text:
Hans Reichenbach

Hans Reichenbach (26 September 1891 – 9 April 1953) was a leading philosopher of science, educator and proponent of logical positivism.

Quotes

 * "If along the path of truth, success (which was often near-failure unnoticed) is subjected to the same scrutiny and desire for improvement as failure, we may find ourselves in closer proximity to trees."

The Philosophy of Space and Time (1928, tr. 1957)
§ 3

 * It is remarkable that this generalization of plane geometry to surface geometry is identical with that generalization of geometry which originated from the analysis of the axiom of parallels. ...the construction of non-Euclidean geometries could have been equally well based upon the elimination of other axioms. It was perhaps due to an intuitive feeling for theoretical fruitfulness that the criticism always centered around the axiom of parallels. For in this way the axiomatic basis was created for that extension of geometry in which the metric appears as an independent variable. Once the significance of the metric as the characteristic feature of the plane has been recognized from the viewpoint of Gauss' plane theory, it is easy to point out, conversely, its connection with the axiom of parallels. The property of the straight line as being the shortest connection between two points can be transferred to curved surfaces, and leads to the concept of straightest line; on the surface of the sphere the great circles play the role of the shortest line of connection... analogous to that of the straight line on the plane. Yet while the great circles as "straight lines" share the most important property with those of the plane, they are distinct from the latter with respect to the axiom of the parallels: all great circles of the sphere intersect and therefore there are no parallels among these "straight lines". ...If this idea is carried through, and all axioms are formulated on the understanding that by "straight lines" are meant the great circles of the sphere and by "plane" is meant the surface of the sphere, it turns out that this system of elements satisfies the system of axioms within two dimensions which is nearly identical in all of it statements with the axiomatic system of Euclidean geometry; the only exception is the formulation of the axiom of the parallels. The geometry of the spherical surface can be viewed as the realization of a two-dimensional non-Euclidean geometry: the denial of the axiom of the parallels singles out that generalization of geometry which occurs in the transition from the plane to the curve surface.

 * If heat were the affecting force, direct indications of its presence could be found which would not make use of geometry as an indirect method. ...direct evidence for the presence of heat is based on the fact that it affects different materials in different ways. ...The forces... which we have introduced... have two properties: (a) They affect all materials in the same way. (b) There are no insulating [or isolating] walls. ...the definition of the insulating wall may be added here: it is a covering made of any kind of material which does not act upon the enclosed object with forces having property a. Let us call the forces which have the properties a and b universal forces; all other forces are called differential forces. Then it can be said that differential forces, but not universal forces, are directly demonstrable.

§ 7

 * Although it is admitted that certain differences cannot be verified by experiment, we should not infer from this fact that they do not exist. ...we are accused of having confused subjective inability with objective indeterminacy.

§ 12

 * The surfaces of three-dimensional space are distinguished from each other not only by their curvature but also by certain more general properties. A spherical surface, for instance, differs from a plane not only by its roundness but also by its finiteness. Finiteness is a holistic property. The sphere as a whole has a character different from that of a plane. A spherical surface made from rubber, such as a balloon, can be twisted so that its geometry changes. ...but it cannot be distorted in such a way as that it will cover a plane. All surfaces obtained by distortion of the rubber sphere possess the same holistic properties; they are closed and finite. The plane as a whole has the property of being open; its straight lines are not closed. This feature is mathematically expressed as follows. Every surface can be mapped upon another one by the coordination of each point of one surface to a point of the other surface, as illustrated by the projection of a shadow picture by light rays. For surfaces with the same holistic properties it is possible to carry through this transformation uniquely and continuously in all points. Uniquely means: one and only one point of one surface corresponds to a given point of the other surface, and vice versa. Continuously means: neighborhood relations in infinitesimal domains are preserved; no tearing of the surface or shifting of relative positions of points occur at any place. For surfaces with different holistic properties, such a transformation can be carried through locally, but there is no single transformation for the whole surface.

 * ...the stereographic projection of the spherical surface. From the north pole P we draw radial lines to project every point of the surface of the sphere upon the horizontal plane [below, perpendicular to a line joining it to P and the sphere's center]. In general this transformation is unique and continuous, although the metrical relations are distorted; for the point P, however, it shows a singularity. Point P is mapped upon the infinite; i.e., no finitely located point of the plane corresponds to it. It can be shown that every transformation possesses a singularity in at least one point. The surface of the sphere is therefore called topologically different from the plane. Only a "sphere without a north pole" [point] would be topologically equivalent to a plane. ...such a sphere has a point-shaped hole without a boundary and is no longer a closed surface.

 * ...the order of betweenness does not depend on mutual distances... betweenness is purely a relational order.

 * ...the relation of betweenness on the torus is undetermined for curves that cannot be contracted to a point [e.g., circles around a doughnut hole], i.e., for three of such curves it is not uniquely determined which of them lies between the other two. ..This indeterminateness... has the consequence that such a curve [alone] does not divide the surface of the torus into two separate domains; between points to the "right" and to the "left" of the line.

§ 13

 * Euclidean geometry can be easily visualized; this is the argument adduced for the unique position of Euclidean geometry in mathematics. It has been argued that mathematics is not only a science of implications but that it has to establish preference for one particular axiomatic system. Whereas physics bases this choice on observation and experimentation, i.e., on applicability to reality, mathematics bases it on visualization, the analogue to perception in a theoretical science. Accordingly, mathematicians may work with the non-Euclidean geometries, but in contrast to Euclidean geometry, which is said to be "intuitively understood," these systems consist of nothing but "logical relations" or "artificial manifolds". They belong to the field of analytic geometry, the study of manifolds and equations between variables, but not to geometry in the real sense which has a visual significance.

 * ...the differential element of non-Euclidean spaces is Euclidean. This fact, however, is analogous to the relations between a straight line and a curve, and cannot lead to an epistemological priority of Euclidean geometry, in contrast to the views of certain authors.

 * Visual forms are not perceived differently from colors or brightness. They are sense qualities, and the visual character of geometry consists in these sense qualities.

 * We are frequently faced with the necessity of looking for the picture required for the visualization of an object, not in the perception of this particular object, but in a different perceptual image. ...we can assert the discrepancy between the perceived picture and the objective state. This discrepancy... proves absolutely nothing against the fact that all visualizations are merely sense qualities of the perceptual space. ...If the parallelism is ...to be visualized, we must supplement our assertion by the description of certain qualities with which we are familiar from perceptual space.

 * Perceptual space is not a special space in addition to physical space, but physical space which we endow with a special subjective metric. ...apart from the definition of congruence in physics and that based on perception, there is no third one derived from pure visualization. Any such third definition is nothing but the definition of physical congruence to which our normative function has adjusted the subjective experience of congruence.

 * ...the mathematician uses an indirect definition of congruence, making use of the fact that the axiom of parallels together with an additional condition can replace the definition of congruence.

 * The concept of congruence in Euclidean geometry is not exactly the same as that in non-Euclidean geometry. ..."Congruent" means in Euclidean geometry the same as "determining parallelism," a meaning which it does not have in non-Euclidean geometry.

 * Common to the two geometries is only the general property of one-to-one correspondence, and the rule that this correspondence determines straight lines as shortest lines as well as their relations of intersection.

 * There is no pure visualization in the sense of a priori philosophies; every visualization is determined by previous sense perceptions, and any separation into perceptual space and space of visualization is not permissible, since the specifically visual elements of the imagination are derived from perceptual space. What led to the mistaken conception of pure visualization was rather an improper interpretation of the normative function... an essential element of all visual representations. Indeed, all arguments which have been introduced for the distinction of perceptual space and space of visualization are base on this normative component of the imagination.

 * The main objection to the theory of pure visualization is our thesis that the non-Euclidean axioms can be visualized just as rigorously if we adjust the concept of congruence. This thesis is based on the discovery that the normative function of visualization is not of visual but of logical origin and that the intuitive acceptance of certain axioms is based on conditions from which they follow logically, and which have previously been smuggled into the images. The axiom that the straight line is the shortest distance is highly intuitive only because we have adapted the concept of straightness to the system of Eucidean concepts. It is therefore necessary merely to change these conditions to gain a correspondingly intuitive and clear insight into different sets of axioms; this recognition strikes at the root of the intuitive priority of Euclidean geometry. Our solution of the problem is a denial of pure visualization, inasmuch as it denies to visualization a special extralogical compulsion and points out the purely logical and nonintuitive origin of the normative function. Since it asserts, however, the possibility of a visual representation of all geometries, it could be understood as an extension of pure visualization to all geometries. In that case the predicate "pure" is but an empty addition, since it denotes only the difference between experienced and imagined pictures, and we shall therefore discard the term "pure visualization." Instead we shall speak of the normative function of the thinking process, which can guide the pictorial elements of thinking into any logically permissible structure.

§ 14

 * Carnap calls such concepts as point, straight line, etc., which are given by implicit definitions, improper concepts. Their peculiarity rests on the fact that they do not characterize a thing by its properties, but by its relation to other things. Consider for example the concept of the last car of a train. Whether or not a particular car falls under this description does not depend on its properties but on its position relative to other cars. We could therefore speak of relative concepts, but would have to extend the meaning of this term to apply not only to relations but also to the elements of the relations.

 * We must... maintain that mathematical geometry is not a science of space insofar as we understand by space a visual structure that can be filled with objects - it is a pure theory of manifolds.

 * If we wish to express our ideas in terms of the concepts synthetic and analytic, we would have to point out that these concepts are applicable only to sentences that can be either true of false, and not to definitions. The mathematical axioms are therefore neither synthetic nor analytic, but definitions. ...Hence the question of whether axioms are a priori becomes pointless since they are arbitrary.

 * We can... treat only the geometrical aspects of mathematics and shall be satisfied in having shown that there is no problem of the truth of geometrical axioms and that no special geometrical visualization exists in mathematics.

§ 16

 * Some philosophers have believed that a philosophical clarification of space also provided a solution of the problem of time. Kant presented space and time as analogous forms of visualization and treated them in a common chapter in his major epistemological work. Time therefore seems to be much less problematic since it has none of the difficulties resulting from multidimensionality. Time does not have the problem of mirror-image congruence, i.e., the problem of equal and similarly shaped figures that cannot be superimposed, a problem that has played some role in Kant's philosophy. Furthermore, time has no problem analogous to non-Euclidean geometry. In a one-dimensional schema it is impossible to distinguish between straightness and curvature. ...A line may have external curvature but never an internal one, since this possibility exists only for a two-dimensional or higher continuum. Thus time lacks, because of its one-dimensionality, all those problems which have led to philosophical analysis of the problems of space.

 * Whereas the conception of space and time as a four-dimensional manifold has been very fruitful for mathematical physicists, its effect in the field of epistemology has been only to confuse the issue. Calling time the fourth dimension gives it an air of mystery. One might think that time can now be conceived as a kind of space and try in vain to add visually a fourth dimension to the three dimensions of space. It is essential to guard against such a misunderstanding of mathematical concepts. If we add time to space as a fourth dimension it does not lose any of its peculiar character as time. ...Musical tones can be ordered according to volume and pitch and are thus brought into a two dimensional manifold. Similarly colors can be determined by the three basic colors red, green and blue... Such an ordering does not change either tones or colors; it is merely a mathematical expression of something that we have known and visualized for a long time. Our schematization of time as a fourth dimension therefore does not imply any changes in the conception of time. ...the space of visualization is only one of many possible forms that add content to the conceptual frame. We would therefore not call the representation of the tone manifold by a plane the visual representation of the two dimensional tone manifold.

§ 21

 * If E1 is the cause of E2, then a small variation (a mark) in E1 is associated with a small variation in E2, whereas small variations in E2 are not associated with variations in E1.  If we wish to express even more clearly that this concept does not contain the concept of temporal order, we can express it in the following form, where events that show a slight variation are designated E*: E1E2,  E1*E2*,  E1E2* and never the combination E1*E2.

 * Occasionally one speaks... of signals or signal chains. It should be noted that the word signal means the transmission of signs and hence concerns the very principle of causal order...

§ 22

 * ...introduce the auxiliary concept of first-signal...defined as the fastest message carrier between any two points in space. We now send a first-signal from P, calling the event of departure E1... The event of its arrival at P' is called E'. Simultaneously with the arrival of this signal, another first signal is sent from P'. The arrival of this signal at P is the event E2. ...the time interval between E1 and E2 is coordinated to the event E', [E1 is earlier than E' and E2 is later than E'] and every event of this time interval except for the endpoints is inderterminate as to the time order relative to E'.

 * We define: any two events which are indeterminate as to their time order may be called simultaneous. ...Simultaneity means the exclusion of causal connection. ...Yet we must not commit the mistake of attempting to derive from it the conclusion that this definition coordinates to any given event at a given different place. This would be the case only for a special form of causal structure, a form that does not conform to physical reality.

 * ...absolute time would exist in a causal structure for which the concept indeterminate as to time order lends to a unique simultaneity, i.e., for which there is no finite interval of time between the departure and return of a first-signal...

§ 25

 * ...the famous assertion by Einstein that the length of a rod depends on its velocity and on the chosen definition of simultaneity. ...is based on the fact that we do not measure the length of the rod, but its projection on a system at rest. How the length of the projection depends on the choice of simultaneity can be illustrated by reference to a photograph taken through a focal-plane shutter. Such a shutter... consists of a wide band with a horizontal slit, which slides down vertically. Different bands are photographed successively on the film. Moving objects are therefore strangely distorted; the wheels of a rapidly moving car for instance, appear to be slanted. The shape of the objects in the picture will evidently depend on the speed of the shutter. Similarly, the length of the moving segment depends on the definition of simultaneity. One definition of simultaneity differs from another because events that are simultaneous for one definition occur successively for another. What may be a simultaneity projection of a moving segment for one definition is a "focal-plane shutter photograph" for another.

§ 26

 * For the Lorentz transformation spatial measurements are also changed, because they are obtained relative to a moving system. In our example only time was transformed, while the distances between points at rest remained the same; the spatial coordinates, therefore, retain their identity.

§ 27

 * This fact... proves that space measurements are reducible to time measurements. Time is therefore logically prior to space.

 * Once a definition of congruence is given, the choice of geometry is no longer in our hands; rather, the geometry is now an empirical fact.

 * Light signals alone provide the metrical structure of the four-dimensional space-time continuum. The construction may be called light axioms.

§ 29

 * Clocks are inherently four-dimensional instruments, since the endpoints of their unit distances are events. Measuring rods, on the other hand, are three-dimensional measuring instruments; their end points are space points and they can be changed into four-dimensional measuring instruments only if events are produced at their end points according to a special rule.

§ 31

 * Why is Einstein's theory better than Lorentz's theory? It would be a mistake to argue that Einstein's theory gives an explanation of Michelson's experiment, since it does not do so. Michelson's experiment is simply taken over as an axiom.

§ 32
 * If the definition of simultaneity is given from a moving system, the spherical surface will result when Einstein's definition with є = 1/2 is used, since it is this definition which makes the velocity of light equal in all directions.

 * ...the principle of the limiting character of the velocity of light. This statement... is not an arbitrary assumption but a physical law based on experience. In making this statement, physics does not commit the fallacy of regarding absence of knowledge as evidence for knowledge to the contrary. It is not absence of knowledge of faster signals, but positive experience which has taught us that the velocity of light cannot be exceeded. For all physical processes the velocity of light has the property of an infinite velocity. In order to accelerate a body to the velocity of light, an infinite amount of energy would be required, and it is therefore physically impossible for any object to obtain this speed. This result was confirmed by measurements performed on electrons. The kinetic energy of a mass point grows more rapidly than the square of its velocity, and would become infinite for the speed of light.

title: Hans Reichenbach


text:
User talk:65.190.24.60

~ Kalki 21:45, 9 January 2007 (UTC)

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

title: User talk:65.190.24.60


text:
User talk:69.156.148.230

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 21:48, 9 January 2007 (UTC)

title: User talk:69.156.148.230


text:
Breaking Bonaduce

Breaking Bonaduce is an American reality television series that aired on VH1 that stars Danny Bonaduce and his wife Gretchen. It focused on the issues and events that have led Bonaduce to consider his life a "car crash". With the tagline: "you have every right to slow down and watch," the series premiered on September 11, 2005 and ended in December 2006.

Season 1

 * (Season 1 intro)
 * Off camera interviewer: Danny Bonaduce former child star?
 * Danny Bonaduce: If I weren't the guy from the The Partridge Family, I'm just a lunatic.
 * Off camera interviewer: Danny Bonaduce husband?
 * Danny Bonaduce: Without Gretchen I'm a 30 second sound bite "Danny Bonaduce ex-child star found dead".
 * Off camera interviewer: Danny Bonaduce obsessive personality?
 * Danny Bonaduce: I take enough pills to get full.
 * Off camera interviewer: Who is Danny Bonaduce?
 * Danny Bonaduce: I'm not real clear on who Danny Bonaduce is... Mentally unsound... broken... screwed up... happy... open wound... I'm lost... fairly famous... I get bent... I don't love me... have you met me?... If he hadn't asked the question "Have you ever been unfaithful to your wife" then my whole life would not have imploded.
 * Off camera interviewer: Who is Danny Bonaduce?
 * Danny Bonaduce: I'm a car crash man and you have ever right to slow down and watch the car crash.

title: Breaking Bonaduce


text:
Otto Hahn

Otto Hahn (8 March 1879 – 28 July 1968) was a German chemist who was a pioneer in the fields of radioactivity and radiochemistry. He is referred to as the father of nuclear chemistry and godfather of nuclear fission. Hahn and Lise Meitner discovered radioactive isotopes of radium, thorium, protactinium and uranium. He also discovered the phenomena of radioactive recoil and nuclear isomerism, and pioneered rubidium–strontium dating. In 1938, Hahn, Lise Meitner and Fritz Strassmann discovered nuclear fission, for which Hahn received the 1944 Nobel Prize for Chemistry. Nuclear fission was the basis for nuclear reactors and nuclear weapons.

Quotes

 * Gewönlich wird eine Entdeckung nicht auf den einfachsten, sondern auf einem komplizierten Wege gemacht; die einfachen Fälle zeigen sich erst später.
 * Usually, a discovery is not made in the easiest but on a complicated way; the simple cases show up only later.
 * Vom Radiothor zur Uranspaltung. Eine wissenschaftliche Selbstbiographie (1962).

Quotations about Hahn

 * Never has a Nobelprize-winner been in the outward sense so absent at a Nobel festival as Professor Hahn. And I suppose, too, that no Nobelprize-winner has ever, through the consequences of his discoveries, been so intensely present to our consciousness. Alfred Nobel hoped that in dynamite he had discovered such a powerful explosive that future wars would be impossible. The hope was not fulfilled; but dynamite is used today mostly for peaceful purposes. May we venture to hope the same of atomic energy? Hahn's discovery of the cleavage of atoms is the crowning feat, so far, in a series of discoveries for which Nobelprizes have been awarded. We acclaim today this celebrated researcher's scientific achievements.
 * Prof. Dr. Axel Hugo Theorell at the Nobelprize ceremony, Stockholm, December 10th, 1945.

 * Otto Hahn is a figure of world history. But he possesses none of the attributes of the traditional luminaries in history books. His slight, somewhat bowed figure, which with its high brow has the effect of his features having been carved, with his expression of searching honesty and critical inviolability, have something of a boundless nobility about them.
 * The Observer, London, June 9th, 1957.

 * His father city Frankfurt am Main thus honours a scholar of worldwide fame, who, as a result of his trail-blazing discoveries in the sphere of atomic research, radioactivity and radiochemistry, enjoys a surpassing reputation in the world. The city at the same time stresses its bonds with a personality of exceptional talent and creative energy, whose scientific and administrative work serve progress and the well-being of the whole of humanity.
 * The attestation of honorary citizenship in the diploma of the City of Frankfurt am Main, 1959.

 * Hahn and Strassmann were able to discover nuclear fission by exceptionally good chemistry, fantastically good chemistry, which was way ahead of what anyone else was capable of at that time. The Americans learned it to do later. But at that time, in 1938, Hahn and Strassmann were really the only ones who could do it, because they were such good chemists.
 * Prof. Dr. Lise Meitner in an interview with the German television, ARD, March 8, 1959.

 * Professor Meitner stated that nuclear fission could be attributed to chemistry. I have to make a slight correction. Chemistry merely isolated the individual substances, but did not precisely identify them. It took Professor Hahn's method to do this. This was his achievement.
 * Prof. Dr. Fritz Strassmann in the same interview with the German television, ARD, March 8, 1959.

 * In postwar Germany, Otto Hahn became the most revered elder statesman of what had once been Europe's proudest scientific establishment. He collected many awards, including a Nobelprize in Chemistry for his discovery of fission. But he always accepted such honours with characteristic humility. Visiting an atomic reactor or nuclear power station, he would shrug modestly: 'It has all been the work of others.' In a soon-to-be-published 300-page memoir, he brushed off his historic workin fewer than five pages. Last week, at he age of 89, the father of fission died peacefully in his beloved Göttingen.
 * TIME Magazine, New York, August 9th, 1968.

title: Otto Hahn


text:
Irving Kristol

Irving Kristol (22 January 1920 – 18 September 2009) was an American columnist, journalist, and writer who was dubbed the "godfather of neoconservatism."

Quotes

 * Capitalism is the least romantic conception of a public order that the human mind has ever conceived.
 * As quoted in "Free-Market Boring…Losing Consciousness" (24 January 2001), by Jonah Goldberg, National Review

1960s

 * It requires strength of character to act upon one's ideas; it requires no less strength of character to resist being seduced by them.
 * New Leader (April 1, 1963).

 * Nostalgia is one of the legitimate and certainly one of the most enduring of human emotions; but the politics of nostalgia is at best distracting, at worst pernicious.
 * New York Times Magazine (December 20, 1964).

 * An intellectual may be defined as a man who speaks with general authority about a subject on which he has no particular competence.
 * Foreign Affairs (July 1967).

 * Power breeds responsibilities, in international affairs as in domestic -- or even private. To dodge or disclaim these responsibilities is one form of the abuse of power.
 * New York Times Magazine (May 12, 1968).

1970s

 * After all, if you believe that no one was ever corrupted by a book, you also have to believe that no one was ever improved by a book (or a play or a movie). You have to believe, in other words, that all art is morally trivial and that, consequently, all education is morally irrelevant.  No one, not even a university professor, really believes that.
 * If you care for the quality of life in our American democracy, then you have to be for censorship.
 * "Pornography, Obscenity, and the Case for Censorship" New York Times Magazine (March 28, 1971).

 * I have observed over the years that the unanticipated consequences of social action are always more important, and usually less agreeable, than the intended consequences.
 * On the Democratic Idea in America (New York, 1972), p. ix.

 * The enemy of liberal capitalism today is not so much socialism as nihilism.
 * The Public Interest (Spring 1973)

 * Senator McGovern is very sincere when he says that he will try to cut the military budget by 30%. And this is to drive a knife in the heart of Israel... Jews don't like big military budgets. But it is now an interest of the Jews to have a large and powerful military establishment in the United States... American Jews who care about the survival of the state of Israel have to say, no, we don't want to cut the military budget, it is important to keep that military budget big, so that we can defend Israel.
 * Congress Bi-Weekly (1973), published by the American Jewish Congress. Quoted by Philip Weiss in Mondoweiss (May 23, 2007).

 * What rules the world is idea, because ideas define the way reality is perceived.
 * Wall Street Journal, September 11, 1975

 * The liberal paradigm of regulation and license has led to a society where an 18-year-old girl has the right to public fornication in a pornographic movie -- but only if she is paid the minimum wage.
 * Wall Street Journal, September 11, 1975

 * [T]he United States is unique among nations in being founded not on race, not on kinship, not on language, not on religion, but on political values. To be an American is to subscribe to these values. We are uniquely a political community, as distinct from an ethnic community, a religious community, a racial community, or any other kind.
 * Memorandum to Robert T. Hartmann (1976)

 * [T]hough affluence is a good thing, and the spirit of compassionate reform is a good thing, in the end a nation survives only to the extent that the spirit of self-discipline and self-sacrifice is strong and vital.
 * Memorandum to Robert T. Hartmann (1976)

 * Are we in danger of becoming a nation of cry-babies? Are we becoming a people who panic at the least sign at adversity? Are we becoming a people with a faith not in God or in ourselves, but in a paternalistic government to shelter us from all of life's hardships and misfortunes?
 * Memorandum to Robert T. Hartmann (1976)

 * [Conservatism:] Our revolutionary message … is that a self-disciplined people can create a political community in which an ordered liberty will promote both economic prosperity and political participation.
 * Essay in American Spectator Magazine (1977)

 * If you have standards, moral standards, you have to want to make them prevail, and at the very least you have to argue in their favor. Now, show me where libertarians have argued in some comprehensive way for a set of moral standards. … I don't think morality can be decided on the private level. I think you need public guidance and public support for a moral consensus. The average person has to know instinctively, without thinking too much about it, how he should raise his children.
 * Essay in the Wall Street Journal (1978).

 * It was a new kind of class war — the people as citizens versus the politicians and their clients in the public sector.
 * The Question of Liberty in America
 * About California's 1978 Proposition 13 which limits tax increases without public approval

 * Democratic socialism turns out to be an inherently unstable compound, a contradiction in terms. Every social-democratic party, once in power, soon finds itself choosing, at one point after another, between the socialist society it aspires to and the liberal society that lathered [sic] it... [S]ocialist movements end up [in] a society where liberty is the property of the state, and is (or is not) doled out to its citizens along with other contingent "benefits".
 * As quoted in "Capitalism, Socialism, and Democracy: A Symposium" (1 April 1978), edited by William Barrett, Commentary

 * Joining a radical movement when one is young is very much like falling in love when one is young. The girl may turn out to be rotten, but the the experience of love is so valuable it can never be entirely undone by the ultimate disenchantment.
 * "Memoirs of a Trotskyist", New York Times, January 23, 1979.

 * Young people, especially, are looking for religion so desperately that they are inventing new ones. They should not have to invent new ones; the old religions are pretty good.
 * Capitalism and Socialism: A Theological Inquiry (American Enterprise Institute Press, 1979).

Two Cheers for Capitalism (1978)

 * Democracy does not guarantee equality of conditions — it only guarantees equality of opportunity.

 * Today there is a new class hostile to business in general, and especially to large corporations. As a group, you find them mainly in the very large and growing public sector and in the media. They share a disinterest in personal wealth, a dislike for the free-market economy, and a conviction that society may best be improved through greater governmental participation in the country's economic life. They are the media. They are the educational system. Their dislike for the free-market economy originates in their inability to exercise much influence over it so as to produce change. In its place they would prefer a system in which there is a very large political component. This is because the new class has a great deal of influence in politics. Thus, through politics, they can exercise a direct and immediate influence on the shape of our society and the direction of national affairs.

 * A liberal is one who says that it's all right for an 18-year-old girl to perform in a pornographic movie as long as she gets paid the minimum wage.

 * Neo-conservatives are unlike old conservatives because they are utilitarians, not moralists, and because their aim is the prosperity of post-industrial society, not the recovery of a golden age.

1980s

 * A welfare state, properly conceived, can be an integral part of a conservative society.
 * Reflections of a Neoconservative: Looking Back, Looking Ahead (1983)

 * [A neoconservative is] a liberal who has been mugged by reality. A neoliberal is a liberal who got mugged by reality but has not pressed charges.
 * Reflections of a Neoconservative: Looking Back, Looking Ahead (1983)

 * People need religion. It's a vehicle for a moral tradition. A crucial role. Nothing can take its place.
 * Interview in Reason Magazine (1983)

 * The trouble with traditional American conservatism is that it lacks a naturally cheerful, optimistic disposition. Not only does it lack one, it regards signs of one as evidence of unsoundness, irresponsibility.
 * Wall Street Journal (18 November 1985)

 * Doing good isn't [that] hard. It's just doing a lot of good that is very hard. If your aims are modest, you can accomplish an awful lot. When your aims become elevated beyond a reasonable level, you not only don't accomplish much, you can cause a great deal of damage.
 * Interview in the London Times Higher Education Supplement (1987)

1990s

 * The danger facing American Jews today is not that Christians want to persecute them but that Christians want to marry them.
 * Quoted in Commentary (January 1994)

 * It is ironic to watch the churches, including large sections of my own religion, surrendering to the spirit of modernity at the very moment when modernity itself is undergoing a kind of spiritual collapse...
 * Neo-Conservatism: The Autobiography of an Idea (1995), pp. 36-7.

 * The major political event of the twentieth century is the death of socialism.
 * Neo-Conservatism: The Autobiography of an Idea (1995)

 * There is nothing like a parade to elicit the proper respect for the military from the populace.
 * Quoted in Wilford, H: The New York Intellectuals: From Vanguard to Institution, Manchester University Press, 1995

 * There are different kinds of truths for different kinds of people. There are truths appropriate for children; truths that are appropriate for students; truths that are appropriate for educated adults; and truths that are appropriate for highly educated adults, and the notion that there should be one set of truths available to everyone is a modern democratic fallacy. It doesn't work.
 * Quoted in "Origin of the Specious", Reason Magazine (July 1997)

2000s

 * What's the point of being the greatest, most powerful nation in the world and not having an imperial role?
 * Quoted in The Reactionary Mind

 * The "national interest" is not a geographical term, except for fairly prosaic matters like trade and environmental regulation. A smaller nation might appropriately feel that its national interest begins and ends at its borders, so that its foreign policy is almost always in a defensive mode. A larger nation has more extensive interests. And large nations, whose identity is ideological, like the Soviet Union of yesteryear and the United States of today, inevitably have ideological interests in addition to more material concerns. Barring extraordinary events, the United States will always feel obliged to defend, if possible, a democratic nation under attack from nondemocratic forces, external or internal. That is why it was in our national interest to come to the defense of France and Britain in World War II. That is why we feel it necessary to defend Israel today, when its survival is threatened. No complicated geopolitical calculations of national interest are necessary.
 * "The Neoconservative Persuasion" (25 August 2003), The Weekly Standard

title: Irving Kristol


text:
William Baziotes

William Baziotes (June 11, 1912 – June 6, 1963) was an American painter influenced by Surrealism and was a contributor to Abstract Expressionism. He participated in discussions and exhibitions of the New York School. In the early 1940's Baziotes was close friends of Jackson Pollock, Roberto Matta and Robert Motherwell; with Pollock he painted some paintings together.

Quotes of William Baziotes

 * chronologically arranged, after the date of Baziotes's quotes

1940s

 * Today it's possible to paint one canvas with the calmness of an ancient Greek and the next with the anxiety of a Van Gogh. Either of these emotions, and any in between, is valid to me.. .I work on many canvasses at once. In the morning I line them up against the wall of my studio. Some speak, some do not. They are my mirrors. They tell me what I am like at that moment.
 * I Cannot Evolve Any Concrete Theory, William Baziotes, in Possibilities, Vol. I, no. 1, New York, winter 1947-48, p. 2

 * Each painting has its own way of evolving. One may start with a few color areas on the canvas; another with a myriad of lines, another with a profusion of colors.. .Once I sense the suggestion I begin to paint intuitively. The suggestion then becomes a phantom that must be caught and made real. As I work, or when the painting is finished, the subject reveals itself.
 * I Cannot Evolve Any Concrete Theory, William Baziotes, in Possibilities, Vol. I, no. 1, New York, winter 1947-48, p. 2
 * William Baziotes is referring in this quote to Surrealist automatism originally a surrealist art concept

 * To be inspired. That is the thing. to be possessed; to be bewitched. To be obsessed. That is the thing. To be inspired.
 * a poetry line on his painting, in: 'Tiger's Eye', Baziotes, Vol. I, no. 5, Westport, Connecticut, October 1948, p. 35

 * Let the poet dream his dreams. Yet, the poet must look at the world; must enter into other men's lives; must look at the earth and the sky, must examine the dust in the street; must walk through the world and his mirror.
 * The Artist and His Mirror, W. Baziotes, in Right Angle Vol. III, no. 2, Washington DC, June 1949

1950s

 * I think when a man first discovers that two and two is four, there is 'beauty' in that; and we can see why. But if people stand and look at the moon and one says 'I think it's just beautiful tonight' and the other says 'The moon makes me feel awful' we are both 'clear'. A geometric shape – we know why we like it; and an unreasonable shape; it has a certain mystery that we recognize as real; but it is difficult to put these things in an objective way.
 * as cited in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York 1990, p. 221: Remark in the 'Artists' Session' at Studio 35, 1950.

 * The eye seems to be responding to something living.
 * Modern Artists in America, Robert Motherwell et al. eds., First series, New York 1952, p. 100

 * As for the subject matter in my painting...it is very often an incidental thing in the background, elusive and unclear, that really stirred me.
 * Fifteen Americans, Exhibition catalogue, Museum of Modern Art, 1952 p. 12

 * Contact with other artists has always been of great importance to me. When the artists I know best used to meet.. ..the talk was mostly of ideas in painting. There was an unconscious collaboration between artists. Whether you agreed or disagreed was of no consequence. It was exciting and you were compelled to paint over your head...  .If your painting was criticized adversely, you either imitated someone to give it importance, or you simply suffered and painted harder to make your feelings on canvas convincing..  .What does happen when artists meet is that we are able to see more clearly the unfolding of character as time goes on.
 * Quote from Baziotes' text for the symposium 'The Creative process', Art Digest Vol. 28, no 8, 15; January 1954, p. 33
 * Baziotes is referring here to the many art-debates and exchanges between the New York Abstract Expressionist artists

 * There is always an unconscious collaboration among artists.. ..the artist who imagine himself a Robinson Crusoe is either a primitive or a fool.
 * from Baziote's text for a symposium in 1954; as quoted in William Baziotes – paintings and drawings, ed. Michael Preble, Peggy Guggenheim Collection, Venice, 2004, p. 18

 * Its decadence, satiety, and languor [of Roman civilization] interested me. And I kept looking and returning to their wall paintings with their veiled melancholy and their elegant plasticity. I admired the way they used their geology in their art — the sense of mineral, clay. rock, marble, and stone.
 * from his letter to Alfred H. Barr, Jr. 6 November, 1955; as cited in the text of 'The Baziotes Memorial Exhibition' and its accompanying catalogue by Lawrence Alloway; Solomon R. Guggenheim Museum 1965, p. 11

 * The large gray spiked form rising from the bottom of the picture is to me the symbol of death and ruin. And finally the black ovoid form is the symbol of fire, lava and destruction.
 * in a letter to Alfred H. Barr, Jr. 6 November, 1955; as quoted in Abstract Expressionism, Barbara Hess, Taschen, Köln, 2006, p. 34
 * Baziotes' quote is referring to his painting 'Pompeii', Baziotes painted in 1955

 * Well, I looked at Picasso [at the Picasso exhibition, Museum of Modern Art, in 1939] until I could smell his armpits and the cigarette smoke on his breast. Finally, in front of one picture – a bone figure on a beach – I got it. I saw that the figure was not his real subject. The plasticity wasn't either – although the plasticity was great. No. Picasso had uncovered a feverishness in himself and is painting it – a feverishness of death and beauty.
 * Modern Art U.S.A., R. Blesh, New York, Alfred A. Knopf, 1956, pp. 268-69

 * My whole intention in painting is to make a thing poetical; but not poetical in a literary sense. I want something that evokes mood, a background, a stage set for certain characters that are playing certain parts. When I paint I do not consider myself an abstractionist in the sense that I'm trying to create beautiful forms that fit together like a puzzle. The things in my painting are intended to strike something that is an emotional involvement – that has to do with the human personality and all the mysteries of life, not simply colors or abstract balances. To me, it's all reality.
 * Quote from An interview with William Baziotes, eds. P. Franks and M. White, Perspective no. 2, Hunter College New York (1956-57), pp. 27, 29-30

 * The emphasis on flora, fauna, and beings makes the exhibit a most intriguing and artistic one for it brings forth those strange memories and psychic feelings that mystify and fascinate all of us. [his remark in 1957]
 * as cited in Abstract Expressionism, Barbara Hess, Taschen, Köln, 2006, p. 34

 * In the beginning I drew and painted from nature in order to know her. Then later, only to fall under her spell. And today, to let her mirror my thoughts and feelings.
 * from the catalog of the traveling exhibition 'Nature in Abstraction', Whitney Museum of modern Art, 1958, p. 61

Artists' Session at Studio 35, (1950)

 * Quotes from: Artists' Session at Studio 35, 1950, as quoted in Abstract Expressionism, Creators and Critics, ed. Clifford Ross, Abrams Publishers New York 1990

 * I consider my painting finished when my eyes goes to a particular spot on the canvas. But if I put the picture away about thirty feet on the wall and the movements keep returning to me and the eye seems to be responding to something living, then it is finished.
 * p. 213

 * We are getting mixed up with the French tradition. In talking about the necessity to 'finish' a thing, we then said American painters 'finish' a thing that looks 'unfinished', and the French, they 'finish' it. I have seen Henri Matisse's that were more 'unfinished' and yet more 'finished' than any American painters. Matisse was obviously in a terrific emotion at the time and he was more 'unfinished' than 'finished'.
 * p. 216

 * Whereas certain people start with a recollection or an experience and paint that experience, to some of us the act of doing is the experience; so that we are not quite clear why we are engaged on a particular work. And because we are more interested in plastic matters than we are in matters of words, once can begin a painting and carry it through and stop it and do nothing about the title at all. All pictures are full of association.
 * p. 217

 * I think the reason we [Baziotes himself and Richard Lippold ] begin in a different way, is that this particular time has gotten to a point where the artist feels like a gambler. He does something on the canvas and takes a chance in the hope that something important will be revealed.
 * p. 219

Abstract Expressionist Painting in America, (1983)

 * Quotes from: Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts 1983

 * One hundred artists introduce us to one hundred worlds.
 * p. 136 : in Artists Club, January 8, 1952

 * I can not evolve any concrete theory about painting. What happens on the canvas is unpredictable and surprising to me.
 * p. 135 : original source: 'Willem de Kooning', in 'Moma Bulletin' pp. 6,7

 * One can begin a picture and carry it through and stop it and do nothing about the title at all.
 * p. 147

Quotes about William Baziotes

 * Baziotes is unique in that the spatial organization of the whole painting implies a dense medium, like water, as well as evoking reminiscences of particular organisms. This kind of space becomes scenically expansive in 1952. developing after paintings of 1950 in which marine life is one term in an ambiguous image. Examples of this phase are 'Dying Bird' and 'Flight', in which bird forms are generalized to the point at which they imply a seal or a slug...Baziotes' color is as bland and shifting as light in topaz or opal, converting the motion of the sea to a Medusan calm. His art paradoxically evokes both the amniotic waters and the impassivity of the mineral world.
 * Quote of Lawrence Alloway, in his text of 'The Baziotes Memorial Exhibition' and accompanying catalogue; Solomon R. Guggenheim Museum 1965, p. 11

 * In 1942-43 Motherwell and Baziotes felt an absorbing interest in automatism, propagandized by Matta, as a source of new forms and new truths in art. Baziotes' contacts with Surrealism at this time are essential to his subsequent development; in 1942 he exhibited in Andre Breton's 'First Papers of Surrealism' [show] at the Whitelaw Reid Mansion, and in 1944 he [Baziotes] held his first one man exhibition at Peggy Guggenheim's 'Art of This Century.' which was a junction of expatriate European Surrealists and younger American artists [ Pollock showed there too].
 * Lawrence Alloway, in his text of 'The Baziotes Memorial Exhibition' and accompanying catalogue; Solomon R. Guggenheim Museum 1965, p. 12

 * I saw a Dubuffet show at Pierre Matisse's art gallery in the late forties and came back with a new vocabulary. Also when Baziotes won the Carnegie (1948) there was a reproduction in 'The Times'. I remember bringing it to class. It was source of bewilderment, delineated configurations that seemed to come out of Cubism. It was something new. Those were the tastes of a whole dimension that was to come..
 * Quote of Helen Frankenthaler, in an 'Interview with Helen Frankenthaler', Henry Geldzahler; ''Artforum' 4. no. 2, October 1965, p. 36

 * Recently I was at the home of Thomas Hess and he had a painting hanging there and I said to my wife: 'Is that one of my paintings?'. And she said: 'Well, it looks like one of yours [Adolph Gottlieb's] from around 1942'. But then we realized that it wasn't one of my but one of Baziote's paintings. At that time, 1942, the differences in our paintings may have seemed very great, but now [1960] the difference is not so great apparently.. .However, at no point was there ever any sort of a doctrine or a programma or anything that would make a school. I think it was simply a situation in which all of the painters were at that time; they were trying to break away from certain things.
 * Quote of Adolph Gottlieb (March 1960), in an interview with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', June 1963; as cited in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, pp. 27-28

 * I hung Baziote's [painting] show with him at Peggy's in 1944. After it was up and we had stood in silence looking at it for a while, I noticed he had turned white. Suddenly he [Baziotes] looked at me and said: 'You're the one I trust; if you tell me the show is no good, I'll take it right down and cancel it.'. You see, at the opposite side of the coin of the abstract expressionist's ambition and of out not giving a damn, was also not knowing whether our pictures were even pictures, let alone whether they were any good..
 * Quote of Robert Motherwell; as cited in William Baziotes – paintings and drawings, curated by Michael Preble, Peggy Guggenheim Collection, Venice, 2004, p. 181

title: William Baziotes


text:
Ilya Bolotowsky

Ilya Bolotowsky (July 1, 1907 – November 22, 1981) was a leading early 20th-century painter in abstract styles in New York City. His work, a search for philosophical order through visual expression, embraced cubism and geometric abstraction and was much influenced by Dutch painter Piet Mondrian.

Quotes

 * Abstract art.. searches for new ways to achieve harmony and equilibrium.
 * Quoted in An Interview with Ilya Bolotowsky conducted by Paul Cummings for the Archives of American Art (24 April 1968)

title: Ilya Bolotowsky


text:
User:KillerCommz

Hello.

My main purpose here is to add and edit the quotes for The Simpson's Episode Homer's Enemy

=Homer's Enemy=

My next project is to sort the quotes in order they were said. Pointless.. maybe. But It's just something I want to do.

=The Simpsons=

I've joined WikiProject The Simpsons and plan on moving/linking all the quotes for the Simpsons episodes. Neato.

Updates
First 3 seasons quotes have been moved/linked KillerCommz 08:56, 22 January 2007 (UTC)

Up to 4.10

title: User:KillerCommz


text:
Talk:Battlestar Galactica (2003)

Episode 3 numbers / titles are mismatched. Occupation/Precipice [3.01] should be Occupation [3.01] and Precipice [3.02], and following titles should be incremented in episode number. As is, the quotes are misaligned with titles.

 * Fixed the numbering and seperated Occupation/Precipice quotes into correct episodes

Moved the Starbuck "You're a bastard" quote from "Water" to Miniseries part 2. Just watched it this a.m., and remembered that quote to Col. Tigh.

Regarding "Number Six: [to a little baby whose neck she is about to snap] There there. It's okay. You're not gonna have to cry much longer.":

When she speaks the line she is probably referring to the fact that Caprica is about to be nuked hours later. It is first after the mother puts the baby back into the stroller and turns away that she gets the idea (out of curiosity) to examine the baby's neck and "accidentally" breaks it.

It is my opinion that the text is changed according to my submission on 05:50, 1 August 2009, if noone can argue against it.
 * There's no indication that the mother has anything to do with the baby's neck breaking; all we see is her taking a closer look at the baby and noticing it isn't breathing. EVula // talk // ☯  // 15:56, 7 August 2009 (UTC)
 * With "she" I meant Number Six. She leans over the baby when the mother turns away. What I mean with my comment is that that the current text makes it sound like Number Six was planning to break the baby's neck when she spoke the line, and there is nothing in the film that indicates that.

title: Talk:Battlestar Galactica (2003)


text:
User talk:212.248.233.1

Please stop. If you continue to vandalize pages, as you did to Star Wars Episode I: The Phantom Menace, you will be blocked from editing Wikiquote. ~ UDScott 13:50, 10 January 2007 (UTC)

This is your last warning. The next time you vandalize a page you will be blocked from editing. ~ UDScott 13:50, 10 January 2007 (UTC)

You have been temporarily blocked from editing for vandalising Wikiquote. If you wish to make useful contributions, you are welcome to come back after the block expires.~ UDScott 13:54, 10 January 2007 (UTC)

Please stop adding nonsense to Wikiquote, as you did to Last words. It is considered vandalism. If you would like to experiment, use the sandbox. —LrdChaos (talk) 15:09, 29 January 2007 (UTC)

You have been temporarily blocked from editing for continuing to vandalize Wikiquote. If you wish to make useful contributions, you are welcome to come back after the block expires. —LrdChaos (talk) 14:57, 7 February 2007 (UTC)

Incidents of deliberate vandalism have resulted in this IP address being temporarily blocked from editing. ~ Kalki 10:42, 16 July 2007 (UTC)

title: User talk:212.248.233.1


text:
User talk:Moment~enwikiquote

"Living is a form of not being sure, not knowing what next or how. The moment you know how, you begin to die a little. The artist never entirely knows, We guess. We may be wrong, but we take leap after leap in the dark."

(Agnes de Mile)

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 16:47, 10 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.

Moment article
I added some quotations to the article you started on "Moment". I also removed the information you provided on yourself and your goals. Please don't take offense at this. This sort of material belongs on your user page, not on individual articles. Take a look at some other theme articles and you will see what I mean.

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 Moment. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Moment~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

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

Sorry for the inconvenience.

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

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

title: User talk:Moment~enwikiquote


text:
User:Moment~enwikiquote

"All of us, at certain moments of our lives, need to take advice and to receive help from other people."

(Alexis Carrel)

title: User:Moment~enwikiquote


text:
William March

William March (18 September 1893 – 15 May 1954), born William Edward Campbell, was an American soldier and author, most famous for his novels The Bad Seed and Company K. His innovative writing style is characterized by a deep compassion and understanding of suffering. A champion of the poor and disadvantaged, March often presents characters who, through no fault of their own, are victims of chance. He argues that true freedom is only obtained by being true to one's nature and humanity.

Quotes

 * The time comes in the life of each of us when we realize that death awaits us as it awaits others, that we will receive at the end neither preference nor exemption. It is then, in that disturbed moment, that we know life is an adventure with an ending, not a succession of bright days that go on forever. Sometimes the knowledge comes with the repudiation and quick revolt that such injustice awaits us, sometimes with fear that dries the mouth and closes the eyes for an instant, sometimes with servile weariness, an acquiescence more dreadful than fear. The knowledge that my own end was near came with pain, and afterwards astonishment, with the conventional heart attack, from which, I've been told, I've made an excellent recovery.
 * Statement titled "Poor Pilgrim, Poor Stranger", found in the typewriter the morning of his death.

This Heavy Load (1931)

 * ...man...is a frail, lost creature, too weak to walk unaided.

Company K (1933)

I repeated my thoughts to my wife, but she said it was not difficult to understand about battlefields: The blood of the men killed on the field, and the bodies buried there, fertilize the ground and stimulate the growth of vegetation. That was all quite natural she said. But I could not agree with this, too-simple, explanation: To me it has always seemed that God is so sickened with men, and their unending cruelty to each other, that he covers the places where they have been as quickly as possible.
 * You can always tell an old battlefield where many men have lost their lives. The next Spring the grass comes up greener and more luxuriant than on the surrounding countryside; the poppies are redder, the corn-flowers more blue. They grow over the field and down the sides of the shell holes and lean, almost touching, across the abandoned trenches in a mass of color that ripples all day in the direction that the wind blows. They take the pits and scars out of the torn land and make it a sweet, sloping surface again. Take a wood, now, or a ravine: In a year's time you could never guess the things which had taken place there.
 * "Private Joseph Delaney"

 * If the common soldiers of each army could just get together by a river bank and talk things over calmly, no war could possibly last as long as a week.
 * "Private Plez Yancey"

 * All we know is that life is sweet and that it does not last long. Why should people be envious of each other? Why do we hate each other? Why can't we live at peace in a world that is so beautiful and so wide?
 * "Private Manuel Burt"

I have no theories and no remedies to offer.
 * I saw much during my thirty years as a professional soldier, and I have watched the reactions of many men to pain, hunger and death, but all I have learned is that no two men react alike, and that no one man comes through the experience unchanged. I have never ceased to wonder at the thing we call human nature, with its times of beauty and its times of filthiness, or at the level of calm stupidity that lies in between the two.
 * "Private Colin Urquhart"

The Tallons (1936)

 * People are born in sorrow and move about the earth in patterns of sorrow without sense and without plan. Why should I take myself so seriously? I am no more important to the Creator than the trees or the vegetation which live with me on His earth. There is no eye to watch over me nor a hand to direct me, and there will be no preferred fate for me at the end, no matter what I am, or what I do with my life.

 * In the sight of my beloved, I am like iron that the smith has heated at his furnace: iron whose surface gives heat. I am a bar that is rigid and will not bend.

The Looking-Glass (1943)

 * Everybody must seem crazy if you see deep enough into their minds.

Quotes about March

 * The most underrated of all contemporary American writers of fiction.
 * Alistair Cooke

 * The unrecognized genius of our time.
 * Alistair Cooke

 * His book has the force of a mob-protest; an outcry from anonymous throats. The wheel turns and turns and it does not matter, one hardly notices that the captain of the company, killed on page 159, is alive again a hundred pages later. It does not matter that every stock situation of the war, suicide, the murder of an officer, the slaughter of prisoners, a vision of Christ, is apportioned to Company K, because the book is not written in any realistic convention. It is the only War-book I have read which has found a new form to fit the novelty of the protest. The prose is bare, lucid, without literary echoes, not an imitation but a development of eighteenth-century prose.
 * In a Graham Greene review of the novel Company K for the newspaper The Spectator.

 * It's queer about this book — it suddenly made me wonder whether any other book about the War has been written in this country. It's a book of extra-ordinary courage — not the courage of hope but the quiet courage of despair. It will make patriots and romanticists angry — yet it is the kind of patriotism that is hardest and toughest. It ranks at once with the few great cries of protest. It is a selected, partial, bitter picture, but a picture we need. It will live. None of the acts of bravery for which the author was decorated during the War was as brave as this anthology of dismay.
 * Christopher Morley

 * ...Far beyond the confines of a novel; at a single stroke he invented and perfected a new form. No man could write the gigantic story that lies behind Company K, but William March, by a brilliant refinement of form, has given us its essence and its broad sweep, flashes of its intensity and rich variety.
 * Harold Strauss, from the 1933 Review of Company K for the New York Times.

title: William March


text:
Stingers

Stingers (1998–2004) was an Australian drama series about undercover cops - people with covert lives and constantly changing identities. It reveals the shadowy and ambiguous life of police who work behind enemy lines - always without a badge and frequently without protection. Please note: quotes do contain some mild coarse language and some sexual remarks.

Ratcatcher [1.1]

 * [Peter had just gotten back from an undercover operation and is about to met Kaye. Oscar is talking to Kaye when Mac and Pete walk up together.]
 * OSCAR: We've been talking about you
 * PETER: Well there you go
 * MAC: The male ego never ceases to amaze me
 * PETER: What’s wrong with the male ego
 * MAC: I'm not allowed to say - secret woman’s business, it's how we stay on top
 * PETER: Been taking those Germaine Greer tablets again
 * MAC: *confused* Pardon
 * PETER: You're showing your age you know
 * [Mac gives him a dirty look and keeps walking]

 * [Pete was punched at the start of the episode, in a sting, by a cop to make it look more real. Pete is now in a pub with Ron Gallagher, the target, and the police officer makes an appearence]
 * COP (to Pete): Hey wanker, how’s the eye
 * RON: Who’s that friggin smartass
 * COP: Don't worry I won't tell a soul
 * PETER: Don't worry he's a cop
 * [Pete gets up and walks towards him. He punches the cop in the face then grabs his shirt and talks into his ear]
 * PETER: I'm working Dickhead
 * [Pete punches him again this time in the stomach, the cop is lying on the floor gasping for breath]
 * PETER: Authentic enough for you

 * PETER: I'm not wearing a wire
 * MAC: Then how can we back you up
 * PETER: From a distance
 * MAC: I don't like it
 * '''PETER: I'm playing it safe
 * BERNIE: That’s a matter of opinion
 * MAC: You're aiding and abetting a robbery I'm not even sure if it's the right way to go
 * PETER: Were not arresting anyone... I'm um…. bonding. Isn't that what you wanted
 * [Mac smiles]
 * MAC (blokey voice): then take em to a footy match
 * PETER (laughing): Come on we're on a roll. I'm in on a robbery, thumped a cop
 * MAC: I want you to wear a wire

 * [Garry is Ron Gallagher’s brother]
 * RON: Get your gear off
 * GARRY: Ron, what are you doing
 * RON: What if he's a pig
 * GARRY: He's a thieving bastard
 * RON: He's a smart thieving bastard, get your gear off
 * [Pete takes all his clothes off. Standing in front of Ron and Garry naked]
 * PETER: See anything you like
 * RON: Nah you’re not my type

Hit Me [1.2]

 * [Newstead’s doing his morning swim]
 * OSCAR: Fit bastard!
 * BODYGUARD: Every morning, rain, hail or shine...

 * ANGIE: Oi Church! Step out of the fast lane you nearly ran be over back there!
 * PETER: I need the attention. You’ve been ignoring me lately.
 * ANGIE: I think you can live without my acknowledgement.
 * PETER: Yeah, but life wouldn’t be so sweet.
 * ANGIE: You know I think that outfit is beginning to affect your personality.
 * PETER: Yeah, how’s that?
 * ANGIE: Well you’re becoming a legend in your own spiffy suit.
 * ANGIE: Before you know it you’ll be bulldozing national trust buildings.
 * PETER: Yeah, maybe a really old one.
 * ANIGE: Oh, you’re a worry.

 * PETER: And you reckon I’m good at this job.
 * MAC (whispering): Come on, Pete.
 * PETER: Never ends, does it.

Show The Dead Mouse pt.2 [1.5]

 * MAC: Okay, let's go through it one more time.
 * JERRY: I want my lawyer.
 * BILL: Get out of here.
 * JERRY: I'll do a lie detector test.
 * BILL: You'll kiss my arse, get out! You're suspended from further duties.
 * JERRY: You can't sack me. I resign.
 * BILL: Just go.

Backlash [1.6]

 * [Mac and Pete are lying in bed, in one of their hundreds of motels]
 * MAC: What are we doing Peter?
 * PETER: Having a rest. We just earned it.
 * MAC: I’m not talking about that!
 * PETER: Well what are you talking about?
 * MAC: The future.
 * PETER: What about the future?
 * MAC: We don't have one.
 * PETER: No future, no past. Isn't that what it’s supposed to be?
 * MAC: Mmm yeah.

 * BERNIE: Peter, where are you off to?
 * PETER: Somewhere dark and quiet with cold beer, where I can lick my wounds and dream about boats...
 * BERNIE: Boats?
 * PETER: You treat 'em right and they whisper sweet nothings in your ear and rock you gently to sleep...

 * BERNIE: I hate to think you two are breaking the cardinal rule and socializing together when you’re off duty.
 * PETER: Come on Bernie, you know we’ve hardly got a social word for one another.
 * BERNIE: Yeah well who ever said that business and pleasure don't mix was right on the money.
 * MAC: Absolutely.
 * PETER: No question.
 * MAC: Night Bernie.
 * PETER: See you.

Innocents Abroad [1.7]

 * [Oscar is in the car with a girl who has been charged with the possession of illegal drugs. If this girl helps Stone by introducing him to her supplier, she gets a good word put in for her when it comes to her sentencing.]
 * OSCAR: So tell me again, this Jeremy, your supplier?
 * GIRL: Well he’s English. He likes English backpackers, that’s why he hangs round ‘ere. They don’t care what they do for a buck and they don’t stay long enough for the drug squad to pay attention.
 * OSCAR: What else?
 * GIRL: He’s Gay! Might help you if you’re that way inclined yourself.
 * OSCAR: Give me a break.

 * [Church and Oscar are driving back from a drug dealer’s house, where they have just set up a buy. There are two young, English backpackers, Hannah and Claire, living with him.]
 * PETER: So you’re screwing her?
 * OSCAR: Wha…?
 * PETER: Peaches and cream, the English rose...
 * OSCAR: Hannah?
 * PETER: (copying him) Hannah, yes Hannah!
 * OSCAR: She’s got nothing to do with Jeremy.
 * PETER: She shares his house!
 * OSCAR: But…It’s a living arrangement, they do the cleaning, cook him meals.
 * PETER: Come on.
 * OSCAR: Hey she’s how I made the contact; she’s how I got his trust.
 * PETER: So leave it at that.
 * OSCAR: Don’t I get a personal life?
 * PETER: Not on the boss’s time. She thinks you live in Queensland.
 * PETER: She thinks you sell boats, she’s half thinking of joining you in Byron Bay! Are you comfortable with that?
 * OSCAR: No not entirely. Come on Church you know how it is. You develop a cover you play the part, you almost think its true.
 * PETER: Except she’s the one you’re meant to fool! Finish it before you stuff the operation.

 * [Bernie, Oscar and Mac in Bernie's office, discussing Oscar’s bust.]
 * MAC: But what if he knows you’re a cop?
 * OSCAR: I’ll take the risk.
 * MAC: We’ve got nothing to loose? (Looks at Bernie)
 * BERNIE: Except Oscar! All right, okay Mac. He's to have back up at all time, and wear a wire.
 * MAC: You’re sounding more and more like me.
 * BERNIE: Don't push me.
 * MAC: No, no, I approve, I approve.

Blind Love [1.8]

 * PETER: Chalk and cheese ay!
 * MAC: (Turns to face him) Don’t take me so literally Peter I was just building a cover story!
 * PETER: For the record, I don’t really prefer life by myself...
 * [Mac nods, almost laughing.]
 * MAC: Well...like I said, who knows what’ll happen!

Jelly Babies [1.9]

 * [A drug bust gone wrong, its turned into a siege, Bernie it talking to the instigator. Bernie is playing negotiator]
 * MURRAY: Shut up Bernie, let me finish. You see I’ve uncovered one of your undercover dudes and he’s on his knees right now. Praying to Christ that I don’t get any more pissed off than I already am right now. You their Bernie? Oh don’t go all-quiet of me mate.
 * BERNIE: So how do we resolve this?
 * MURRAY: Well I’m glad you asked that Bernie, I really am you see it’s real easy, 5 minutes, no chopper and you’ve got a man down. Isn’t that what you say? Isn’t that what the copper’s say Bernie, we’ve got a man down?
 * BERNIE: Look, Murray I’m hearing you on this but-
 * MURRAY: But! Oh Bernie, it’s the big B word that’s the problem with you guys, you won’t listen to me.
 * BERNIE: Murray listen!
 * MURRAY: First you want me to talk, now you want me to listen well you listen. 5 minutes, no chopper your man goes down, another 5 minutes... let’s see which will it be... the yuppie, or the drug dealer, eenie, meeni miney, moe. Bernie you still their Bernie?
 * BERNIE: Yeah I am here.
 * MURRAY: Just one more thing mate. (bangs the phone down on the hook)
 * BERNIE: (Radios Mac in the Com-Vee) Van 1.
 * MAC: Van 1.
 * BERNIE: I think they’ve uncovered Church.
 * MAC: Oh No…!
 * OSCAR: What?
 * MAC: They’ve uncovered Church.

Nothing Personal [1.10]

 * [Mac and Pete were on their way home together, but Mac pulls up at Flinders St Station, with a car pulling up behind her.]
 * PETER: What are we stopping here for?
 * MAC: It’s a railway station.
 * PETER: Don’t I get a lift home?
 * MAC: Not tonight Peter. (Pete glances in the rear vision mirror and sees that IA guys are following them)
 * PETER: You got to be joking. What does this dog want?
 * MAC: Who knows, maybe they’re just fishing.
 * PETER: Bullshit, I hope its nothing to do with the buy.
 * MAC: What do you mean?
 * PETER: I don't know, I don't trust Mooney.
 * MAC: You get the report back from the lab?
 * PETER: Yeah, 97%
 * MAC: That’s pure.
 * PETER: Mmm something’s still not right though.
 * MAC: Been any complaints?
 * PETER: I’ve got a complaint, you’ve been ignoring me.
 * MAC: Go home Peter, abstinence makes the heart grow fonder.
 * PETER: I haven’t had a drop for 24 hours.
 * MAC: You better go.
 * PETER: When this is over, it won’t be soon enough.

Ten Foot Tall & Bullet Proof [1.11]

 * [Angie and Stone are bugging a cheap, hotel room.]
 * ANGIE: What do ya reckon?
 * OSCAR: Yeah, as good a place as any.
 * ANGIE: God-what’s that smell? Old socks?
 * OSCAR: Love gone wrong!
 * ANGIE: (Laughs) Yuck, how can anyone get horny in a place like this.
 * OSCAR: (Sitting on the bed) You’d be surprised! (Bounces on the bed)
 * OSCAR: How’s it going?
 * ANGIE: Yep, almost done. I reckon he makes the call from here, after he’s done his business. Then heads back to the office.
 * OSCAR: Mm, probably, let’s go.
 * ANGIE: Hope he’s not a screamer! (They leave)

 * [Angie and Mac are inside the Van, listening to Mr. Phillips and his personal assistant Taya Mitchell]
 * MR. PHILLIPS: Oh Oh, ooh, oh god, oh yeah!
 * [Angie shuts her eyes and cringes.]
 * MR. PHILLIPS: Oh ohhh….
 * ANGIE: Join the Police Force and listen to people screwing! (Laughing) Not my idea of a fun afternoon!
 * MAC:(Laughing as well) I don’t think it’s hers either!
 * ANGIE: Doesn’t sound like it. Haven’t heard a peep out of her.
 * [Angie’s mobile rings, she takes the head set off and picks it up.]
 * ANGIE: Van 1.
 * BERNIE: Angie it’s Rocca, it’s the airport route that’s going to be hit but Phillips could still change it.
 * ANGIE: Okay, yep.
 * BERNIE: I’ll keep you posted. (Hangs up)
 * MR. PHILLIPS: (Through the microphone in the hotel) I’ve gotta get back to the office, I just need a quick shower.
 * MAC: No he’s getting into the shower, it can’t be him. (A modem is heard.) Oh what was that?
 * ANGIE: What? (She puts the head set back on, more beeping noises.) It’s a modem!
 * MAC: But he’s still in the shower! It’s not him.
 * [They look at each other.]
 * Together: It’s her!

Faking It [1.12]

 * [Oscar is in hospital in a coma, after being bashed by a biker, and his father is answering some questions]
 * NURSE: Has Cameron ever suffered any other kind of head injury, concussion or whiplash?
 * DAD: Not as far as I know
 * NURSE: We really need to know for certain. Well does Cameron smoke?
 * DAD: Not when he was living at home.
 * NURSE: Mr. Pierce you understand that we really need this information if the MRI scan’s going to be reliable.
 * [Angie walks in.]
 * DAD: Perhaps you could ask Michelle (as Angie is undercover as Michelle, Oscar's girlfriend)
 * NURSE: (Smiles) Do you know if Cameron smokes?
 * ANGIE: No he doesn’t.
 * NURSE: Is he currently taking any kind of prescribed medication, natural therapies or drugs?
 * ANGIE: Um, no.
 * NURSE: You sure?
 * ANGIE: Pretty sure.
 * NURSE: Okay! Thanks. The orderly will take him in shortly.
 * DAD: Is there anything we can do? I feel so useless just sitting here.
 * NURSE: Well you can actually try talking to him, even though he looks asleep they are sometimes able to hear.
 * NURSE: The sound of your voice might snap him out of it.
 * [She leaves. Angie goes round to the other side of the bed and takes his hand.]

 * [Oscar is still in hospital, but he has woken up from the coma. His father had just left and Angie is visiting, saying goodbye to his Dad, and bringing some fruit to Oscar]
 * OSCAR: Now how the hell am I going to get away with that? You realize what you’ve done with this whole girlfriend stuff?
 * ANGIE: Well you’ll think of something.
 * OSCAR: Thanks a lot Ange. He never forgets you know.
 * OSCAR: He’ll be pestering me. ‘Where’s Michelle? When are you going to be bringing her home?’
 * ANGIE: Well I guess we’ll just have to split up.
 * OSCAR: What? You mean this could be the end of a beautiful relationship?
 * ANGIE: Well it would never work would it? You and me (Long pause)
 * OSCAR: No, I guess not. (They both laugh, and Angie throws a grape into his mouth)

Right On Target [1.13]

 * [Angie and Oscar are on the beds in the rest room, Angie is half-asleep. Oscar is laying awake thinking, after he was nearly shot]
 * OSCAR: Ange? Do you ever think about dying? I mean what happens afterwards?
 * ANGIE: (Sleepily.) Well hopefully a lot of people will come to my funeral.
 * OSCAR: I’m serious.
 * ANGIE: Dunno.
 * OSCAR: I used to go to Sunday school as a kid, but it never made much sense to me.
 * ANGIE: What? You mean the stories? The Bible and all that?
 * OSCAR: Yeah.
 * ANGIE: I can’t imagine you at Sunday school, in short pants (Angie laughs, but Oscar remains serious.)
 * OSCAR: If you were going to get killed, and you had a way out, you’d take it right?
 * ANGIE: Course.
 * OSCAR: That’s the whole point of religion. Helps us face our own mortality.

Lunatic Fringe pt 1 [1.15]

 * PETER: Mac, We all live lies. Some of us are just more honest about it.

Lunatic Fringe pt 2 [1.16]

 * MAC (To Bernie): You never asked if I was in love with him... (referring to Peter)

Cast Off [1.21]

 * [Angie and Stone are both lying on their stomachs, spying on Church and his girlfriend]
 * ANGIE: Yep, he's seen us.
 * OSCAR: Talk about sleeping with the enemy. (Takes a bite of his sandwich).
 * [Angie, seductivly, turns onto her side, lightly brushing Oscars side with her hand]
 * ANGIE: Hey Stone, don't you think it's fortunate, I'm not the slightest bit attracted to you?
 * [Oscar returns the glance and points at her as if ready to talk]
 * ANGIE: Sexually I mean.

 * [A little later Stone runs across to Church's yacht to plant a bug in it]
 * OSCAR: Alfa one to base, Alfa one to base, coming to you live from the ship Com-Vee.
 * MAC: Receiving you loud and clear.
 * OSCAR: Don't touch that dial. I'm out of here.
 * MAC: Negative, stay in the facility.
 * OSCAR: Copy that.

 * [Later that day Stone is pretending to be doing some fishing at the pier when Church rocks up]
 * PETER: What?
 * OSCAR: What? What?
 * PETER: Come to give advice to the prodigal son.
 * OSCAR: I'm just fishing.

Forced Perspective [3.2]

 * PETER: Hello Dad.
 * OSSIE: What the hell do you want? Piss off.
 * PETER: Dad, I wanted to come...
 * OSSIE: I don't care what you want. Piss off.

No Way Out [3.6]
Church and Danni are arriving at a wedding, undercover as a couple.

Pete: How do I look?

Danni: You'll do

Pete: What happened to gorgeous? ..spunky?? ..sexy???

The Wrong Man [7.35]
Leo: "Why, Whats Walken got that I haven't got?"

Peter: "Money... Power... a sense of danger"

Leo: "I've got that!!"

Peter "not like a hitman who's wanted for 5 unsolved murders you haven't"

Chris: "Boss, He's wearing Walkens jacket!?"

Harris: "Oh, So now Church thinks he's a hitman?"

Harris [in interview room interviewing the hitmans target, who happens to own a plastic cutlery factory]: "Yes, the banks of security cameras and the steel gates out the front of your property suggest that you've already taken the necessary precautions...." [Leans forward with a serious expression] "Is someone after the plastic spoons??"

Cops And Robbers [7.40]
Bryan: "My son Frank started jazz ballet today

Harris [Uninterested]: ".... Really?"

Bryan: " ...Yeah! ... That'd be your son one day"

Harris: " I doubt it [awkward pause] well, if you will excuse me, I need the urinal"

Hammer Horror [8.1]
Harris[In reference to Reg 'the ferret' Masters] : "Small furry animals are frequently skittish"

Starlight Hotel [8.11]

 * CHRIS: Morning.
 * LEO: Hey.
 * CHRIS: Hey.
 * LEO: Mm…
 * CHRIS: You Know Katherine.
 * LEO: Yes, I know Katherine.
 * CHRIS: She’s a bit of a spunk isn’t she?
 * LEO: Na…
 * CHRIS: Yes she is, she’s hot!
 * LEO: No, no, I don’t see it.
 * CHRIS: You gotta open your eyes boy.
 * LEO: Mate, ya wasting your time, she’s on my side.
 * CHRIS: Now, I’m the one who can pick them and I say she bats on my side.
 * CHRIS: Oh, you’re jealous aren’t you?
 * LEO: Oh…um…no.
 * CHRIS: 20 Bucks, may the best man win…
 * LEO: Trust me on this, just don’t go there.

 * KATHERINE: How did you go?
 * CHRIS: Oh...good, I just dropped off the 3 beer bottles to forensics; we should have clear prints for Cal Lewis and his buddies by the morning.
 * KATHERINE: Fantastic...um good job.
 * CHRIS: Yep, I was born to be a bar maid!
 * KATHERINE: I don’t think so, way too much attitude for that.
 * CHRIS: You've got no idea about my attitude (smiles)
 * KATHERINE: I'm willing to take a guess.
 * CHRIS: Um...that’s a provocative statement Miss Marks.
 * KATHERINE: Oh...it was meant to be provocative Constable Dichiera
 * [Chris Laughs]
 * KATHERINE: Anyway. You’re um working so ah…
 * CHRIS: Yes...I'm Working.
 * KATHERINE: I'm distracting you...so I'll Leave ya to it (walks Away)
 * [Katherine walks away from Chris and goes and sees Luke, and walks straight back into where Chris is]
 * CHRIS: Did you forget something?
 * KATHERINE: Yeah...um (walks over to Chris and kisses her)
 * CHRIS: (seductively) What are you doing? (Luke walks in...sees everything)

 * [Next Morning]
 * CHRIS: So
 * KATHERINE: Yes
 * CHRIS: Somebody left bite marks on my back last night
 * KATHERINE: Only on your back?
 * CHRIS: I was being polite
 * KATHERINE: Why? You weren't last night
 * CHRIS: Neither were you
 * KATHERINE: I was just following a lead
 * CHRIS: You don't need any leading at all
 * KATHERINE: I might sometimes
 * CHRIS: Like when?
 * KATHERINE: When you want it to be
 * CHRIS: How bout tonight?
 * KATHERINE: I'll see how my day pans out…
 * CHRIS: You know where to find me…
 * KATHERINE: I know a lot of things about you now…

 * [Later in the day, Katherine is interviewing Callum Lewis and Leo and Chris are in the Observation Room]
 * LEO: These pricks get sent away for life
 * CHRIS: Yeah me too... Oh, by the way, you owe me 20 bucks…
 * LEO: What for?
 * [Chris looks at Katherine]
 * LEO: Bullshit.
 * CHRIS: I swear.
 * LEO: You're an idiot, I told you not to do it.
 * ‘CHRIS: Ah… don’t be like that, you’ll get over it.
 * LEO: Crissy, I’ve already been there, like 2 weeks ago...
 * CHRIS: Yeah right
 * LEO: She’s got a blue butterfly tattoo on her right arse cheek...
 * CHRIS: Why didn’t you tell me!
 * LEO: I promised Harris I wouldn’t tell anyone…
 * CHRIS: Harris, why did you promise Harris for?
 * LEO: Because she's his daughter
 * CHRIS: Bullshit?
 * LEO: Well, why do you think he’s been giving me all the crap jobs lately…
 * CHRIS: Shit, shit, shit, shit!
 * LEO: Yep you’re in deep shit...

<hr width=50%/>
 * [Leo and Bryan are waiting outside a University building waiting for Callum Lewis to exit so they can arrest him]
 * BRYAN: You know what, sometimes I really regret not going to University
 * LEO: Yeah, what would you study?
 * BRYAN: Study... (laughs) ... mate I wouldn’t be studying anything, I wanna hang around with chicks like that… (points to an attractive blonde teenager)
 * LEO: Augh…
 * BRYAN: Augh…
 * LEO: What your sister?
 * BRYAN: Ha Ha...shut up

Harris has just told Peter to go undercover at a homeless shelter

Bryan: "Gotta get yourself a nice little cardigan if you're gonna be a social worker"

Harris: "You'll be going as a vagrant"

Pete: "That'd be right"

Bryan: " Even better, typecasting!"

End Game [8.22]

 * [Angie is rather annoyed after she has found out that Peter and Luke planned a bust on Megan Walsh without informing her]
 * ANGIE: I expect that sort of shit from Luke, but not from you Pete! We’re mates, and after everything we’ve been through you do not treat mates like that!
 * PETER: Ange, I’m sorry, I know you’re angry.
 * ANGIE: ANGRY!? No, I’m bloody furious; I have to calm down a hell of a lot to be angry! You guys run a sting on Megan Walsh; I have every right to be involved! I ran around like a bloody idiot for you, I broke all the rules and for what? To save your miserable arse!
 * PETER: I understand. But it wasn’t my call.
 * ANGIE: What!?
 * PETER: It wasn’t my call.
 * [Luke walks in]
 * LUKE: No it wasn’t, it was mine. It was for your own good Ange.
 * ANGIE: What!?
 * LUKE: Well If Megan Walsh got even the slightest hint of what was going on the whole thing could have come undone, we needed you to do exactly what you did, be a loyal friend, and you were perfect. And if the shit hit the fan with I.A. there was no point in risking your career as well as ours.
 * ANGIE: You patronising shithead!! You made a complete fool out of me!
 * LUKE: Never mind...
 * ANGIE: That’s irrelevant, and while it makes my stomach turn, that either of you would treat me like that I really only have one thing to say, you two deserve each other, you’re a perfect match!
 * [Angie leaves]
 * LUKE: Give her sometime…

Random Harvest [8.23]

 * [Peter has just found out that Leo’s cover has been blown]
 * LEO: Well that’s great isn’t it...So how did Troy Jones get my photo!
 * PETER: Well there police surveillance shots...No question...I checked with our lab.
 * LUKE: Well how the hell did Troy Jones get his hands on them, unless he has access to someone in the Task Force?
 * ANGIE: The only one who knows Leo's undercover with the Sumarto’s is Rutherford.
 * PETER: Buzz Rutherford won’t betray a fellow cop, you don’t know him like I do, I trust him with my life.
 * LEO: It’s not really your Life on the line now Peter.
 * LUKE: Alright Leo it’s your call, if you want to pull out now no-one will think the worse of you.
 * LEO: Oh right, well maybe if I stay in so we can catch Serge's killer and the guy who took the Surveillance Photos, we’ll give it a bit longer
 * LUKE: Excellent answer. Peter, how would you like to shoot Leo?
 * PETER: Don’t tempt me!
 * LUKE: Volunteer for the job. It’s the best way to keep him alive
 * CHRIS: Good call, he’s a crap shot.
 * LUKE: Chris you’ll be there as backup, you might also prevent Peter from doing anything he might regret
 * [Everyone leaves except Angle and Luke]
 * ANGIE: Are you going to follow up on Rutherford?
 * LUKE: No...
 * ANGIE: Why? Cause he’s Peter’s mate?
 * LUKE: I’m not going to follow up on Rutherford ‘cause you are
 * [Angie walks off with a rather pleased look on her face]

Regular Cast

 * Peter Phelps - Senior Constable Peter James Church
 * Kate Kendall - Detective Senior Constable Angie Katherine Piper
 * Jacinta Stapleton - Constable Christina Dichiera
 * Gary Sweet - Detective Inspector Luke Patrick Harris
 * Daniel Frederiksen - Constable Leo Flynn

Semi-Regular Cast

 * Jeremy Kewley - Detective Senior Sergeant Bryan Gray
 * Richard Morgan - Detective Senior Sergeant Reg 'The Ferret' Masters
 * Katrina Milosevic - Sophie Novak
 * Gigi Edgley - Detective Katherine Marks
 * Lisa Chappell - Detective Constable Megan Walsh

Ex-Regular Cast

 * Joe Petruzzi - Senior Detective Bernardo (Bernie) Rocca
 * Jessica Napier - Constable Kaye Kelso
 * Nicholas Bell - Detective Inspector Bill Hollister
 * Ian Stanlake - Constable Oscar Stone
 * Anita Hegh - Detective Senior Sergeant Ellen Mackenzie
 * Roxane Wilson - Constable Danni Mayo

title: Stingers


text:
Bruce Dickinson

Paul Bruce Dickinson (born August 7, 1958) is a musician best known for being the lead singer in the heavy metal band Iron Maiden.

Quotes

 * Some days you're the pigeon, some days you're the statue.
 *

 * (On performing in Costa Rica for the first time) It was like finding some weird tribe in the middle of the jungle and, you know, they all come out and go: "Fear of the Dark. Favorite Album." What?!?
 * Iron Maiden: Flight 666

 * Fans want to see people who can play; they respect certain values like professionalism, and they don't want to be treated like shit. They pay good money and they look forward to seeing some good music being played by decent musicians, who really put their soul into it.

 * We tread a fine line between taking ourselves seriously and being Spinal Tap.

 * Metal lives in a world of its own creation.

title: Bruce Dickinson


text:
User talk:Freemanwiki

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 16:45, 10 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Freemanwiki


text:
User talk:L s1ckn3ss l

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 16:45, 10 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:L s1ckn3ss l


text:
User talk:Feestverp~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 16:45, 10 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 Feestverp. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Feestverp~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:Feestverp~enwikiquote


text:
User talk:Naiala

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 16:45, 10 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Naiala


text:
User talk:Chajka

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 16:45, 10 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Chajka


text:
User talk:PunisherWolf~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 16:45, 10 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 PunisherWolf. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name PunisherWolf~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 23:33, 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:PunisherWolf~enwikiquote


text:
User talk:Salnunzio~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 16:45, 10 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 Salnunzio. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Salnunzio~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 23:34, 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) 05:57, 19 April 2015 (UTC)

title: User talk:Salnunzio~enwikiquote


text:
User talk:Bionicbutler

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 16:46, 10 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Bionicbutler


text:
User talk:Black Iris

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 16:46, 10 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Black Iris