs. USA.
 * You can't beat a real fighter!
 * King of Fighters '94, win quote vs. England.
 * My kick is matchless!
 * King of Fighters '94, win quote vs. Korea.

Kyo Kusanagi

 * Such is the fate of a fraud!
 * King of Fighters '94, win quote vs. Japan team.
 * Impressive, but I saw it coming!
 * King of Fighters '94, win quote vs. England team.
 * That's the end of the kyokugenryu!
 * King of Fighters '94, win quote vs. Mexico team.
 * My fists are hard to beat!
 * King of Fighters '94, win quote vs. Korea team.
 * My fists are burning!
 * King of Fighters '94, win quote vs. Brazil team.
 * This is too easy!
 * King of Fighters '94, win quote vs. USA team.

 * I must incinerate you completely. Flammable trash is the world's trash!
 * King of Fighters XI, vs. Shen.

 * Just how many clones of me are left? I could make a baseball team out of me!
 * King of Fighters XI, vs. himself.

 * Haven't you heard the expression of dancing too close to the flame...?
 * SNK vs. Series.

Lin

 * My venom works slow... real... slow...
 * If you want to live... you must to risk your life.
 * My venom has no antidote... Death is the only cure...
 * King of Fighters 2000.

Lucky Glauber

 * We are seasoned fighters!
 * King of Fighters '94, win quote vs. USA.
 * My karate was superior, huh?
 * King of Fighters '94, win quote vs. Mexico.
 * We outweigh nuclear arms!
 * King of Fighters '94, win quote vs. Brazil.
 * Are you really the no.1?
 * King of Fighters '94, win quote vs. Japan.
 * Challenge us again any time!
 * King of Fighters '94, win quote vs. England.
 * You are no match for us.
 * King of Fighters '94, win quote vs. China.
 * Much easier than I expected!
 * King of Fighters '94, win quote vs. Korea.
 * We are the strongest!
 * King of Fighters '94, win quote vs. Italy.

Orochi

 * Sanagi o yaburi, chou wa mau.
 * Translation: "Breaking the cocoon, I shall flutter"; introductory quote.

Ralf Jones

 * We risk our necks to fight!
 * King of Fighters '94, win quote vs. Korea team.
 * Fight with your own fists!
 * King of Fighters '94, win quote vs. China team.
 * We were trained in war!
 * King of Fighters '94, win quote vs. Japan team.
 * Don't spoil your pretty face!
 * King of Fighters '94, win quote vs. England team.
 * To claim to be, you have nerve!
 * King of Fighters '94, win quote vs. Brazil team.
 * We are stronger in battles!
 * King of Fighters '94, win quote vs. Italy team.

 * No matter how hard you try, you've hit the wall, loser!
 * King of Fighters '95.
 * You're so bad, I could have killed you 5 times, bozo.
 * King of Fighters '95.
 * You fought like a star; the guy who plays the corpse, that is.
 * King of Fighters '96.

 * Take it easy on chicks? No way! It's the 21st century baby!
 * Versus female characters in King of Fighters 2002.

 * Oh, holy cheese! Butch up, you little hot-house orchid!!!
 * Versus Benimaru in King of Fighters 2002.

Robert Garcia

 * Now it's clear who's stronger!
 * King of Fighters '94, win quote vs. Italy team.
 * 4000 year history? Ha!
 * King of Fighters '94, win quote vs. China team.
 * You'll get hurt! Stop now!
 * King of Fighters '94, win quote vs. England team.

 * You're one of the strongest opponents yet. Not!!!
 * King of Fighters '95.

Ryo Sakazaki

 * We are alike? No way!
 * King of Fighters '94, vs. Mexico team.
 * No match for kyokugenryu!
 * King of Fighters '94, vs. Korea team.
 * We earn our living fighting!
 * King of Fighters '94, vs. Brazil team.
 * Stop or you'll be injured bad!
 * King of Fighters '94, vs. England team.

Saisyu Kusanagi

 * My strength comes from hate, and no chemical substitutes!
 * King of Fighters '95.

Sie Kensou

 * Don't worry! We are too strong!
 * King of Fighters '94, win quote vs. Brazil.
 * Is this the limit of sports?
 * King of Fighters '94, win quote vs. USA.
 * You aren't strong as you look!
 * King of Fighters '94, win quote vs. Korea.
 * Good fight! Let us do it again!
 * King of Fighters '94, win quote vs. Japan.
 * Your reputation is not true!
 * King of Fighters '94, win quote vs. Mexico.

 * I can read you like an open book, moron. Rewrite!
 * King of Fighters '95.

 * I'm no psychic, but I am a psycho!
 * King of Fighters '99.

Takuma Sakazaki

 * You can even be stronger!
 * King of Fighters '94, win quote vs. USA.
 * You can't copy my fighting!
 * King of Fighters '94, win quote vs. Mexico.
 * Always be on the alert!
 * King of Fighters '94, win quote vs. Korea.
 * You did a good job, too...
 * King of Fighters '94, win quote vs. China.
 * Go home now!!
 * King of Fighters '94, win quote vs. England.
 * Jeff'd be crying in heaven.
 * King of Fighters '94, win quote vs. Italy.
 * I was more skilled than you!
 * King of Fighters '94, win quote vs. Brazil.
 * You are still far from us!
 * King of Fighters '94, win quote vs. Japan.

 * The way of kyokugen karate is invincible! Real tough!
 * King of Fighters '95.
 * Come again, slug. Just try to beat me. Nyah, nyah!
 * King of Fighters '95.

Terry Bogard

 * It's going to be our century!
 * King of Fighters '94, win quote vs. China.
 * We aren't famous for nothing!
 * King of Fighters '94, win quote vs. Japan.
 * Can't beat us only by power!
 * King of Fighters '94, win quote vs. USA.
 * Celebs are often Copied.
 * King of Fighters '94, win quote vs. Italy.
 * You've got the wrong members!
 * King of Fighters '94, win quote vs. Korea.

 * You had guts, kid. Now clean them up off the pavement!
 * King of Fighters '95.

 * If you don't have fangs, don't flap your gums!
 * King of Fighters '96.

Yuri Sakazaki

 * Isn't my Bro's team stronger?
 * King of Fighters '94, win quote vs. Italy.
 * Interesting team. But weak!
 * King of Fighters '94, win quote vs. Korea.
 * You regret not including me!
 * King of Fighters '94, win quote vs. Mexico.
 * Soldiers! Cheer up!
 * King of Fighters '94, win quote vs. Brazil.
 * Almost! Get stronger!
 * King of Fighters '94, win quote vs. England.
 * I'm a master of kyokugenryu!
 * King of Fighters '94, win quote vs. Japan.

title: The King of Fighters


text:
Anne Hutchinson

Anne Hutchinson, born Anne Marbury (July 1591 – 20 August 1643), was a Puritan spiritual adviser, mother of 15, and an important participant in the Antinomian Controversy that shook the infant Massachusetts Bay Colony from 1636 to 1638. Her strong religious convictions were at odds with the established Puritan clergy in the Boston area, and her popularity and charisma helped create a theological schism that threatened to destroy the Puritans' religious experiment in New England. She was eventually tried and convicted, then banished from the colony with many of her supporters.

Quotes

 * Better to be cast out of the church than to deny Christ.
 * As quoted in American Criminal Trials Vol. I (1841) by Peleg W. Chandler, p. 26

 * As I do understand it, laws, commands, rules and edicts are for those who have not the light which makes plain the pathway. He who has God's grace in his heart cannot go astray.
 * As quoted in Little Journeys to the Homes of Great Reformers (1907) by Elbert Hubbard.

Trial and Interrogation (1637)

 * Online text

 * I conceive there lies a clear rule in Titus, that the elder women should instruct the younger and then I must have a time wherein I must do it.
 * Referring to Titus 2:1-5 "Speak thou the things which become sound doctrine: That the aged men be sober, grave, temperate, sound in faith, in charity, in patience. The aged women likewise, that they be in behaviour as becometh holiness, not false accusers, not given to much wine, teachers of good things; That they may teach the young women to be sober, to love their husbands, to love their children, To be discreet, chaste, keepers at home, good, obedient to their own husbands, that the word of God be not blasphemed."

 * Do you think it not lawful for me to teach women and why do you call me to teach the court?

 * I shall I not equivocate, there is a meeting of men and women and there is a meeting only for women.

 * One may preach a covenant of grace more clearly than another, so I said. . . But when they preach a covenant of works for salvation, that is not truth.

 * If you please to give me leave I shall give you the ground of what I know to be true. Being much troubled to see the falseness of the constitution of the church of England, I had like to have turned separatist; whereupon I kept a day of solemn humiliation and pondering of the thing; this scripture was brought unto me — he that denies Jesus Christ to be come in the flesh is antichrist — This I considered of and in considering found that the papists did not deny him to be come in the flesh nor we did not deny him — who then was antichrist? . . . The Lord knows that I could not open scripture; he must by his prophetical office open it unto me. . . . I bless the Lord, he hath let me see which was the clear ministry and which the wrong. Since that time I confess I have been more choice and he hath let me to distinguish between the voice of my beloved and the voice of Moses, the voice of John Baptist and the voice of antichrist, for all those voices are spoken of in scripture. Now if you do condemn me for speaking what in my conscience I know to be truth I must commit myself unto the Lord.

 * I will give you another scripture, Jer. 46. 27, 28 — out of which the Lord shewed me what he would do for me and the rest of his servants. — But after he was pleased to reveal himself to me . . . Ever since that time I have been confident of what he hath revealed unto me. . . Therefore I desire you to look to it, for you see this scripture fulfilled this day and therefore I desire you that as you tender the Lord and the church and commonwealth to consider and look what you do. You have power over my body but the Lord Jesus hath power over my body and soul, and assure yourselves thus much, you do as much as in you lies to put the Lord Jesus Christ from you, and if you go on in this course you begin you will I bring a curse upon you and your posterity, and the mouth of the Lord hath spoken it. ..

Quotes about Hutchinson

 * You have spoken divers things as we have been informed very prejudicial to the honour of the churches and ministers thereof, and you have maintained a meeting and an assembly in your house that hath been condemned by the general assembly as a thing not tolerable nor comely in the sight of God nor fitting for your sex...
 * Governor John Winthrop, beginning the interrogation at her trial.

 * She was a woman of haughty and fierce carriage, a nimble wit and active spirit, a very voluble tongue, more bold than a man.
 * Governor John Winthrop

 * Courageous Exponent of Civil Liberty and Religious Toleration
 * Words from the inscription on the statue in front of the State House in Boston, Massachusetts, erected in 1922.

title: Anne Hutchinson


text:
User:Rhobite

See w:en:User:Rhobite.

title: User:Rhobite


text:
User talk:168.102.16.179

Please stop. If you continue to vandalize pages, you will be blocked from editing Wikiquote. Rhobite 02:58, 22 March 2006 (UTC)

title: User talk:168.102.16.179


text:
Russell Baker

Russell Wayne Baker (August 14, 1925 – January 21, 2019) was an American journalist, narrator, writer of Pulitzer Prize-winning satirical commentary and self-critical prose, and author of Pulitzer Prize-winning autobiography Growing Up (1983). He was a columnist for The New York Times from 1962 to 1998 and hosted the PBS show Masterpiece Theatre from 1993 to 2004.

Quotes

 * The cruel law of life is that a solved problem creates two new problems, and the best prescription for happy living is not to solve any more problems than you have to.
 * "The Big Problem Binge," The New York Times (1965-03-18)

 * In America, it is sport that is the opiate of the masses.
 * "The Muscular Opiate," The New York Times (1967-10-03)

 * People seem to enjoy things more when they know a lot of other people have been left out of the pleasure.
 * "The Sport of Counting Each Other Out" The New York Times (1967-11-02)

 * It seems to be a law of American life that whatever enriches us anywhere except in the wallet inevitably becomes uneconomic.
 * Letter to the editor [untitled], The New York Times (1968-03-24)

 * Inanimate objects can be classified scientifically into three major categories: those that don't work, those that break down and those that get lost. The goal of all inanimate objects is to resist man and ultimately to defeat him, and the three major classifications are based on the method each object uses to achieve its purpose. As a general rule, any object capable of breaking down at the moment when it is most needed will do so.
 * "The Plot Against People," The New York Times (1968-06-18)

 * Usually, terrible things that are done with the excuse that progress requires them are not really progress at all, but just terrible things.
 * "The Fact About Progress," The New York Times (1970-02-24)

 * A group of politicians deciding to dump a President because his morals are bad is like the Mafia getting together to bump off the Godfather for not going to church on Sunday.
 * "The Morals Charge," The New York Times (1974-05-14)

 * A railroad station? That was sort of a primitive airport, only you didn't have to take a cab 20 miles out of town to reach it.
 * "Inside the Suit, a Man!," The New York Times (1986-11-05)

 * In America nothing dies easier than tradition.
 * "A Little Bones Trouble," The New York Times (1991-05-14)

So This Is Depravity (1980)
St. Martin's Press, ISBN 0-312-92782-7. This is a collection of newspaper and magazine columns from 1973-1980

 * Being solemn has almost nothing to do with being serious, but on the other hand, you can't go on being adolescent forever, unless you are in the performing arts, and anyhow most people can't tell the difference. In fact, though Americans talk a great deal about the virtue of being serious, they generally prefer people who are solemn over people who are serious. In politics, the rare candidate who is serious, like Adlai Stevenson, is easily overwhelmed by one who is solemn, like General Eisenhower. This is probably because it is hard for most people to recognize seriousness, which is rare, especially in politics, but comfortable to endorse solemnity, which is as commonplace as jogging. Jogging is solemn. Poker is serious. Once you grasp that distinction, you are on your way to enlightenment.
 * "Why Being Serious Is Hard" (p.17)

 * The best thing about being President is that it gets you out of American life. I don't know what the theory is behind this, but it is a fact. The first thing we do with a President is shunt him off to a siding where nothing American can ever happen to him.
 * "The President's Plumbing" (p.19)

 * We watched some of the movie. It was shocking. Sex is apparently hard labor. Various persons supported crushing weights in agonizing positions for what seemed like endless blocks of time. Exhausted men grunted and toiled like movers trying to get a refrigerator into a fifth floor walk-up.
 * "So This Is Depravity" (p.25)

 * Some years back, all the best people came to bipartisan agreement that the most shameful thing a person could do with power was not to use it. Since then everybody who wants to get ahead in Washington has made a great show of being a fierce fellow when left alone in the room with a little power. There seems to be a fear that if there is somebody around so low that it is all right to dump the garbage on him, and you hesitate, everybody will call you a sissy, and you will never be invited to lunch with Professor Kissinger. Strange values result. Great killers are esteemed for good citizenship. "Not afraid to use power," people say of them.
 * "Cultivated Killing" (p.33)

 * I went to the Rayburn Building the other day on trifling business. It was an appalling experience. I had forgotten how preposterous the thing is with its pretentious megatonnage of rock and steel spreading acre after acre down the slope of Capitol Hill in sullen defiance to eternity and man. It dwarfs the forum of the Caesars. Mussolini would have wept in envy. Inside, one is compelled to dwell upon the insignificance of humanity. Not a single tiny wisp of beauty, nothing that is graceful, or charming, or eccentric, or human presents itself to the senses. Trying to imagine Clay and Webster in this celebration to the death of the spirit, erected to the glory that was Congress, is an exercise in comic despair. What do we have? Banks of stainless-steel elevators. Miracles of plumbing. Corridors of cemetery marble stretching to far horizons under the most artificial light millions of dollars can create, a light that abides no shadow, grants no privacy, tolerates nothing that is interesting in the slightest degree. Occasionally a small figure appeared in the distance, grew larger, then larger, then assumed human proportion, then passed and became smaller, and smaller, and smaller. Two ants had passed in a pyramid.
 * "Moods of Washington" (p.36)

 * No less a philosopher than Chief Justice Burger was outraged by Ellsberg's publication of classified documents. They belonged to the Government, Burger reasoned, and Ellsberg had no more right to give them to the people than he would have to filch another man's property off a taxicab seat. The Government, of course, commonly leaks classified documents when it deems publication convenient to manipulate public opinion to its advantage. Only the Government, it seems, has a legal right to manipulate opinion with hot documents.
 * "Moods of Washington" (p.38)

 * Americans don't like plain talk anymore. Nowadays they like fat talk. Show them a lean, plain word that cuts to the bone and watch them lard it with thick greasy syllables front and back until it wheezes and gasps for breath as it comes lumbering down upon some poor threadbare sentence like a sack of iron on a swayback horse. "Facilitate" is typical of the case. A generation ago only sissies and bureaucrats would have said "facilitate" in public. Nowadays we are a nation of "facilitate" utterers. "Facilitate" is nothing more than a gout-ridden, overstuffed "ease." Why has "ease" fallen into disuse among us? It is a lovely little bright snake of a word which comes hissing quietly off the tongue and carries us on, without fuss and French horns, to the object which is being eased. This is English at its very best. Easing is not one of the great events of life; it does not call for Beethoven; it is not an idea to get drunk on, to wallow in, to engage in multiple oleaginous syllabification until it becomes a pompous ass of a word like "facilitate."
 * "American Fat" (p.44)

 * Long words, fat talk — they may tell us something about ourselves. Has the passion for fat in the language increased as self-confidence has waned?
 * "American Fat" (p.46)

 * Can't-do guys do all right in Washington, perhaps because lobbying is the one thing that can't-do guys almost always can do, and magnificently. Detroit may not be able to dispose of exhaust very neatly, but it can build a beautiful lobbying machine for selling Government the story of its own inadequacy. What is it in the Washington air that restores the energies of these once dynamic American manufacturers? Something there is that brings out all the latent half-forgotten ingenuity that seems to have abandoned them back in the home plant.
 * "The Can't-Do Guys" (p.47)

 * Americans treat history like a cookbook. Whenever they are uncertain what to do next, they turn to history and look up the proper recipe, invariably designated "the lesson of history."
 * "All Right, Jerry, Drop the Cookbook" (p.47)

 * Urban people, of course, are terribly scared nowadays. They may yearn for society, but it is risky to go around talking to strangers, for a lot of reasons, one being that people are so accustomed not to have many human contacts that they are afraid they may find out they really prefer life that way.
 * "Small Kicks in Superland" (p.56)

 * Watergate left Washington a city ravaged by honesty.
 * "Honestly" (p.69)

 * The odd thing is not that we are in the business of overthrowing other people's governments, but that we can still be surprised when somebody reminds us of it. In Asia, in Latin America, Africa, the Mediterranean and the Middle East we have been propping up and knocking down governments more or less openly for the past twenty-five years. It is an established policy. Everybody knows it. It is supposed to be done covertly, which is only sensible if you hope to succeed since publicity in matters of this sort can only make the natives restless and defeat the project. Imagine the chauvinistic rallying around President Nixon that would have occurred if Canada, say, had announced that her agents were going to destabilize United States society so that discontented Americans could heave the Nixon Administration out of office.
 * "Our Uncle Is Now Dorian Sam" (p.93)

 * Old people at the supermarket make you wonder about all those middle-aged people you see jogging the streets to preserve their vascular systems for another fifty years. And about all the people of all ages all over the country who are eating less, drinking less, smoking less, driving safer and in general looking for a death-proof safety suit to get them over the peak years and down into the valley of old age fit to enjoy the fruits of their abstention and labor. Will anybody care when they get there? Will they be able to afford an orange?
 * "The Aged, Shopping" (p.96)

 * I frankly admit to not knowing who I am. This is why I refuse to buy clothes that will tell people who I want them to think I am.
 * "Talking Clothes" (p.109)

 * This may be why New Yorkers instinctively avoid making eye contact with each other in crowded places, why they "look right through you," as dismayed visitors often complain. They are not looking right through you at all; they are discreetly avoiding an intrusion into your space. They sense the danger in a place where a one-degree temperature rise can mean an explosion.
 * "Spaced In" (p.120)

 * Early in life, most of us probably observe an unhappy relationship between labor and wealth — to wit, the heavier the labor, the less the wealth. The man doing heavy manual work makes less than the man who makes a machine work for him, and this man makes less than the man sitting at a desk. The really rich people, the kind who go around on yachts and collect old books and new wives, do no labor at all. The economic reasons for dividing the money this way are clear enough. One, it has always been done that way; and two, it's too hard to change at this late date. But the puzzling question is why, since the money is parceled out on this principle, young people are constantly being pummeled to take up a life of labor. In any sensible world, the young would be told they could labor if they wanted to, but warned that if they did so it would cost them.
 * "Lost Labor Love" (p.170)

 * The Government cannot afford to have a country made up entirely of rich people, because rich people pay so little tax that the Government would quickly go bankrupt. This is why Government men always tell us that labor is man's noblest calling. Government needs labor to pay its upkeep.
 * "Lost Labor Love" (p.172)

 * The young cult of sociology, needing a language, invented one. There are many dead languages, but the sociologists' is the only language that was dead at birth.
 * "Come Back, Dizzy" (p.187)

 * While it is very sturdy of comfortable men to point out that life is unfair, the people it is unfair to are not apt to be morally or philosophically elevated by the announcement. If you are going to preach that unfairness is inescapable for some, good sense suggests that you also accept the inevitability of beastly behavior by people who have to carry the burden.
 * "The Unfairness of It All" (p.193)

 * I am unclear what a "role model" is, but those who used the term seemed to be saying that teachers are people children tend to emulate. In any event, many Miamians must have thought their children would become homosexual if subjected to homosexual teachers. That prompted me to ponder teachers I haven't seen, and scarcely thought about, for decades, and for the first time I reflected on how their sex lives had affected my own. My first thought was that it was curious, perhaps perverse, that I have not turned out to be a spinster.
 * "Role Models" (p.202)

 * There is no business like show business, Irving Berlin once proclaimed, and thirty years ago he may have been right, but not anymore. Nowadays almost every business is like show business, including politics, which has become more like show business than show business is.
 * "The Face Game" (p.215)

 * By any precise definition, Washington is a city of advanced depravity. There one meets and dines with the truly great killers of the age, but only the quirkily fastidious are offended, for the killers are urbane and learned gentlemen who discuss their work with wit and charm and know which tool to use on the escargots. On New York's East Side one occasionally meets a person so palpably evil as to be fascinatingly irresistible. There is a smell of power and danger on these people, and one may be horrified, exhilarated, disgusted or mesmerized by the awful possibilities they suggest, but never simply depressed. Depression comes in the presence of depravity that makes no pretense about itself, a kind of depravity that says, "You and I, we are base, ugly, tasteless, cruel and beastly; let's admit it and have a good wallow." That is how Times Square speaks. And not only Times Square. Few cities in the country lack the same amenities. Pornography, prostitution, massage parlors, hard-core movies, narcotics dealers — all seem to be inescapable and permanent results of an enlightened view of liberty which has expanded the American's right to choose his own method of shaping a life. Granted such freedom, it was probably inevitable that many of us would yield to the worst instincts, and many do, and not only in New York. Most cities, however, are able to keep the evidence out of the center of town. Under a rock, as it were. In New York, a concatenation of economics, shifting real estate values and subway lines has worked to turn the rock over and put the show on display in the middle of town. What used to be called "The Crossroads of the World" is now a sprawling testament to the dreariness which liberty can produce when it permits people with no taste whatever to enjoy the same right to depravity as the elegant classes.
 * "Cheesy" (p.231)

 * All politicians are humble, and seldom let you forget it. They go around the country boasting about their humility. They are proud of their humility. Many are downright arrogant about their humility and insist that it qualifies them to be President.
 * "The Big Town" (p.283)

 * One may speculate whether the contemporary idea of American society in decay is not a false notion which has been created, at least partially, by this old movie portrait of a society that was once stable, orderly and governed by the immutable justice of the Hollywood censorship code. This is the ever-popular myth of a golden age which persuades so many generations that there was once a wonderful moment in the past when the world was sound and good people ruled and evil was justly punished. After Camelot came chaos and despair, except, of course, that Camelot never existed, any more than the world portrayed by those old Hollywood films existed.
 * "Golden Oldies" (p.293)

Growing Up (1982)
Signet, ISBN 0-451-16838-0.

 * Life was combat, and victory was not to the lazy, the timid, the slugabed, the drugstore cowboy, the libertine, the mushmouth afraid to tell people exactly what was on his mind whether people liked it or not.
 * "Chapter 1" (p.9)

 * Children rarely want to know who their parents were before they were parents, and when age finally stirs their curiosity there is no parent left to tell them.
 * "Chapter 1" (p.13)

 * He looked upon the time that had been my future in a disturbing way. My future was his past, and being young, he was indifferent to the past.
 * "Chapter 1" (p.14)

 * So far as I could make out, what writers did couldn't even be classified as work.
 * "Chapter 2" (p.26)

 * Unaware of history's higher significance, I slumbered through the bliss of infancy, feeling no impulse whatever to make something of myself.
 * (p.43)

 * Listen here, Buddy, the dead don't come back. You never have to worry about the dead hurting you. It's the living you've got to worry about in this world. (Lucy Baker, Russell Baker's mother, to Russell).
 * (p.77)

 * At the age of five I had become a skeptic and began to sense that any happiness that came my way might be the prelude to some grim cosmic joke.
 * "Chapter 5" (p.81)

There's a Country in My Cellar (1990)
William Morrow and Company, ISBN 0-380-71451-5. This is a collection of newspaper and magazine columns from 1963 to 1989

 * Of all the people insistently expressing their mental vacuity, none has a better excuse for an empty head than the newspaperman: If he pauses to restock his brain, he invites onrushing headlines to trample him flat.
 * "Introduction" (p.14)

 * You talk a great deal about building a better world for your children, but when you are young you can no more envision a world inherited by your children than you can conceive of dying. The society you mold, you mold for yourself. It was this way with my generation. We were unhappy with what we inherited and we tried to reshape it in ways that would make it more tolerable to us. You were not uppermost in our thoughts. Now, in middle age, some of us are trying to rewrite history. Some of us tell you, "We labored and dared and sacrificed — all for you — yet we hear no thanks." You will not be unduly moved, I hope, by these laments. They are sentimental cries from persons so attached to the society they have rebuilt that they cannot bear the thought of seeing it overhauled by new proprietors.
 * "The Becoming Looseness of Doom" (p.79)

 * The old notion that brevity is the essence of wit has succumbed to the modern idea that tedium is the essence of quality.
 * "Getting on with It" (p.103)

 * In televisionland we are all sophisticated enough now to realize that every statistic has an equal and opposite statistic somewhere in the universe. It is not a candidate's favorite statistic per se that engages us, but the assurance with which he can use it. We are testing the candidates for self-confidence, for "Presidentiality" in statistical bombardment. It doesn't really matter if their statistics be homemade. What settles the business is the cool with which they are dropped. And so, as the second half hour treads the decimaled path toward the third hour, we become aware of being locked in a tacit conspiracy with the candidates. We know their statistics go to nothing of importance, and they know we know, and we know they know we know. There is total but unspoken agreement that the "debate," the arguments which are being mustered here, are of only the slightest importance. As in some primitive ritual, we all agree — candidates and onlookers — to pretend we are involved in a debate, although the real exercise is a test of style and manners. Which of the competitors can better execute the intricate maneuvers prescribed by a largely irrelevant ritual? This accounts for the curious lack of passion in both performers. Even when Ford accuses Carter of inconsistency, it is done in a flat, emotionless, game-playing style. The delivery has the tuneless ring of an old press release from the Republican National Committee. Just so, when Carter has an opportunity to set pulses pounding by denouncing the Nixon pardon, he dances delicately around the invitation like a maiden skirting a bog. We judge that both men judge us to be drained of desire for passion in public life, to be looking for Presidents who are cool and noninflammable. They present themselves as passionless technocrats using an English singularly devoid of poetry, metaphor and even coherent forthright declaration. Caught up in the conspiracy, we watch their coolness with fine technical understanding and, in the final half hour, begin asking each other for technical judgments. How well is Carter exploiting the event to improve our image of him? Is Ford's television manner sufficiently self-confident to make us sense him as "Presidential"? It is quite extraordinary. Here we are, fully aware that we are being manipulated by image projectionists, yet happily asking ourselves how obligingly we are submitting to the manipulation. It is as though a rat running a maze were more interested in the psychologist's charts on his behavior than in getting the cheese at the goal line.
 * "And All of Us So Cool" (p.340)

 * President Reagan brought us to the ultimate: America As Total Television. During his governance the printed word simply ceased to matter. White House dynamos had once telephoned newspapers to complain about unfair reporting. Not anymore. Now they telephoned network bosses. Even then it wasn't poor reporting they complained about, but poor pictures. A network reporter who thought her report on shortcomings in Reaganland would anger the President's cadres was amazed when the man in charge of propaganda thanked her for doing them a good turn. But, she said, that was a tough piece of reporting. Oh, the words may have been, said the gentleman, but on television words didn't matter. What mattered were pictures. And the pictures had been wonderful.
 * "'Star Wars' Mania" (p.346)

 * Most English speakers do not have the writer's short fuse about seeing or hearing their language brutalized. This is the main reason, I suspect, that English is becoming the world's universal tongue: English-speaking natives don't care how badly others speak English as long as they speak it. French, once considered likely to become the world's lingua franca, has lost popularity because those who are born speaking it reject this liberal attitude and become depressed, insulted or insufferable when their language is ill used.
 * "Introduction to 'We're Losing Contact, Captain'" (p.353)

 * Life seemed to be an educator's practical joke in which you spent the first half learning and the second half learning that everything you learned in the first half was wrong.
 * "Back to the Dump" (p.414)

title: Russell Baker


text:
User:Dbtfz~enwikiquote

New to Wikiquote. My initial objective is to get the hang of things here, and clean up and expand the Dennis Miller page.

Pages of interest:
 * Guide to layout

title: User:Dbtfz~enwikiquote


text:
User talk:70.124.110.54

Wikiquote exists for the collecting of notable quotations of famous people and famous works. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 05:18, 22 March 2006 (UTC)

title: User talk:70.124.110.54


text:
User:Tawker

 * 1) REDIRECT

title: User:Tawker


text:
User talk:Gepvun~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 07:58, 22 March 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
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Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

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

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:47, 19 April 2015 (UTC)

title: User talk:Gepvun~enwikiquote


text:
User talk:Missnotsoperfect

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 07:58, 22 March 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Missnotsoperfect


text:
User talk:Ikkicho~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 07:58, 22 March 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:25, 17 March 2015 (UTC)

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

title: User talk:Ikkicho~enwikiquote


text:
User talk:WashWest

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 07:58, 22 March 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
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 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:WashWest


text:
User talk:BaldvinTh

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 07:58, 22 March 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
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 * Be bold.

title: User talk:BaldvinTh