text:
User talk:Ponzoid~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 06:09, 16 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

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

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:54, 19 April 2015 (UTC)

title: User talk:Ponzoid~enwikiquote


text:
User talk:MizuLuvsU

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 06:18, 16 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

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

title: User talk:MizuLuvsU


text:
User talk:Leatherwing~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 06:18, 16 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

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

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

title: User talk:Leatherwing~enwikiquote


text:
Natural Born Killers

Natural Born Killers is a 1994 black comedy/drama film about two victims of traumatized childhoods who became lovers and psychopathic serial murderers irresponsibly glorified by the mass media.
 * Directed by Oliver Stone. Written by Oliver Stone, Quentin Tarantino, David Veloz, and Richard Rutowski.

The Media Made Them Superstars.taglines

Mickey Knox

 * You know, the only thing that kills the demon... is love.

Dwight McClusky

 * In all my days in the penal system — and that ain't no small number of days, is it, boys? [guards shake their heads] Mickey and Mallory Knox are without a doubt the most twisted depraved pair of shitfucks it has ever been my displeasure to lay my god fucking damn eyes on. I tell you these two motherfuckers are a walking reminder of just how fucked up this system really is.
 * Dwight McClusky. Welcome to hell.

The Navajo Man

 * Once upon a time, a woman was picking up firewood. She came upon a poisonous snake frozen in the snow. She took the snake home and nursed it back to health. One day the snake bit her on the cheek. As she lay dying, she asked the snake, "Why have you done this to me?" And the snake answered, "Look, bitch, you knew I was a snake."

Dialogue

 * Mallory: Wherever we go, whatever happens, Mickey, when I look up at the stars, I'll know you'll be lookin' up at the same ones.
 * Mickey: Same ones, baby.
 * Mallory: You make every day feel like kindergarten.

 * Mickey: Whole world's comin' to an end, Mal.
 * Mallory: I see angels, Mickey. They're comin' down for us from heaven. And I see you ridin' a big red horse, and you're driving them horses, whippin' 'em, and the're spitting and frothing all 'long the mouth, and the're coming right at us. And I see the future, and there's no death, 'cause you and I, we're angels...
 * Mickey: That is poetry. Damn. I love you, Mal.
 * Mallory: I know you do baby, and I've loved you since the day we met.

 * Boy 1: Mickey and Mallory are the best thing to happen to mass murder since Manson.
 * Boy 2: Yeah! But... they're way cooler!

 * Reporter: Do you have anything to say to your fans?
 * Mickey: You ain't seen nothing yet.

 * Wayne Gale: I have a television show, and every couple of weeks we do, you know, as part of our thing on current America we do a-a profile on a different serial killer.
 * Mickey: Technically mass murderer.
 * Wayne Gale: Whatever you want. Anyway, the episode we did on Mickey and Mallory was one of the most popular.
 * Mickey: Ever did one on John Wayne Gacy?
 * Wayne Gale: Eh... Yeah. Yeah.
 * Mickey: Who got the higher rating?
 * Wayne Gale: You blew him away.
 * Mickey: What about that crazy motherfucker, Ted Bundy?
 * Wayne Gale: Oh, that crazy guy? No, you- you got the larger Nielsen share. You're big. Yes, yes.
 * Mickey: Good.
 * Wayne Gale: Yes. What I want to get...
 * Mickey: What about Manson?
 * Wayne Gale: [pause] Manson beat you.
 * Mickey: It's pretty hard to beat the king.

 * Wayne Gale: We are talking about nothing less than television history. The first sit-down interview with the most charismatic serial killer ever. This is Wallace and Noriega. This is Elton John confessing his bisexuality to Rolling Stone. This is the fucking Nixon-Frost interviews. Time's running out, mate. What's the answer?
 * Mickey: I say go for it.

 * Mickey: But I came to the direction I need a gun. So, the next day I started off early for work, and I'm gonna stop by a gun shop and pick up a little home protection. I walked into the place and had never seen so many guns in all my life. So, I'm looking around, then this really nice sales guy comes up to me. His name was Warren. I'll never forget his name. He was really nice. Anyway, Warren showed me all these different models of guns. Magnums, automatics, pistols, Walters. And I ask to see a shotgun. He brings me a Mossberg pump action shotgun. As soon as I held that baby in my hands, I knew what I was gonna do. It felt so good. It felt like it was a part of me. They had a mirror in the store. I looked at myself holding it, and looked so fucking good, I immediately bought it. Bought a bunch of boxes of ammo. Turned my car around, drove to Mallory's house, we took care of Mallory's parents, packed up the car, and we were off. Everybody thought I'd gone crazy. The cops, my mom, everybody. But you see, they all missed the point of the story. I wasn't crazy. But when I was holding the shotgun, it all became clear. I realized for the first time my one true calling in life.
 * Wayne Gale: What's that?
 * Mickey: Shit, man ... I'm a natural born killer.

 * Wayne Gale: So tell me. How can you look at an ordinary person, an innocent guy with kids, and then shoot him to death? I mean, how can you bring yourself to do that?
 * Mickey: Innocent? Who-who's innocent, Wayne? Are you innocent?
 * Wayne Gale: I'm innocent? Yes, I am. Of murder? Definitely.
 * Mickey: It's just murder. All God's creatures do it. You look in the forests and you see species killing other species, our species killing all species including the forests, and we just call it industry, not murder. But I know a lot of people who deserve to die.
 * Wayne Gale: Why do they deserve to die?
 * Mickey: I believe they got something in their past, some sin, some awful secret thing. A lot of people walking around out there already dead. They just need to be put out of their misery. That's where I come in. Fate's messenger.

 * Wayne Gale: You just said an instant of purity was preferable to a lifetime of lies. I don't understand. What's so pure about forty-eight dead bodies?
 * Mickey: You'll never understand. Me and you, Wayne, we're not even the same species. I used to be you; then I evolved. From where you're standing, you're a man. From where I'm standing, you're an ape. You're not even an ape. You're a media person. Media's like the weather, only it's man-made weather. Murder? It's pure. You're the one made it impure. You're buying and selling fear. You say "why?" I say "why bother?"

 * Napalatoni: Warden!
 * Dwight McClusky: Yes! What is it, Natapundi?
 * Napalatoni: Napalatoni!
 * Dwight McClusky: I DON'T CARE WHAT YOUR FUCKING NAME IS!
 * Napalatoni: Mickey and Mallory Knox are loose, Scagnetti's dead, and they're live on national TV!
 * Dwight McClusky: LIVE ON NATIONAL TV? JESUS HAROLD CHRIST ON A FUCKING RUBBER CRUTCH, IS THIS HAPPENING TO ME?

 * Son: What the hell is that?
 * Father: A bitch out of hell, son. Take a run at her kiddo!

 * Dwight McClusky: Just how far do you think you're gonna get?
 * Mickey: Right out the front door!
 * Dwight McClusky: THAT WILL NEVER HAPPEN!
 * Mickey: It IS happenin'.
 * Dwight McClusky: I will personally hunt you down, blow the head off your fucking whore wife, AND PLANT YOUR SICK ASS IN THE GROUND ALL BY MYSELF!
 * Mickey: Another day, perhaps, but not today!

 * Wayne Gale: So tell me Mickey? Any regrets? I mean, three weeks, fifty people killed... not too cool Mickey.
 * Mickey: Fifty-two, but I don't a lot of time with regret. That's a wasted emotion.
 * Wayne Gale: Seriously you must have some regret. Rack your brain.
 * Mickey: Well, I wish that Indian hadn't got killed.
 * Mallory: Bad, bad, bad, bad, bad!
 * Wayne Gale: [looks at some files] One of your last victims.
 * Mickey: Man had a rattlesnake in the corner...

 * [Mickey and Mallory are about to kill Wayne Gale]
 * Mickey: This is not about you, you egomaniac. I kinda like you. But if we let you go, we'd be just like everybody else. Killing you and what you represent is a statement.
 * Wayne Gale: [pleading] I thought a bond developed between us!
 * Mickey: No. Not really. You're scum, Wayne; you did it for ratings. You don't give a shit about us or anybody else except yourself; that's why nobody gives a shit about you. That's why "helicopters" were not "deployed".

 * Wayne Gale: Wait! Don't Mickey and Mallory always leave one person alive to tell the tale?
 * Mallory: We are...
 * Mickey and Mallory: [in unison] Your camera!

 * Mallory: [pinned down by the cops] You know what I say? I say... to hell with going back to our cells. Let's go out there, and run down the stairs, and go out in a hail of bullets. And then we'll die! And then we'll really be free.
 * Mickey: That's poetry. But we'll do that when all else fails.

Taglines

 * The Media Made Them Superstars.
 * In the media circus of life, they were the main attraction.
 * A bold new film that takes a look at a country seduced by fame, obsessed by crime and consumed by the media.

Cast

 * Woody Harrelson - Mickey Knox
 * Juliette Lewis - Mallory Knox
 * Tom Sizemore - Detective Jack Scagnetti
 * Tommy Lee Jones - Warden Dwight McClusky
 * Robert Downey, Jr. - Wayne Gale
 * Rodney Dangerfield - Ed Wilson, Mallory’s father
 * Edie McClurg - Mrs. Wilson
 * Sean Stone - Kevin Wilson
 * Russell Means - Warren Red Cloud, Sr. aka The Navajo Man
 * Lanny Flaherty - Earl
 * Evan Handler - David
 * Balthazar Getty - Gas station attendant
 * Richard Lineback - Sonny
 * Kirk Baltz - Roger
 * Steven Wright - Dr. Emil Reingold
 * Pruitt Taylor Vince - Deputy Warden Kavanaugh
 * Joe Grifasi - Deputy Sheriff Duncan Homolka
 * Everett Quinton - Deputy Wurlitzer
 * Marshall Bell - Deputy
 * Peter Crombie - Intense cop
 * Grand L. Bush - Prison inmate
 * Louis Lombardi - Deputy "Sparky"
 * Dale Dye - Dale Wrigley
 * Corey Everson - Mallory Knox in TV reconstruction
 * O-Lan Jones - Mabel

title: Natural Born Killers


text:
User talk:Abhiyadav~enwikiquote

Marathi Proverbs

1. "Naachata yeina angan wakade" Literally: One who don't know how to dance, is complaining that stage is not good. Implied Meaning: Person who gives unrealistic reasons/causes for not doing something.

Welcome
Hi. Welcome to English Wikiquote. Enjoy!
 * 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.

By the way, you might want to move quotes and other personal material to your user page, User:Abhiyadav, as that's where people normally expect to find it. User talk pages are reserved for communication between users. User page has more information on how these work. ~ Jeff Q (talk) 10:02, 17 January 2007 (UTC)

Your account will be renamed
Hello,

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

Unfortunately, your account clashes with another account also called Abhiyadav. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Abhiyadav~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 23:16, 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) 05:40, 19 April 2015 (UTC)

title: User talk:Abhiyadav~enwikiquote


text:
User talk:212.219.83.101

An editor using this IP address added several nonsense "quotes" and other apparent test edits to several articles in short order. Please use the sandbox, not Wikiquote articles, for test-editing. Thank you for your cooperation. ~ Jeff Q (talk) 12:09, 16 January 2007 (UTC)

title: User talk:212.219.83.101


text:
E. Lee Spence

Edward Lee Spence (born 1947) is a German-born American underwater archaeologist and shipwreck historian.

Sourced

 * Historical research is my drug of choice.
 * from 'About the Author' by Charles King, Treasures of the Confederate Coast: the 'Real Rhett Butler' & Other Revelations by Dr. E. Lee Spence (Narwhal Press, Charleston/Miami, 1995), p. 517.

 * Hours of research can cut months of field work.
 * Full quote: In today's world, time is the most expensive part of an expedition. Man hours spent in the archives can cut hundreds of thousands of dollars worth of time from the field phase of most projects.
 * from 'About the Author' by Charles King, Treasures of the Confederate Coast: the 'Real Rhett Butler' & Other Revelations by Dr. E. Lee Spence (Narwhal Press, Charleston/Miami, 1995), p. 517.

 * I've found it! I've found the Hunley. (Best selling author Nancy Roberts writes: Filled with excitement, and a certain lack of caution, Spence shot up to the surface, shouting to the men in the boat, 'I've found it! I've found the Hunley.' The location of the Confederate submarine H. L. Hunley (first submarine in history to sink an enemy ship) had been a mystery for over one hundred years. In 1978, the Hunley was placed on the United States National Register of Historic Places as a result of Spence's discovery. The wreck was raised in 2000. Her crew was still inside.)
 * from Ghosts From the Coast by Nancy Roberts, University of North Carolina Press, (Chapel Hill & London, 2001, ISBN 0-8078-2665-0, p. 94.

 * First understand infinity then you will understand God and how evolution is intelligent design.
 * from 'An Interview with Dr. E. Lee Spence' by Aaron Harding,Journal of the Sea Research Society, Volume 5, #3, p. 24.

 * As a child, everyone dreams of finding treasure. There’s romance and drama. But as an adult most people aren’t going to spend their lives trying to find it.
 * Diving Into Sunken-Treasure Investing, CNBC Special Report by Shelly K. Scwartz, Published: October 18, 2010.

 * Rocks are like wreck magnets and ships run aground today in pretty much the same locations and for the same reasons they did thousands of years ago.
 * Concordia Not the First Sunk by Treacherous Reef, Discovery News, by Rossella Lorenzi, Tue Feb 7, 2012 03:43 PM ET.

 * Genius is the ability to look at things simply.
 * Full quote: Because of all of the shipwrecks I have discovered, people have called me a genius, but the truth is, finding wrecks isn't all that complicated. Get rid of your perceived notions, narrow everything down to the basic facts, and then just follow basic logic. Don't over complicate matters as, genius is the ability to look at things simply. Remember that and you will find the shipwrecks and their treasure.
 * from interview of Dr. E. Lee Spence by R. Lunsford, published in Shipwrecks magazine, Volume 1, Issue #4, December, 1989, p. 94

title: E. Lee Spence


text:
User talk:71.246.30.41

- InvisibleSun 13:22, 16 January 2007 (UTC)

title: User talk:71.246.30.41


text:
User talk:70.19.88.122

- InvisibleSun 13:33, 16 January 2007 (UTC)

title: User talk:70.19.88.122


text:
User talk:72.28.142.80

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 13:58, 16 January 2007 (UTC)

~ UDScott 20:39, 16 January 2007 (UTC)

title: User talk:72.28.142.80


text:
User talk:204.218.240.61

- InvisibleSun 14:12, 16 January 2007 (UTC)

title: User talk:204.218.240.61


text:
User talk:72.65.129.129

Please stop adding nonsense to Wikiquote, as you did to Invader Zim. It is considered vandalism. If you would like to experiment, use the sandbox. —LrdChaos (talk) 14:13, 16 January 2007 (UTC)

title: User talk:72.65.129.129


text:
Ernst Badian

Ernst Badian (August 8, 1925 – February 1, 2011) was an Austrian-born classical scholar who served as a professor at Harvard University from 1971 to 1998.

Quotes

 * Philip II, at least from the time of his victory over Phocis, Athens, and their allies in 346, prepared to proclaim himself the champion of a United Greece against the barbarians.
 * Cambridge History of Iran, p. 421

 * After fighting, scheming and murdering in pursuit of the secure tenure of absolute power, he found himself at last on a lonely pinnacle over an abyss, with no use for his power and security unattainable. His genius was such that he ended an epoch and began another - but one of unceasing war and misery, from which exhaustion produced an approach to order after two generations and peace at last under the Roman Empire. He himself never found peace. One is tempted to see him, in medieval terms, as the man who sold his soul to the Devil for power: the Devil kept his part of the bargain but ultimately claimed his own. But to the historian, prosaically such allegory, we must put it differently: to him, when he has done all the work - work that must be done, and done carefully - of analysing the play of faction and the system of government, Alexander illustrates with startling clarity the ultimate loneliness of supreme power.
 * Studies in Greek and Roman History, Alexander the Great and the Loneliness of Power, 1964 p. 204

title: Ernst Badian


text:
User talk:199.235.123.238

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 15:10, 16 January 2007 (UTC)

title: User talk:199.235.123.238


text:
Talk:Urban decay

—LrdChaos (talk) 15:25, 26 January 2007 (UTC)

How to focus?
How can we better focus this theme page?Futurebird 17:55, 16 January 2007 (UTC)

Removed some quotes that aren't about urban decay
I've removed many of the quotes from this page, as they aren't really about urban decay in any direct and/or general sense. You may disagree, but please consider my explanations before simply re-adding them to the page.

 * FORD TO CITY: DROP DEAD.
 * New York Daily News, Headline, October 30, 1975.
 * This quote only applies to New York, and without some extra reading it doesn't make any sense. In the 1970s, New York City was in the midst of a severe financial crisis, and then-President Ford announced his intention to veto any bill that would provide relief funding to the city. It has nothing to do with the larger theme of urban decay, only that the federal government would not help New York City in this case.

 * There it is, ladies and gentlemen: The Bronx is burning.
 * Howard Cosell, live television announcer, Game Two of the 1977 World Series, when a fire broke out near Yankee Stadium in the South Bronx.
 * In the South Bronx, the average number of people per engine is over 44,000. In Staten Island, it's 17,00. There is no standard for manning areas of multiple dwellings as opposed to one- and two family residences.
 * Chief X, a battalion chief from the New York City Fire Department interviewed in the BBC-TV special "The Bronx is Burning," in 1976.
 * Cosell's quote doesn't really seem to apply to the larger theme, and although Wikipedia does say "Historians of New York City frequently point to Cosell's remark as a sign of both the city and the borough's descent into anarchy during times of widespread vice," I don't believe that the quote can, even with some explanation, sufficiently and obviously represent urban decay (especially since the phrase, as originally used, applied to series of arsons in the '60s and '70s, which were but a symptom of the large urban decay in NYC). The quote from the BBC special (named for the quote), doesn't really apply to urban decay either. Again, it's highly specific to New York City, and also to the fire department coverage of certain areas of the city, and lacks any direct and obvious connection to urban decay (it might represent the city's view of the Bronx at that point in time, and the Bronx may have been in a state of urban decay, but I find this far too indirect).

 * A great wind swept over the ghetto, carrying away shame, invisibility and four centuries of humiliation. But when the wind dropped people saw it had been only a little breeze, friendly, almost gentle.
 * Jean Genet, said of the rise and fall of the Black Panthers in Prisoner of Love 1986.
 * Not sure how this only applies to urban decay; the context line acknowledges that it's about the ride and fall of the Blank Panthers. While you could probably make a convincing argument that the Black Panthers formed and gained momentum from amount blacks living in decaying urban areas, it's too much of a stretch between the quote and the theme.

 * A riot is the language of the unheard.'
 * Martin Luther King, Jr.
 * This quote applies to any group which is "unheard", regardless of the state of the city they might live in. While rioting is something that might be associated with urban decay, it's not caused by urban decay and the link here is too tenuous.

 * I asked myself, “Where are the contemporary ruins? Where are the ruins in progress? Where are our once great cites that are being abandoned as these ones were?”
 * This quote seems to be exactly opposite the theme, and almost seems to say that urban decay isn't really a problem. The question appears to be asking "where are the modern ruins" that could compare to the ancient ones; but by raising that question, it seems that there's no obvious answer, which I take to mean that the questioner couldn't find any examples of where cities have fallen into ruin. Perhaps this is taken out of context, but without a source it's impossible to say.

 * Ogling ruins is way of meditating on our own inevitable deaths, and also, one assumes, of acknowledging our own hubris and that of our own civilizations. A humbling reminder that, yes, it all does return to dust, no matter how tall, massive or impregnable the buildings might be. There is, I admit, impressive survival — the tombs of Egypt — but it’s all for nothing in the end. The collapse, one senses, is always inevitable, despite leaders’ claims to eternal good and greatness.
 * This seems to apply to a different theme, namely that of ruins. I can't find any direct connection between the quote and the theme, other than that it mentions that even modern buildings will become ruins, but this isn't really a statement about urban decay, just that civilizations come and go and they leave behind ruins.

 * Even while you read this whole square miles of identical boxes are spreading like gangrene . . . developments conceived in error, nurtured by greed, corroding everything they touch.
 * John Keats, The Crack in the Picture Window (1956)
 * This doesn't apply to urban decay, in my reading; it applies to urban/suburban sprawl, where there is growth that's spreading out over everything.

I also have doubts about the connection of the Bunting quote (about redlining) to the theme, but I've left that in as it seems to be enough. However, I'd like to find out the context of his statement, and any remarks that surrounded it, because it's entirely possible that his quote had nothing to do with urban decay. —LrdChaos (talk) 15:42, 26 January 2007 (UTC)

title: Talk:Urban decay


text:
User:Futurebird

I flew over from wikipedia! Can't wait to help.

http://www.futurebird.com

title: User:Futurebird


text:
User talk:Qwerty~enwikiquote

~ UDScott 18:02, 16 January 2007 (UTC)

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 10:03, 17 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

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

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

title: User talk:Qwerty~enwikiquote


text:
User talk:John Paul Robinson~enwikiquote

~ UDScott 18:10, 16 January 2007 (UTC)

Due to continued personal attacks and vandalism, this user has been blocked from editing for one month. ~ UDScott 18:23, 16 January 2007 (UTC)

Your account will be renamed
Hello,

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

Unfortunately, your account clashes with another account also called John Paul Robinson. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name John Paul Robinson~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) 05:50, 19 April 2015 (UTC)


text:
User talk:209.7.4.147

~ UDScott 18:47, 16 January 2007 (UTC)

~ UDScott 19:09, 12 May 2008 (UTC)

title: User talk:209.7.4.147


text:
Fernando Alonso

Fernando Alonso Díaz (born on July 29, 1981) is a Spanish Formula One racing driver and two-time world champion. He won his first World Driver's Championship title at the age of 24 years and 59 days, thus breaking Emerson Fittipaldi's record of being the youngest F1 champion.

Sourced

 * It has been a fantastic weekend and now I probably need some time to believe I'm champion again. I'm 25 years old and I've won two drivers' championships and two constructors' titles with Renault. With this being my last race for Renault after five years with them, what a fantastic way to finish my relationship. I will have these memories all my life, winning both titles, the emotion, the atmosphere in the garage. We grew up together and now we have won both championships in two consecutive years. The years I have had with Renault, I will never forget. To finish the last race the way we have is something you never dream of. You never even try to dream of it because it's always more than what you expected.
 * About leaving the Renault team (October 23, 2006)

 * It was fantastic to fight with Michael, a privilege for me. I said in 2005 that it was important to become Champion when Michael was still there, for the value and the recognition that people outside the sport would give to the championship. But people said we did not fight directly in 2005; this year, it was me versus Michael all year. The history books will say that the last two Championships he raced in were won by Alonso, and that makes me very proud. It was a pleasure to compete against him.
 * About racing against, and beating, Michael Schumacher (December 13, 2006)

 * What I have felt at McLaren is good professionalism, a team that is very determined and focused on the championship. There is a new atmosphere within the team, and I saw that when I went to the factory and met all the people. They are so excited. They really think that after a few years without success, this is the year to come back. No-one has doubts. That was a complete surprise to me, yet from my point of view, it was great to see all that optimism, and I feel more ambitious now - a completely new man. Sometimes after a tough season and when the winter arrives, you want to test as late as possible, to be on your holidays as much as you can. But now it's the opposite. I want to be in the car. I feel like when I arrived in Formula One six years ago. I just want to drive.
 * About joining a McLaren team that failed to win a grand prix the previous season for the first time in a decade. (January 16, 2007)

About Fernando Alonso

 * I cannot find a single weakness in Alonso from any viewpoint. He's obviously a huge asset to the Renault team but more importantly a huge asset to the sport as a whole. I think he is perfect.
 * Niki Lauda, three-time Formula One champion.

 * He is a driver with talent, ability and maturity, he manages to finish all his races. My record is going to be in good hands.
 * Emerson Fittipaldi, after Alonso took his record as Formula One's youngest champion.

 * He's a very, very talented driver. It's nice to have drivers like this boy Alonso. He's got a Formula 1 drive for next year so I'm really pleased for him.
 * Kart legend Mike Wilson, 2000

 * Fernando Alonso is currently driving for Aston Martin F1 team. 2024 is only his second season with the team and yet he is constantly out performing his teammate in the same car. I swear down on me Nan’s grave if someone does not get Lance Stroll out of the car, put him in a room, spread some jam on a window and lock the door I’m going to burn down Paul di Resta’s house. He is an inbred, spastic, bastard who should not be allowed within 10 feet of and F1 car. Or a school.
 * Famous internet celebrity who repeatedly assured his name was Matthew Gallagher after calling Aston Martin to complain about Stroll

title: Fernando Alonso


text:
User talk:207.190.171.3

~ UDScott 19:41, 16 January 2007 (UTC)

title: User talk:207.190.171.3


text:
User talk:66.243.193.254

Incidents of deliberate vandalism on several pages have resulted in this IP address being temporarily blocked from editing. ~ Kalki 20:43, 16 January 2007 (UTC)

title: User talk:66.243.193.254


text:
User talk:165.155.200.148

Incidents of deliberate vandalism have resulted in this IP address being temporarily blocked from editing. ~ Kalki 21:36, 16 January 2007 (UTC)

title: User talk:165.155.200.148


text:
Talk:Destroy All Humans!

orthopox had salid days with cryptospordiom-176

title: Talk:Destroy All Humans!


text:
One Hundred Years of Solitude

One Hundred Years of Solitude (Spanish: Cien años de soledad) is a 1967 novel by Colombian author Gabriel García Márquez that tells the multi-generational story of the Buendía family, whose patriarch, José Arcadio Buendía, founded the fictitious town of Macondo. The novel is often cited as one of the supreme achievements in world literature.

Quotations

 * Page numbers refer to the 2009 Vintage Español edition ISBN 9780307474728. Translations from Gregory Rabassa (1970), Harper Perennial Modern Classics ISBN 0060883286

Chapters I through V

 * Muchos años después, frente al pelotón de fusilamiento, el coronel Aureliano Buendía había de recordar aquella tarde remota en que su padre lo llevó a conocer el hielo. Macondo era entonces una aldea de veinte casa de barro y cañabrava construidas a la orilla de un río de aguas diáfanas que se precipitaban por un lecho de piedras pulidas, blancas y enormes como huevos prehistóricos. El mundo era tan reciente, que muchas cosas carecían de nombre, y para mencionarlas había que señalarlas con el dedo.
 * Many years later as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice. At that time Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs. The world was so recent that many things lacked names, and in order to indicate them it was necessary to point.
 * Chapter I, p. 1

 * Cuando el pirata Francis Drake asaltó a Riohacha, en el siglo XVI, la bisabuela de Úrsula Iguarán se asustó tanto con el toque de rebato y el estampido de los cañones, que perdió el control de los nervios y se sentó en un fogón encendido. La quemaduras la dejaron convertido en una esposa inútil para toda la vida. [ . . . ] Su marido, un comerciante aragonés con quien tenía dos hijos, se gastó media tienda en medicinas y entretenimientos buscando la manera de aliviar sus terrores. Por último, liquidó el negocio y llevó a la familia a vivir lejos del mar, en una ranchería de indios pacíficos [ . . . ] Vario siglos más tarde, el tataranieto del criollo se casó con la tataranieta del aragonés. Por eso, cada vez que Úrsula se salía de casillas con las locuras de su marido, saltaba por encima de trescientos años de casualidades, y maldecía la hora en que Francis Drake asaltó a Riohacha.
 * When the pirate Sir Francis Drake attacked Riohacha in the sixteenth century, Úrsula Iguarán's great-great-grandmother became so frightened with the ringing of alarm bells and the firing of cannons that she lost control of her nerves and sat down on a lighted stove. The burns changed her into a useless wife for the rest of her days. [ . . . ] Her husband, an Aragonese merchant by whom she had two children, spent half the value of his store on medicines and pastimes in an attempt to alleviate her terror. Finally he sold the business and took the family to live far from the sea in a settlement of peaceful Indians [ . . . ] Several centuries later the great-great-grandson of the native-born planter married the great-great-granddaughter of the Aragonese. Therefore, every time that Úrsula became exercised over her husband’s mad ideas, she would leap back over three hundred years of fate and curse the day that Sir Francis Drake had attacked Riohacha.
 * Chapter II, p. 30-31

 * Entonces se confió a aquella mano, y en un terrible estado de agotamiento se dejó llevar hasta un lugar sin formas donde le quitaron la ropa y lo zarandearon como un costal de papas y lo voltearon al derecho y al revés, en una oscuridad insondable en la que le sobraban los brazos, donde ya no olía más a mujer, sino a amoníaco, y donde trataba de acordarse del rostro de ella y se encontraba con el rostro de Úrsula, confusamente consciente de que estaba haciendo algo que desde hacía mucho tiempo deseaba que se pudiera hacer, pero que nunca se había imaginado que en realidad se pudiera hacer, sin saber cómo lo estaba haciendo porque no sabía imaginado que en realidad se pudiera hacer, sin saber cómo lo estaba haciendo porque no sabía dónde estaban los pies y dónde la cabeza, ni los pies de quién ni la cabeza de quién, y sintiendo que no podía resistir más el rumor glacial de sus riñones y el aire de sus tripas, y el miedo, y el ansia atolondrada de huir al mismo tiempo de quedarse para siempre en aquel silencio exasperado y aquella soledad espantosa.
 * Then he [José Arcadio (II)] gave himself over to that hand [Pilar Ternera's], and in a terrible state of exhaustion he let himself be led to a shapeless place where his clothes were taken off and he was heaved about like a sack of potatoes and thrown from one side to the other in a bottomless darkness in which his arms were useless, where it no longer smelled of woman but of ammonia, and where he tried to remember her face and found before him the face of Úrsula, confusedly aware that he was doing something that for a very long time he had wanted to do but that he had imagined could really never be done, not knowing what he was doing because he did not know where his feet were or where his head was, or whose feet or whose head, and feeling that he could no longer resist the glacial rumbling of his kidneys and the air of his intestines, and fear, and the bewildered anxiety to flee and at the same time stay forever and ever in that exasperated silence and that fearful solitude.
 * Chapter III, p. 40

—Alguien va a venir—le dijo. Úrsula, como siempre que él expresaba un pronóstico, trató de desalentarlo con su lógica casera. Era normal que alguien llegara.'' "Somebody is coming," he told her. Úrsula, as she did whenever he made a prediction, tried to break it down with her housewifely logic. It was normal for someone to be coming.
 * ''Aureliano fijó en ella una mirada que la envolvió en un ámbito de incertidumbre.
 * Aureliano gave her a look that wrapped her in an atmosphere of uncertainty.
 * Chapter III, p. 55

 * La presencia de Amparo Moscote en la casa fue como una premonición. «Tiene que venir con ella», se decía Aureliano en voz baja. «Tiene que venir.» Tantas veces se lo repitió, y con tanta convicción, que una tarde en que armaba en el taller un pescadito de oro, tuvo la certidumbre de que ella había respondido, a su llamado. poco después, en efecto, oyó la vocecita infantil, y al levantar la vista con el corazón helado de pavor vio a la niña en la puerta con vestido de organdí rosado y botitas blancas.
 * The presence of Amparo Moscote in the house was like a premonition. "She has to come with her," Aureliano would say to himself in a low voice. "She has to come." He repeated it so many times and with such conviction that one afternoon when he was putting together a little gold fish in the workshop, he had the certainty that she had answered his call. Indeed, a short time later he heard the childish voice, and when he looked up his heart froze with terror as he saw the girl [Remedios] at the door, dressed in pink organdy and wearing white boots.
 * Chapter IV, p. 84

Chapters VI through X

 * Implantó el servicio militar obligatorio desde los dieciocho años, declaró de utilidad pública los animales que transitaban por las calles después de las seis de la tarde e impuso a los hombres mayores de edad la obligación de usar un brazal rojo. Recluyó al padre nicanor en la casa cural, bajo amenaza de fusilamiento, y le prohibió decir misa y tocar las campanas como no fuera para celebrar las victorias liberales. Para que nadie pusiera en duda la severidad de sus propósitos, mandó que un pelotón de fusilamiento se entrenara en la plaza pública disparando contra un espantapájaros. Al principio nadie lo tomó en serio.
 * He imposed obligatory military service for men over eighteen, declared to be public property any animals walking the streets after six in the evening, and made men who were overage wear red armbands. He sequestered Father Nicanor in the parish house under pain of execution and prohibited him from saying mass or ringing the bells unless it was for a Liberal victory. In order that no one would doubt the severity of his aims, he ordered a firing squad organized in the square and had it shoot a scarecrow. At first no one took him seriously.
 * Chapter VI, p. 130, referring to Arcadio

 * En la escuela desportillada donde experimentó por primera vez la seguridad del poder, a pocos metros del cuarto donde conoció la incertidumbre del amor, Arcadio encontró ridículo el formalismo de la muerte. En realidad no le importaba la muerte sino la vida, y por eso la sensación que experimentó cuando pronunciaron la sentencia no fue una sensación de miedo sino de nostalgia.
 * In the shattered schoolhouse where for the first time he had felt the security of power, a few feet from the room where he had come to know the uncertainty of love, Arcadio found the formality of death ridiculous. Death really did not matter to him but life did and therefore the sensation he felt when they gave their decision was not a feeling of fear but of nostalgia. He did not speak until they asked him for his last request.
 * Chapter VI, p. 148

 * En realidad, no se atrevían a ejecutar la sentencia. La rebeldía del pueblo hizo pensar a los militares que el fusilamiento del coronel Aureliano Buendía tendría graves consecuencias políticas no sólo en Macondo sino en todo el ámbito de la ciénaga, así que consultaron a las autoridades de la capital provincial. La noche del sábado, mientras esperaban la respuesta, el capitán Roque Carnicero fue con otros oficiales a la tienda de Catarino. Sólo una mujer, casi presionada con amenazas, se atrevió a llevarlo al cuarto. «No se quieren acostar con un hombre que saben que se va a morir», le confesó ella. «Nadie sabe cómo será, pero todo el mundo anda diciendo que el oficial que fusile al coronel Aureliano Buendía, y todo los soldados del pelotón, uno por uno, serán asesinados sin remedio, tarde o temprano, así se escondan en el fin del mundo.» El capitán roque Carnicero lo comentó con los otros oficiales, y éstos lo comentaron con sus superiores. El domingo, aunque nadie lo había revelado con franqueza, aunque ningún acto militar había turbado la calma tensa de aquellos días, todo el pueblo sabía que los oficiales estaban dispuestos a eludir con toda clase de pretextos la responsabilidad de la ejecución. […] Cuando oyó el grito, creyó que era la orden final al pelotón. Abrió los ojos con una curiosidad de escalofrío, esperando encontrarse con la trayectoria incandescente de los proyectiles, pero sólo encontró al capitán Roque Carnicero con los brazos en alto, y a José Arcadio atravesando la calle con su escopeta pavorosa lista para disparar. —No haga fuego—le dijo el capitán a José Arcadio—. Usted viene mandado por la Divina Providencia.
 * In reality, they did not dare carry out the sentence. The rebelliousness of the town made the military men think that the execution of Colonel Aureliano Buendía might have serious political consequences not only in Macondo but throughout the area of the swamp, so they consulted the authorities in the capital of the province. On Saturday night, while they were waiting for an answer. Captain Roque Carnicero went with some other officers to Catarino's place. Only one woman, practically threatened, dared take him to her room. "They don't want to go to bed with a man they know is going to die," she confessed to him. "No one knows how it will come, but everybody is going around saying that the officer who shoots Colonel Aureliano Buendía and all the soldiers in the squad, one by one, will be murdered, with no escape, sooner or later, even if they hide at the ends of the earth." Captain Roque Carnicero mentioned it to the other officers and they told their superiors. On Sunday, although no one had revealed it openly, although no action on the part of the military had disturbed the tense calm of those days, the whole town knew that the officers were ready to use any manner of pretext to avoid responsibility for the execution. […] When [Colonel Aureliano Buendía] heard the shout he thought that it was the final command to the squad. He opened his eyes with a shudder of curiosity, expecting to meet the incandescent trajectory of the bullets. But he only saw Captain Roque Carnicero with his arms in the air and José Arcadio crossing the street with his fearsome shotgun ready to go off. "Don't shoot," the captain said to José Arcadio. "You were sent by Divine Providence."
 * Chapter VI, p. 157, 159

 * «Tanto joderse uno», murmuraba el coronel Aureliano Buendía. «Tanto joderse para que lo maten a uno seis maricas sin poder hacer nada.»
 * "A person fucks himself up so much," Colonel Aureliano Buendía said, "Fucks himself up so much just so that six weak fairies can kill him and he can't do anything about it."
 * Chapter VII, p. 158-159

 * No había dejado de desearla un solo instante. La encontraba en los oscuros dormitorios de los pueblos vencidos, sobre todo en los más abyectos, y la materializaba en el tufo de la sangre seca en las vendas de los heridos, en el pavor instantáneo del peligro de muerte, a toda hora y en todas partes. Había huido de ella tratando de aniquilar su recuerdo no sólo con la distancia, sino con un encarnizamiento aturdido que sus compañeros de armas calificaban de temeridad, pero mientras más revolcaba su imagen en el muladar de la guerra, más la guerra se parecía a Amaranta. Así padeció el exilio, buscando la manera de matarla con su propia muerte.
 * He had not stopped desiring her for a single instant. He found her in the dark bedrooms of captured towns, especially in the most abject ones, and he would make her materialize in the smell of dry blood on the bandages of the wounded, in the instantaneous terror of the danger of death, at all times and in all places. He had fled from her in an attempt to wipe out her memory, not only through distance but by means of a muddled fury that his companions at arms took to be boldness, but the more her image wallowed in the dunghill of war, the more the war resembled Amaranta. That was how he suffered in exile, looking for a way of killing her with his own death.
 * Chapter VIII, p. 182-183, referring to Aureliano José and his aunt Amaranta

 * Sus cino hijas, herederas de una semilla ardiente, se perdieron por los vericuetos de la vida desde la adolescencia. De los dos varones que alcanzó a criar, uno murió peleando en la huestes del coronel Aureliano Buendía y otro fue herido y capturado a los catorce años, cuando intentaba robarse un huacal de gallinas en un pueblo de la ciénaga. En cierto modo, Aureliano José fue el hombre alto y moreno que durante medio siglo le anunció el rey de copas, y que modo todos los enviados de las barajas llegó a su corazón cuando ya estaba marcado por el signo de la muerte. Ella lo vio en los naipes.
 * [Pilar Ternera's] five daughters, who inherited a burning seed, had been lost on the byways of life since adolescence. Of the two sons she managed to raise, one died fighting in the forces of Colonel Aureliano Buendía and the other was wounded and captured at the age of fourteen when he tried to steal a crate of chickens in a town in the swamp. In a certain way, Aureliano José was the tall, dark man who had been promised her for half a century by the king of hearts, and like all men sent by the cards he reached her heart when he was already stamped with the mark of death. She saw it in the cards.
 * Chapter VIII, p. 188

 * Carmelita Montiel, una virgen de veinte años, acababa de bañarse con agua de azahares y estaba regando hojas de romero en la cama de Pilar Ternera, cuando sonó el disparo. Aureliano José estaba destinado a conocer con ella la felicidad que le negó Amaranta, a tener siete hijos y a morirse de viejo en sus brazos, pero la bala de fusil que le entró por la espalda y le despedazó el pecho estaba dirigida por una mala interpretación de las barajas.
 * Carmelita Montiel, a twenty-year-old virgin, had just bathed in orange-blossom water and was strewing rosemary leaves over Pilar Ternera's bed when the shot rang out. Aureliano Jose had been destined to find with her the happiness that Amaranta had denied him, to have seven children, and to die in her arms of old age, but the bullet that entered his chest had been directed by a wrong interpretation of the cards.
 * Chapter VIII, p. 189

 * Extraviado en la soledad de su inmenso poder, empezó a perder el rumbo. Le molestaba la gente que lo aclamaba en los pueblos vencidos, y que le parecía la misma que aclamaba al enemigo. Por todas partes encontraba adolescentes que lo miraban con sus propios ojos, que hablaban con su propia voz, que lo saludaban con la misma desconfianza con que él los saludaba a ellos, y que decían ser sus hijos. Se sintió disperso, repetido, y más solitario que nunca. Tuvo la convicción de que sus propios oficiales le mentían. Se peleó con el duque de Marlborough. «El major amigo—solía decir entonces—es el que acaba de morir.»
 * Lost in the solitude of his immense power, he began to lose direction. He was bothered by the people who cheered him in neighboring villages, and he imagined that they were the same cheers they gave the enemy. Everywhere he met adolescents who looked at him with his own eyes, who spoke to him with his own voice, who greeted him with the same mistrust with which he greeted them, and who said they were his sons. He felt scattered about, multiplied, and more solitary than ever. He was convinced that his own officers were lying to him. He fought with the Duke of Marlborough. "The best friend a person has," he would say at that time, "is one who has just died."
 * Chapter IX, p. 203

'''—No, Aureliano —replicó—. Vale más estar muerto que verte convertido en un chafarote.''' —No me verás —dijo el coronel Aureliano Buendía—. Ponte los zapatos y ayúdame a terminar con esta guerra de mierda. Al decirlo, no imaginaba que era más fácil empezar una guarra que terminarla.'' '''"No, Aureliano," he replied. "I'd rather be dead than see you changed into a tyrant."''' "You won't see me," Colonel Aureliano Buendía said. "Put your shoes and help me get this shitty war over with." When he said it he did not know that it was easier to start a war than to end one.
 * ''Al amanecer, estragado por la tormentosa vigilia, apareció en la cuarto del cepo una hora antes de la ejecución. «Terminó la fasa, compadre», le dijo al coronel Gerineldo Márquez. «Vámonos de aquí, antes de que acaben de fusilarte los mosquitos.» El coronel Gerineldo Márquez no pudo reprimir el desprecio que le inspiraba aquella actitud.
 * At dawn, worn out by the tormented vigil, he appeared in the cell an hour before the execution. "The farce is over, old friend," he said to Colonel Gerineldo Marquez. "Let's get out of here before the mosquitos in here execute you." Colonel Gerineldo Marquez could not express the disdain that was inspired in him by that attitude.
 * Chapter IX, p. 207

 * Cuando terminó el libro, muchos de cuyos cuentos estaban inconclusos porque faltaban páginas, Aureliano Segundo se dio a la tarea de descifrar los manuscritos. Fue imposible. Las letras parecían ropa puesta a secar en un alambra, y se asemejaban más a la escritura musical que a la literaria. Un mediodía ardiente, mientras escrutaba los manuscritos, sintió que no estaba solo en el cuarto. Contra la reverberación de la ventana, sentado con las manos en las rodillas, estaba Melquíades. No tenía más de cuarenta años. Llevaba el mismo chaleco anacrónico y el sombrero de alas de cuervo, y por sus sienes pálidas chorreaba la grasa del cabello derretida por el calor, como lo vieron Aureliano y José Arcadio cuando eran niños. Aureliano Segundo lo reconoció de inmediato, porque aquel recuerdo hereditario se había transmitido de generación en generación, y había llegado a él desde la memoria de su abuelo.
 * When he finished the book, in which many of the stories had no endings because there were pages missing, Aureliano Segundo set about deciphering the manuscripts. It was impossible. The letters looked like clothes hung out to dry on a line and they looked more like musical notation than writing. One hot noontime, while he was poring over the manuscripts, he sensed that he was not alone in the room. Against the light from the window, sitting with his hands on his knees, was Melquíades. He was under forty years of age. He was wearing the same old-fashioned vest and the hat that looked like a raven's wings, and across his pale temples there flowed the grease from his hair that had been melted by the heat, just as Aureliano and José Arcadio had seen him when they were children. Aureliano Segundo recognized him at once, because that hereditary memory had been transmitted from generation to generation and had come to him through the memory of his grandfather.
 * Chapter X, p. 224

 * Mientras estuvo encerrado en el cuarto de Melquíades fue un hombre ensimismado, como lo fue el coronel Aureliano Buendía en su juventud. Pero poco antes del tratado de Neerlandia una casualidad lo sacó de su ensimismamiento y lo enfrentó a la realidad del mundo. Una mujer joven, que andaba vendiendo números para la rifa de un acordeón, lo saludó con mucha familiaridad. Aureliano Segundo no se sorprendió porque ocurría con frecuencia que lo confundieran con su hermano. Pero no aclaró el equívoco, ni siquiera cuando la muchacha trató de ablandarle el corazón con lloriqueos, y terminó por llevarlo a su cuarto.[…] Al cabo de dos semanas, Aureliano Segundo se dio cuenta de que la mujer se había estado acostando alternativamente con él y con su hermano, creyendo que eran el mismo hombre, y en vez de aclarar la situación se las arregló para prolongarla. No volvió al cuarto de Melquíades.[…] Durante casi dos mese compartió la mujer con su hermano. […] Una mañana descubrió que estaba enfermo. Dos días después encontró a su hermano aferrado a una viga del baño.[…] José Arcadio Segundo no volvió a ver a la mujer. Aureliano Segundo obtuvo su perdón y se quedó con ella hasta la muerte.
 * While [Aureliano Segundo] was shut up in Melquíades room he was drawn into himself, like how Coronel Aurelian Buendía had been in his youth. But just before the treaty of Neerlandia a piece of chance took him out of his withdrawn self and made him face the reality of the world. A young woman who was selling numbers for the raffle of an accordion greeted him with a great deal of familiarity. Aureliano Segundo was not surprised, for he was frequently confused with his brother. But he did not clear up the mistake, not even when the girl tried to soften his heart with sobs, and she ended taking him to her room. […] Aureliano Segundo realized that the woman had been going to bed alternately with him and his brother, thinking that they were the same man, and instead of making things clear, he arranged to prolong the situation. He did not return to Melquíades' room. […] For almost two months he shared the woman with his brother.[…] One morning he discovered that he was sick. Two days later he found his brother clinging to a beam in the bathroom. […] José Arcadio Segundo did not see the woman again. Aureliano Segundo obtained her pardon and stayed with her until his death.
 * Chapter X, p. 228-229

 * Cuando Úrsula se dio cuenta de que José arcadio Segundo era gallero y Aureliano Segundo tocaba el acordeón en las fiestas ruidosas de su concubina, creyó enloquecer de confusión. Era como si en ambos se hubieran concentrado los defectos de la familia y ninguna de sus virtudes. Entonces decidió que nadie volviera a llamarse Aureliano y José Arcadio. Sin embargo, cuando Aureliano Segundo tuvo su primer hijo, no se atrevió a contrariarlo. —De acuerdo —dijo Úsula—, pero con una condición: yo me encargo de criarlo. Aunque ya era centenaria y estaba a punto de quedarse ciega por las cataratas, conservaba intactos el dinamismo físico, la integridad del carácter y el equilibrio mental. Nadie mejor que ella para forma al hombre virtuoso que había de restaurar el prestigio de la familia, un hombre que nunca hubiera oído hablar de la guerra, los gallos de pelea, las mujeres de mala vida y las empresas delirantes, cuatro calamidades que, según pensaba Úrsula, habían determinado la decadencia de su estirpe. «Este será cura», prometió solemnemente. «Y si Dios me da vida, ha de llegar a ser Papa.»
 * When Úrsula realized that José Arcadio Segundo was a cockfight man and that Aureliano Segundo played the accordion at his concubine's noisy parties, she thought she would go mad with the combination. It was as if the defects of the family and none of the virtues had been concentrated in both. Then she decided that no one again would be called Aureliano or José Arcadio. Yet when Aureliano Segundo had his first son she did not dare go against his will. "All right," Úrsula said, "but on one condition: I will bring him up." Although she was already a hundred years old and on the point of going blind from cataracts, she still had her physical dynamism, her integrity of character, and her mental balance intact. No one would be better able than she to shape the virtuous man who would restore the prestige of the family, a man who would never have heard talk of war, fighting cocks, bad women, or wild undertakings, four calamities that, according to what Úrsula thought, had determined the downfall of the line. "This one will be a priest," she promised solemnly. "And if God gives me life he'll be Pope someday."
 * Chapter X, p. 229-230

 * El secreto de una buena vejez no es otra cosa que un pacto honrado con la soledad.
 * The secret of a good old age is simply an honorable pact with solitude.
 * Chapter X, p. 242-243

Chapters XI through XV

 * Uno no se muere cuando debe, sino cuando puede.
 * A person doesn't die when he should but when he can.
 * Chapter XII, p. 292, said by Colonel Aureliano Buendía

Amaranta, que empezaba a meter la ropa en el baúl, creyó que la había picado un alacrán. —¿Dónde está?— preguntó alarmada. —¿Qué? —¡El animal!—aclaró Amaranta. Úrsula se puso un dedo en el corazón. —Aquí—dijo.'' Amaranta, who was starting to put the clothes into the trunk, thought that she had been bitten by a scorpion. "Where is it?" she asked in alarm. "What?" "The bug!" Amaranta said. Úrsula put a finger on her heart. "Here," she said.
 * ''—¡Carajo! —gritó.
 * "Shit!" she shouted.
 * Chapter XIII, p. 303

 * El mundo se redujo a la superficie de su piel, y el interior quedó a salvo de toda amargura.
 * The world was reduced to the surface of her skin and her inner self was safe from all bitterness.
 * Chapter XIV, p. 334, referring to Amaranta

 * Un minuto de reconciliación tiene más mérito que toda una vida de amistad.
 * One minute of reconciliation is worth more than a whole life of friendship.
 * Chapter XIV, p. 337, said by Úrsula

 * La ansiedad del enamoramiento no encontraba reposo sino en la cama.
 * The anxiety of falling in love could not find repose except in bed.
 * Chapter XIV, p. 346

Chapters XVI through XX
—Así es,—dijo Úrsula—, pero no tanto. Al decirlo, tuvo conciencia de estar dando la misma réplica que recibió del coronel Aureliano Buendía en su celda de sentenciado, y una vez más se estremeció con la comprobación de que el tiempo no pasaba, como ella lo acababa de admitir, sino que daba vueltas en redondo.'' “That’s how it goes,” Úrsula said, “but not so much.” When she said it she realized that she was giving the same reply that Colonel Aureliano Buendía had given in his death cell, and once again she shuddered with the evidence that time was not passing, as she had just admitted, but that it was turning in a circle.
 * ''—Qué quería —murmuró—, el tiempo pasa.
 * “What did you expect?” he murmured. “Time passes.”
 * Chapter XVII, p. 399-400

 * En aquel Macondo olvidado hasta por los pájaros, donde el polvo y el calor se habían hecho tan tenaces que costaba trabajo respirar, recluidos por la soledad y el amor y por la soledad del amor en una casa donde era casi imposible dormir por el estruendo de las hormigas coloradas, Aureliano y Amaranta Úrsula eran los únicos seres felices, y los más felices sobre la tierra.
 * In that Macondo forgotten even by the birds, where the dust and the heat had become so strong that it was difficult to breathe, secluded by solitude and love and by the solitude of love in a house where it was almost impossible to sleep because of the noise of the red ants, Aureliano, and Amaranta Úrsula were the only happy beings, and the most happy on the face of the earth.
 * Chapter XX, p. 480

 * La ciudad de los espejos (o los espejismos) sería arrasada por el viento y desterrada de la memoria de los hombre en el instante en que Aureliano Babilonia acabara de descifrar los pergaminos, y que todo lo escrito en ellos era irrepetible desde siempre y para siempre, porque las estirpes condenadas a cien años de soledad no tenían una segunda oportunidad sobre la tierra.
 * The city of mirrors (or mirages) would be wiped out by the wind and exiled from the memory of men at the precise moment when Aureliano Babilonia would finish deciphering the parchments, and that everything written on them was unrepeatable since time immemorial and forever more, because races condemned to one hundred years of solitude did not have a second opportunity on earth.
 * Chapter XX, p. 495, Final lines

authors: মোহাম্মদ জনি হোসেন

title: One Hundred Years of Solitude


text:
Rex Grossman

Rex Grossman born (born August 23, 1980) is an American quarterback for the Chicago Bears of the National Football League.

Sourced

 * Shit Happens...
 * 2005 Chicago Bears-Arrow Pointing Up?
 * After breaking his ankle in a preseason game

 * I've never played so bad and still won.
 * Addressing the Media after a miraculously comeback against the Arizona Cardinals

 * It's frustrating when some of you guys don't put too much thought into it and you're just trying to go off the fans' reaction or you don't know much about what we're doing on offense. Just realizing how ignorant some of you guys are -- and I don't mean that necessarily in a bad way. I mean, like just understanding that you may not be correct and accepting that fact and not paying attention to it much.
 * Grossman retaliates at his critics.
 * 'Ignorant' remark trails Rex

 * I love the organization. They drafted me. A lot of bad things have happened to me since I’ve been here with injuries and things, but the 2006 season was a special one. We almost completed the ultimate goal. I want to finish that. I want to finish what I started and I want to be a Bear for the rest of my life.
 * Grossman talks about his future with the Bears in 2008
 * Grossman agrees to one-year contract with Bears

About Rex Grossman

 * Rex is our quarterback... He's not as accurate as he needs to be and he turned the ball over, but we've won with him. There's a difference between perception and reality, and the reality is, we're 10-2 with Rex. When we win the division title, I'm not going to tell you about all the things we're going to do to change what we have going right now. Because there's not a lot
 * Blind Faith in Rex Will Cost Lovie
 * Bears head coach Lovie Smith addresses the media

 * "When the storm came, he stepped up. You’re going to go through storms; you can’t get away from them. It’s how you handle them, and what our team got a chance to see is how our leader handled the storm. He handled it well and steadied the ship."
 * Lovie Smith's response after Grossman and Devin Hester lead the Bears to victory.
 *

 * "Besides him and Cedric [Benson], I don’t think there’s been two people criticized more probably in the NFL"
 * -Teammate Bernard Berrian
 *

 * "We've got a quarterback who comes in off the bench and leads us to a victory, and they boo [Rex Grossman] right out of the gate," Poor guy. Lucky for him he's resilient and he came back and led us to two scoring drives. But man, it's tough."
 * Urlacher angered by fans booing of Grossman
 * Brian Urlacher defends Grossman

title: Rex Grossman