text:
User talk:Nintendude~enwikiquote

- InvisibleSun 04:08, 24 November 2006 (UTC)

Your account will be renamed
Hello,

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

Unfortunately, your account clashes with another account also called Nintendude. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Nintendude~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:Nintendude~enwikiquote


text:
Brian Urlacher

Brian Keith Urlacher (born May 25, 1978) is an American football player for the Chicago Bears. Over his career, Urlacher has earned a myriad accolade for his aggressive playing style and leadership.

Sourced

 * We watched the film and everybody was saying that he just turned into the Incredible Hulk the last four minutes of the game, just killing people and running over and tackling whoever had the ball.
 * Devin Hester's commentary after Urlacher's performance against the Arizona Cardinals
 * Devin Hester's commentary after Urlacher's performance against the Arizona Cardinals

 * Just watch the film... I don’t know what people are saying, but I’m not too worried about it anymore. All I can do is go out there and play hard and try and help my team win, and that’s what I’m going to keep doing.
 * After being dubbed "overrated".
 * After being dubbed "overrated".

 * Brian said, ‘You made me look bad.’ I said, ‘You make my whole team look bad,’ He’s a great player. I was just lucky.
 * http://www.dailyherald.com/sports/rozner.asp?id=253994.
 * Tom Brady's commentary after his victory over the Bears.

 * "You can call it ugly if you want, but I'd call it a win."
 * http://www.pro-football-reference.com/teams/chi2006.htm (Recovered 1/06/2007)
 * Urlacher commentary after the Bears' come from behind victory against the Cardinals.

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

Nike commercial
Reporter: What do you think of the commercial with LaDainian Tomlinson? Urlacher: I haven't seen it. What happens? Reporter: He shreds the Bears defense for a touchdown. Urlacher: Wow. It must be a video game. Is it a video game? Reporter: No, it’s not a video game. It's a commercial. Urlacher: How did he do the last time we played them? Look at the stats. See how he did.

 * Bears defense hoping that life doesn't imitate art
 * Urlacher comments on a Nike commercial that features Tomlinson darting past several Bears defenders en route to a touchdown.

Many Days Later

Tomlinson: I'm pretty sure they are not happy about it. In fact, somebody sent me something that Urlacher said to ask me how many yards I had the last time I played them four years ago. So there you go. That tells me how they feel about it.

 * This just doesn't ad up
 * Tomlinson responds to Urlacher's comments.

Other
Urlacher: You made me look bad. Brady: You make our whole team look bad.

 * Brady's sidestep a telling sidelight
 * Brady and Urlacher converse after a play in which Brady eluded Urlacher.

About Urlacher
Shawne Merriman: On Sunday you don't have to talk no more - you just go out and do it and what you are doing will do the talking for you. That can stop their talk.
 * Merriman holds tongue at criticism from Bears.
 * Merriman retaliates against Urlacher's criticism.

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

title: Brian Urlacher


text:
Wikiquote:Votes for deletion archive/Chad Lewis Marshall

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: . Deleted. Essjay ( Talk  • Connect  ) 06:04, 24 November 2006 (UTC)

Chad Lewis Marshall
A senior position in a bank ought to have more than two google hits. The Wikipedia link is to Marshall not to the biography. Fys. “Ta fys aym”. 18:41, 16 November 2006 (UTC)

 * Vote closes: 19:00, 23 November 2006 (UTC)
 * Delete. Fys. “Ta fys aym”. 18:41, 16 November 2006 (UTC)
 * Delete. I don't know whether or not this is a hoax, but I would vote to delete anyway, on grounds of not being notable. ~ UDScott 19:03, 16 November 2006 (UTC)
 * Delete: Citing the Brad Simanek rule. Bsimanek 21:07, 16 November 2006 (UTC)
 * Brad, while I can understand that you are perhaps frustated that your page was deleted, it isn't helping anything for you to keep citing a non-existent "Brad Simanek" rule in these discussions. And if you keep doing so, could you at least explain what your "rule" is and why it applies to each particular case in which you mention it? —LrdChaos (talk) 01:17, 17 November 2006 (UTC)
 * The "Brad Simanek rule" of which I speak is one where the subject is a) not deemed WP-cited or sufficiently "Google-supported", b) not published, or, if so, not in wide enough circulation to be deemed worthy, and/or c) doesn't have a following/penetration beyond a base deemed too small to be considered representing "noteworthiness." It also might enable meritable discussion or a page/subject despite being said page perhaps started by the quoted person him/herself, as mine was (and was discounted because of that). Considering the ensuing discussion of my page's deletion merited archiving, I felt it (the discussion) suggested lessons for applying to future situations/circumstances. I also said at the time that I would be actively monitoring this page to make sure said standards remained consistent. It also is intended to burnish my involvement with WQ/WP such that my votes aren't simply dismissed as "not worth counting" as some "votes" cast here are so derided. BTW, I'm not bitter, as I fully understand why my page was not deemed worthy for WikiQuote; I just want to make sure similar pages are judged by the same standards, with rules/applications not cherry-picked. Bsimanek 15:38, 17 November 2006 (UTC)
 * It appears the only one who recognizes this as a rule is Brad Simanek himself. I vote all comments surrounding this "rule" be deleted on the same grounds as the original quote.  Naming a "rule" after yourself falls in the same category as trying to use wikiquote to quote yourself.
 * Fine, then: Delete based on grounds of non-notability, single-quote, 2 unique Google hits (one defunct), no WP article. Bsimanek 16:22, 17 November 2006 (UTC)

 * Keep. He's a published author, so at least vaguely notable. I cleaned up the page, removed the spurious link to "w:Marshall". Assuming good faith, I'm guessing the main problem is a newbie editor who doesn't understand what "sourced" means and why we link to WP. --Ubiquity 21:26, 16 November 2006 (UTC)
 * He's not in the Library of Congress or British Library catalogues. Fys. “Ta fys aym”. 22:16, 16 November 2006 (UTC)
 * Keep. He's published and the quote is poignant. There's room in Wikiquote for people just starting their careers, so to speak.  I vote keep.
 * Keep. Looks as if he works for Bank of America as a Vice President and has been a speaker for Microsoft Technet webcasts and the TechMentor Conferences.  Assuming in good faith as Ubiquity, this was probably something someone heard him say and posted it.  His email and phone are listed in the reference.  Perhaps we should call him up and ask him if he said it?
 * Wikiquote does not collect quotes just because someone claims someone said them, because we have no reasonable way to verify this. The golden rule of sourcing is that there must be one or more publications from reliable sources that can be verified by editors without resorting to phone calls, emails, and personal testimony, none of which are considered reliable sources by Wikimedia standards. If such a reliable source can't be found, it is very likely that person does not meet the general notability guidelines, either. And just because a person has achieved some measure of financial or social prominence does not guarantee them an article in Wikimedia. I have two high-school friends who became VPs of a major U.S. bank (not BoA, but on its level) and a major cable network, and the latter has even been quoted in papers with national distribution, but that doesn't mean they necessarily should have quote articles. ~ Jeff Q (talk) 18:54, 17 November 2006 (UTC)
 * Delete. The shortage of Google hits doesn't square with the impressive description of Mr. Marshall at the head of the article, and I can't believe the Bank of America have undercover vice-presidents.  If the quotation had been either sourced or memorable I might have given it the benefit of the doubt, but not as it is. Antiquary 19:25, 17 November 2006 (UTC)
 * Delete. - InvisibleSun 22:18, 17 November 2006 (UTC)
 * Delete. No WP article, either. The publisher link Ubiquity cites is for Realtime Publishers. Their website says: "Realtimepublishers.com is the worldwide leader in corporate-sponsored e-publishing." In other words, they do on-demand company printing; i.e., a corporate-world vanity press, the likes of which I've made use of myself in my other life as an IT professional. Such material is inherently impractical to use as a source, as it is not collected by libraries or sold through retail outlets, and therefore cannot establish notability through ordinary distribution. If this person's statements somehow made it into the general IT world (e.g., non-vanity authors quoted him in their works), that might be another story. ~ Jeff Q (talk) 00:13, 18 November 2006 (UTC)
 * Delete. —LrdChaos (talk) 15:49, 20 November 2006 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Wikiquote:Votes for deletion archive/Maczek Wolniek

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: . Deleted. Essjay ( Talk  • Connect  ) 06:06, 24 November 2006 (UTC)

Maczek Wolniek
Google search for name yields nothing of note. The Wikipedia link is bogus. - InvisibleSun 02:39, 17 November 2006 (UTC)

 * Vote closes: 24 November 2006 3:00 (UTC)

 * Delete. - InvisibleSun 02:39, 17 November 2006 (UTC)
 * Delete. Unintelligible in my opinion.  121a0012 03:46, 17 November 2006 (UTC)
 * Delete. Unremarkable subject, to say the least. Appears to be a hoax or joke, minimally a self-admitted vanity page. I asked for a speedy deletion on this one. Is that wrong, if there is already an ongoing VfD? —The preceding unsigned comment was added by Ubiquity (talk • contribs) 09:24, 17 November 2006 (UTC)
 * Delete. I've posted a vanity-warn to creator's talk page (see comments below). ~ Jeff Q (talk) 10:57, 17 November 2006 (UTC)
 * Comments:
 * I've removed the db tag because we have an active VfD now. A sysop may summarily close a VfD with a speedy-deletion judgment, but once it's nominated here, users should not nominate an article for speedy-deletion. It should rather be discussed here until the vote is otherwise closed, early or not.
 * I'm against speedy at this time because this article has been speedy-deleted but was recreated after a user took the trouble to register a username; and yet no one informed this new user of our policy against vanity articles. We should try to remember, despite the recent spate of vandalism, that many new users who create vanity articles just aren't aware that Wikiquote is not MySpace. We must remember to assume good faith.
 * As we now have an SD policy that allows us to summarily delete obvious vanity articles, I've created a vanity-warn-sd that we can post to user's talk pages, that covers the situation when such an article is deleted before the user can respond. (I expect this to be very common, as it's been my experience that such new editors often create their articles, then disappear for weeks or months, if they come back at all.) ~ Jeff Q (talk) 10:57, 17 November 2006 (UTC)
 * Delete. ~ UDScott 14:01, 20 November 2006 (UTC)
 * Delete. —LrdChaos (talk) 15:48, 20 November 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Wikiquote:Votes for deletion archive/John A. Fentener Van Vlissingen

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: . Delted. Essjay ( Talk  • Connect  ) 06:07, 24 November 2006 (UTC)

John A. Fentener Van Vlissingen
For such a notable businessman, these alleged quotations seem extraordinarily obscure. I searched for the first five and found nothing in Google but the page itself (with or without quotation marks). The Wikipedia article doesn't help much either (they read as if they were written by the same person, although I did not check the histories). 121a0012 04:31, 17 November 2006 (UTC)

 * Vote closes: 05:00, 24 November 2006 (UTC)

 * Delete, unless some evidence is provided that this guy said these things. What does the author think "Sourced" means? --Ubiquity 09:28, 17 November 2006 (UTC)
 * Delete unless notability evidence provided and quotes properly sourced. Both the WQ and WP articles were created by Bookworm, ours on 10 Nov and WP's on 12 Nov. The book cited, The Art of Enterprise (ISBN 9090139958), does not exist in the U.S. Library of Congress (which isn't necessarily fatal for a Dutch author). But the Amazon.com record bears the marks of a record created by an Amazon merchant, not Amazon itself, and is a very flimsy one at that, containing no information other than the ISBN and the format. (I can do, and have done, a much better job creating Amazon.com catalog records.) "BCD Holdings", the publisher given in the wiki articles, is Van Vlissingen's corporate holding company, making this an ultra-vanity press. I suspect the quotes may be taken from the book, but just pasting them into an article without page numbers, especially when the presumed source is a $100 vanity-published book, is below any reasonable standard of verifiability. I have to say that, so far, the combined wiki material looks more like an advertisement for the guy than a serious effort to provide impartially-sourced biographical material. ~ Jeff Q (talk) 00:42, 18 November 2006 (UTC)
 * Delete, concur with above. ~ UDScott 14:03, 20 November 2006 (UTC)
 * Delete. I checked the ISBN with Special:Booksources, and while it shows up with "AddALL", the only results on that site are two Amazon listings. B&N doesn't seem to have any trace of it, which supports Jeff's supposition that the Amazon page was created by a third-party merchant and not Amazon. —LrdChaos (talk) 15:48, 20 November 2006 (UTC)
 * Delete. - InvisibleSun 18:58, 20 November 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Wikiquote:Votes for deletion archive/Robert Keys

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: . Deleted. Essjay ( Talk  • Connect  ) 06:10, 24 November 2006 (UTC)

Robert Keys
I can find Robert Keys the 1950s actor, Robert Keys the tax accountant, Robert Keys the Australian killed in a workplace accident, Robert Keys the secretary to some obscure English musical society, but not Robert Keys the Australian musician. 121a0012 04:57, 17 November 2006 (UTC)

 * Vote closes: 05:00, 24 November 2006 (UTC)

 * Delete. Unremarkable quotes too. Someone's idea of a joke? --Ubiquity 09:33, 17 November 2006 (UTC)
 * Delete. Personally I prefer jokes that are actually funny. Fys. “Ta fys aym”. 21:37, 17 November 2006 (UTC)
 * Delete. Even if this isn't a hoax, it's yet another article where someone takes a supposed "recording artist" and does nothing but quote inane statements. What is this obsession with reality-show mundanity? ~ Jeff Q (talk) 00:48, 18 November 2006 (UTC)
 * Delete. Unidentifiable subject. - InvisibleSun 03:30, 18 November 2006 (UTC)
 * Delete. ~ UDScott 14:04, 20 November 2006 (UTC)
 * Delete. —LrdChaos (talk) 15:45, 20 November 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Wikiquote:Votes for deletion archive/Terrence Charles Newman

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: . Deleted. Essjay ( Talk  • Connect  ) 06:14, 24 November 2006 (UTC)

Terrence Charles Newman
I'm unable to find any evidence of a person by this name, notable or not. 121a0012 05:11, 17 November 2006 (UTC)

 * Vote closes: 06:00, 24 November 2006 (UTC)
 * Delete. I've tried the same and the nearest I came was a Terence Newman who was a 1950s and 1960s novelist writing inter alia about business subjects, but I don't think the two are connected. Fys. “Ta fys aym”. 21:26, 17 November 2006 (UTC)
 * Delete. Your google-foo is strong, I couldn't even find that. --Ubiquity 23:24, 17 November 2006 (UTC)
 * Delete unless notability evidence provided and quotes properly sourced. ~ Jeff Q (talk) 00:53, 18 November 2006 (UTC)
 * Delete. Unidentifiable subject. - InvisibleSun 03:31, 18 November 2006 (UTC)
 * Delete. ~ UDScott 14:05, 20 November 2006 (UTC)
 * Delete. —LrdChaos (talk) 15:44, 20 November 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Wikiquote:Votes for deletion archive/Mt. Rockford and Jack the Soldier

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: . Speedy deleted/closed early by Jeff Q. Essjay ( Talk )  06:18, 24 November 2006 (UTC)

Mt. Rockford and Jack the Soldier
Two likely hoaxes. Titles combined with character names don't show up on Google searches. The quotes aren't worth keeping, either - just a lot of racial insults. Perhaps these pages should be speedy deletions. The person who created Jack the Soldier had just recently vandalized another page. - InvisibleSun 21:20, 17 November 2006 (UTC)

 * Vote closed early. Result: speedy-deleted, unremarkable subject. No identification of subject, let alone assertion of notability; Wikipedia articles don't exist (and have no AfD discussions); IMDb has no record of these. Conclusion: either unnotable work or hoax (the latter likely when considering concurrent prank edit of George W. Bush by JtS creator ). ~ Jeff Q (talk) 00:20, 18 November 2006 (UTC)

 * Delete. - InvisibleSun 21:20, 17 November 2006 (UTC)
 * Delete. Looks like we're supposed to believe these are TV shows. --Ubiquity 23:30, 17 November 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text: Template:Policy adopted

title: Template:Policy adopted


text: Template:Policy draft adopted

title: Template:Policy draft adopted


text:
Category:Policies revised and adopted

For Wikiquote policies identified by WikiProject Policy Revision that have been successfuly revised and adopted.

title: Category:Policies revised and adopted


text:
Category:Adopted revision drafts

For Wikiquote policy revision drafts that have been adopted. See WikiProject Policy Revision.

title: Category:Adopted revision drafts


text:
Irving Chernev

Irving Chernev (January 29, 1900 – September 29, 1981) was a prolific Russian-American chess author.

Quotes

 * Don't fiddle while Byrne roams!
 * Advice passed to the chess player and teacher Jack Collins while watching chess master Robert Byrne snip off his pawns.
 * The Bright Side of Chess (Hollis and Carter, 1952).

 * The greatest compliment one can pay a master is to compare him with Capablanca.
 * The Chess Companion, (Faber & Faber, 1970).

title: Irving Chernev


text:
User talk:68.57.110.29

- InvisibleSun 12:03, 24 November 2006 (UTC)

title: User talk:68.57.110.29


text:
Wikiquote:Votes for deletion archive/Morten Messerschmidt and related Danish politician articles

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: . Deleted, with leave to undelete any that fit the exceptions noted below. Essjay ( Talk )  13:29, 24 November 2006 (UTC)

Morten Messerschmidt and related Danish politician articles
Not notable among English speakers; no reliable source for translation of Danish newspaper articles. 121a0012 05:28, 11 November 2006 (UTC)

 * Vote closes: 06:00, 18 November 2006 (UTC)
 * Vote extended to 09:00, 20 November 2006 (UTC) so that all articles included get the full seven days. 121a0012 02:27, 14 November 2006 (UTC)
 * Concur with extension; I should have done that myself. ~ Jeff Q (talk) 03:00, 14 November 2006 (UTC)
 * Vote extended to 10:00, 24 November 2000 (UTC), as I'd forgotten to vfd-tag the articles I'd added. (Thanks, 121a0012, for pointing this out.) ~ Jeff Q (talk) 09:15, 17 November 2006 (UTC)
 * Comment: The same may go for other Danish People's Party politicians (see whatlinkshere for a list). 121a0012 06:11, 11 November 2006 (UTC)
 * Comment: I've expanded this nomination to include the following articles suggested by 121a0012, all of which share the same basic problems:
 * Danish People's Party
 * Mogens Camre
 * Pia Kjærsgaard
 * Ulla Dahlerup
 * Kristian Thuesen Dahl
 * Per Dalgaard
 * Jesper Langballe
 * Søren Krarup
 * I've also added Danish Wikiquote tags to the articles to show that, as of this post, none but Per Dalgaard has a corresponding article (not even the party article), nor do most of them have an en:Wikipedia article. This appears to be an attempt to use en:Wikiquote to create a broader audience for a specific political party. ~ Jeff Q (talk) 08:36, 13 November 2006 (UTC)
 * Delete all unless evidence of notability in the English-speaking world provided and English translation of quotes properly sourced. This should include the creation of articles in en:WP, da:WP, and da:WQ, all of which should normally exist before the corresponding en:WQ articles on a Danish subject. All these articles were created between 24-27 April 2006, so someone had the time and interest to generate this oddly-specific activity. ~ Jeff Q (talk) 08:43, 13 November 2006 (UTC)
 * Delete all. ~ UDScott 15:28, 13 November 2006 (UTC)
 * Delete all per Jeffq. —LrdChaos (talk) 15:50, 13 November 2006 (UTC)
 * Comment: There is one among these of whom I have heard before is Mogens Camre, who is a member of the European Parliament and therefore notable on a slightly wider stage (in an earlier existence I used to read the debates in the EP and his speeches tended to stand out). He is occasionally quoted in the British and Irish press (ten mentions in the past decade). Pia Kjærsgaard as party leader also has had some coverage. Camre's quote about muslims infiltrating and "waiting to kill us" has been in the British press (Financial Times, 14 November 2001). Fys. “Ta fys aym”. 10:11, 14 November 2006 (UTC)
 * My vote should cover the case where such English-language publications are cited, but no one has actually added any such citations to the Camre article, or any other that I've noticed. If you've got the specific news-article titles and dates, Fys, please add them so we can adjust our positions if necessary. Thanks. ~ Jeff Q (talk) 00:20, 21 November 2006 (UTC)
 * Delete all except those Fys has identified as potentially worth keeping, provided he or someone else with the appropriate English-language sources is able to provide verifiable quotations. 121a0012 02:27, 19 November 2006 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
User talk:61.90.228.106

- InvisibleSun 14:44, 24 November 2006 (UTC)

title: User talk:61.90.228.106


text:
Marcel Duchamp

Henri-Robert-Marcel Duchamp (July 28, 1887 – October 2, 1968) was a French painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art. Duchamp is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting and sculpture. He was the first artist creating 'ready-made' in modern art.

1910s

 * ..I am not going to New York, I am leaving Paris. That's quite different. Long before the war [World War 1.] I already had a distaste for the 'artistic life' I was involved in. – It's quite the opposite of what I'm looking for. – And so I tried, through the Library, to escape from artists somewhat. Then, with the war, my incompatibility with this milieu grew. I wanted to go away at all costs. Where to? My only option was New York where I knew you [ Walter Pach, artist and friend of Duchamp] and where I hope to be able to escape leading the artistic life, if needs be through a job which will keep me very busy. I ask you to keep all this from my brothers [all his brothers were artists as well] because I know my leaving will be very painful for them. – the same goes for my father and sisters.
 * Quote in Duchamp's letter to Walter Pach, Paris 27 April 1915; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 157

 * I have impressed upon you my preoccupation with earning money so as to have a secure existence over there. That's the way it have to be.. .I am very happy to hear that you Walter Pach sold these canvasses for me and thank you very sincerely for your friendship. But I am afraid of getting to the stage of needing to sell canvases, In a word, of being a painter for a living. – So I'll be leaving probably on the 22nd or rather 29th May [1915], if the police authorities allow me to take the steamer.
 * Quote in Duchamp's letter to Walter Pach, Paris 27 April 1915; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 157

 * People talk of Pablo Picasso as the leader of the Cubists but, strictly speaking, he is no longer a Cubist. Today he is a Cubist, tomorrow he will be something else. The only true Cubists are Gleizes and Metzinger.
 * quote from the text 'A complete reversal of opinions on art'; Marcel Duchamp, in 'Art and Decoration', New York, 1 September 1915

 * Now, if you [his sister, Suzanne Duchamp ] have been up to my place, you will have seen, in the studio, [his former studio in France, probably in Paris] a 'Bicycle Wheel' and a 'Bottle Rack'. [both art-works became later famous ready-mades of Duchamp] – I bought this as a ready-made sculpture [sculpture tout faite]. And I h have a plan concerning this so-called bottle rack. Listen to this. Here in N.Y., I have bought various objects in the same taste and I treat them as 'ready-mades'. You know enough English to understand the meaning of 'ready-made' [tour fait] that I give these objects. – I sign them and think of an inscription for them in English. I'll give you a few examples. I have, for example, a large snow shovel on which I have inscribed at the bottom: In advance of the broken arm, French translation: 'En avance dus bras cassé' – (Don't tear your hair out) trying to understand this in the Romantic or impressionist or Cubist sense – it has nothing to do with all that. Another 'readymade' is called: Emergency in favour of twice possible French translation: Danger \Crise \en favour de 2 fois. This long preamble just to say: Take this bottle rack for yourself. I'm making it a 'readymade' remotely. You are to inscribe it at the bottom and on the inside of the bottom circle, in small letters painted with a brush in oil, silver white colour, with an inscription which I will give you herewith, and then sign it, in the same handwriting, as follows: [after] Marcel Duchamp.
 * long quote from Duchamp's letter to his sister Suzanne Duchamp, New York, c. 15 Jan. 1916; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 pp. 157-158

Mr. Richard Mutt [= Long time scholars recognize R. Mutt was Duchamp himself; a growing number attribute credit Elsa Von Freytag-Loringhoven, a bisexual dada artist living in New York who as a woman, needed a pseudonym to get into the Armory Exhibition ]. The object was photographed by Alfred Steiglitz before disappearing and was never was exhibited. What were the grounds for refusing Mr. Mutt'' fountain: 1. Some contented it was immoral, vulgar. 2. Others, it was plagiarism, a plain piece of plumbing.''
 * They say any artist paying six dollars may exhibit
 * Quote in: Theories and Documents of Contemporary Art, – a source-book of Artist's writings, ed. Kristine Stiles / Peter Selz, University of California Press, London, England, 1996, p. 817
 * Duchamp's core quote / his own written comment on his artwork 'Fountain (Duchamp)': The Richard Mutt Case, Marcel Duchamp, ‘Blind Man’, New York, 1917: 5

 * To be looked at [from the other side of his art-work 'The Glass'] with one eye, close to, for almost an hour.
 * an inscription in French title, (translated) – instruction of his artwork, 1918; as quoted from 'Looking at Dada' ed. Sarah Blyth / Edward Powers, MoMa museum, New York 2006, p. 13

 * Painting is over and done with. Who could do anything better than this propeller? Look, could you do that?
 * Quote of Duchamp's remark to Brancusi, visiting the Paris Aviation Show of 1919; as quoted in Looking at Dada, eds. Sarah Ganz Blythe & Edward D. Powers - The Museum of Modern Art New York, ISBN: 087070-705-1; p. 49

 * If a straight horizontal thread one meter long falls from a height of one meter on to a horizontal plane twisting as it pleases [it] creates a new image of the unit of length.
 * Duchamp's stated premise for his art-work: '3 Standard stoppages' he made during 1913 -1914; ; as quoted in Looking at Dada, eds. Sarah Ganz Blythe & Edward D. Powers - The Museum of Modern Art New York, ISBN: 087070-705-1; p. 50

 * I have been wanting to write to you for some time, but never have time, so absorbed I am in playing chess. I play night and day and nothing in the whole world interests me more than finding the right move.. .Nothing transcendental going on here – strikes [in Buenos Aires, where chess competitions were organized that year for not professionals] a lot of strikes, the people are on the move. Painting interests me less and less.
 * a daily life quote, in Duchamp's letter to the Stettheimers family in New York, from Buenos Aires 3 Mai 1919; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 159

1920s
My attitude toward the book is based upon my attitude towards 'Art' since 1918 – so I am furious myself that you will accept only partly that attitude [in a new publication by Katherine Dreier]. It can be no more question of my life as an artist’s life: [because] I gave it up ten years ago; this period is long enough to prove that my intention to remain outside of any art manifestation is permanent.. .The third question is that I want to be alone as much as possible. This abrupt way to speak of my 'hardening process' is not meant to be mean, but is the result of '42 years of age'.. ..10 000 apologies for this rough letter and affectueusement Dee -
 * You [ Katherine Sophie Dreier; director of the Art Center in New York City; she co-founded with Duchamp and Man Ray the 'Sociéte Anonyme' in Manhattan in 1920] must understand:
 * Quote from a letter to Katherine Sophie Dreier, Paris 11 September 1929; as cted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 158
 * Duchamp's quote is referring to a new publication of the 'Duchamp Book' and to his famous so-called Art-Silence.

1940s

 * De Chirico [Italian painter, later admired by the Surrealists as 'early Surrealist'] found himself in 1912 confronted with the problem of following one of the roads already opened or of opening a new road. He avoided Fauvism as well as Cubism and introduced what could be called 'metaphysical painting'. Instead of exploiting the coming medium of abstraction, he organized on his canvases the meeting of elements which could only meet in a 'metaphysical world'. These elements, painted in the minutest technique, were 'exposed' on a horizontal plane in orthodox perspective. This technique, in opposition to the Cubist or the purely abstract formula in full bloom at the moment, protected de Chirico’s position and allowed him to lay down the foundation of what was to become Surrealism ten years later.
 * Quote by Marcel Duchamp, 1943, from 'Appreciations of other artists': Giorgio de Chirico (painter, writer, illustrator); as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159

 * The Dada movement was an anti-movement which corresponded to a need born of the first World War. Although neither literary nor pictorial in essence, Dada found its exponents in painters and writers scattered all over the world. Max Ernst's activities in Cologne in 1917 made him the foremost representative of the Dada painters. Between 1919 and 1921 his paintings, drawings and collages depicting the world of the subconscious were already a foretaste of Surrealism.. .In fact his previous achievements had certainly influenced, to a great extent, the literary Surrealist exploration of the subconscious.
 * Quote in 'Appreciations of other artists': Max Ernst (painter, sculptor author) 1945, by Marcel Duchamp; as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159

 * I have forced myself to contradict myself in order to avoid conforming to my own tastes.
 * Quote by Harriet & Sidney Janis in 'Marchel Duchamp: Anti-Artist' in View magazine 3/21/45; reprinted in Robert Motherwell, Dada Painters and Poets (1951)

 * Miro came of age as an artist just at the time World War 1. ended. With the end of the war came the end of all the new pre-war art conceptions. A young painter could not start as a Cubist or a Futurist, and Dada was the only manifestation at the moment. Miro began by painting farm scenes from the countryside of Barcelona, his native land.. .A few years later he came to Paris [circa 1914] and found himself among the Dadaists who were, at that time, transmuting into Surrealism. In spite of this contact Miró kept aloof from any direct influence and showed a series of canvases in which form submitted to strong colouring expressed a new two-dimensional cosmogony, in no way related to abstraction.
 * Quote in: 'Appreciations of other artists': Joan Miro (painter, sculptor author) 1946, by Marcel Duchamp; as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159

 * ..Yes, indeed, what have we been up to? I feel rather like I've retired to the country, in some remote province, for that's what my life is like in N. Y. I see few people and people don’t try to see me anymore as they know they bore me. I write to the Arensberg's once a year and they do the same. There is a general weariness which, I think, is not confined to our generation. To tell the truth, most people prefer war to peace.. .Well, there you are, my dear Yvonne. Nothing as usual. Chess as much as possible: at least chess players don’t talk -
 * Quote from his letter to Yvonne Chastel, New York, 8 January 1949; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 159

 * Based on the metaphysical implications of the Dadaist dogma.. ..Arp's Reliefs [carvings] between 1916 and 1922 are among the most convincing illustrations of that anti- rationalistic era.. .Arp showed the importance of a smile to combat the sophistic theories of the moment. His poems of the same period stripped the word of its rational connotation to attain the most unexpected meaning through alliteration or plain nonsense.
 * In: 'Appreciations of other artists': Jean (Hans) Arp (sculptor, painter, writer) 1949, by Marcel Duchamp; as quoted in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159

 * Received your letter and, almost at the same time, the long text at which I was overjoyed. You no doubt know that you are the only person in the world to have put together the gestation of the glass The Large Glass, circa 1923] in all its detail, including even the numerous intentions which were never executed [by Duchamp]. Your patient work has enabled me to relive a period of long years during which the notes were written for the 'Green Box' [the second of the three Boxes Duchamp created and this one was full of written notes] at the same time as the Glass [= The Large Glass] was taking shape. And I confess to you that, not having read these notes for a very long time, I had completely lost all recollection of numerous points not illustrated on the glass and which are a delight to me now [c. 25 years later].
 * Quote from Duchamp's letter to  (art historian), New York 25 December 1949; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 163

 * Another important point which you so very accurately sensed concerns the idea that the glass in actual fact is not meant to be looked at (with 'aesthetic' eyes). It should be accompanied by a 'literary' text, as amorphous as possible, which never took shape. And the two elements, glass for the eyes, text for the ears and understanding, should complement each other and above all prevent one or the other from taking on an aesthetic-plastic or literary form. All in all, I am hugely indebted to you for having stripped bare my Bride stripped bare [the complete title is: The Bride Stripped Bare by her Bachelors, Even (The Large Glass), c. 1915 – 1923].
 * Quote from a letter to (art historian), New York 25 December 1949; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 163

1950s

 * I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position.
 * Quote from 'Time Magazine', 10 March 1952; as quoted on Wikipedia: Marcel Duchamp

 * You were asking my opinion on your work of art, my dear Jean [= Duchamp's brother-in-law Jean Crotti, who asked Duchamp his comment on an art-work he made].. .Artists throughout the ages are like Monte Carlo gamblers and the blind lottery pulls some of them through and ruin others..  .I do not believe in painting per se – A painting is made not by the artist but by those who look at it and grant it their favors. In other words, no painters knows himself or what he is doing – There is no outward sign explaining why a Fra Angelico and a Leonardo [da Vinci] are equally 'recognized'. It all takes place at the level of our old friend luck.
 * Quote from Duchamp's letter to Jean Crotti (Duchamp's brother-in-law) and his sister Suzanne Duchamp, New York 17 Augustus 1952; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 167

You are, as we all are, obsessed by the accumulation of principles or anti-principles which generally cloud your mind with their terminology and, without knowing it, you are a prisoner of what you think is a liberated education – In your particular case, you are certainly the victim of the 'Ecole de Paris' [French abstract art movement which developed after world War 2.], a joke that’s lasted for 60 years.
 * This long preamble just to tell you not to judge your own work as you are the last person to see it (with true eyes) – What you see neither redeems nor condemns it – All words used to explain or praise it are false translations of what is going on beyond sensations.
 * Quote in a letter to Jean Crotti (Duchamp's brother-in-law) and his sister Suzanne Duchamp, New York 17 Augustus 1952; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 167

What's more, this originality is suicidal as it distances you from a 'clientele' used to 'copies of copiers', often referred to as 'tradition'- One more thing, your technique is not the 'expected' technique – It's your own personal technique, borrowed from nobody – and there again, this doesn't attract the clientele.. ..In a word, do less self-analysis and enjoy your work without worrying about opinions, your own as well as that of others.
 * So if I say you that your paintings [which his brother-in-law recently made] have nothing in common with what we see generally classified and accepted, and that you have always managed to produce things that were entirely your own work, as I truly see it, that does not mean you have the right to be seated next to Leonardo -

 * Quote from Duchamp's letter to Jean Crotti (Duchamp's brother-in-law) and his sister Suzanne Duchamp, New York 17 Augustus 1952; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 pp. 167-168

 * I am a great enemy of critical writing as all I see in these interpretations and comparisons with Kafka and others is just an opportunity to open up the floodgates of words which, overall, amounts to Carrouges or at times a translation of Carrouges – very free to makes his ideas look good. Obviously any work of art or literature, in the public domain, is automatically the subject of the victim of such transformations – and this is not just confined to the case of Carrouges. Every fifty years, El Greco is revised and adapted to the taste of the day, either overrated or underrated. The same goes for all surviving works of art. And this leads me to say that a work of art is made entirely by those who look at it or read it and make it survive by their acclaim or even their condemnation.
 * Quote from Duchamp's letter to Jean Mayoux (a Surrealist artist), New York, 8 March 1956; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 169

'The Creative Act', 1957

 * Quotes from: 'The Creative Act', 1957 (Duchamp's lecture in Houston, April 1957); as quoted in Art News, 56. no. 4, Summer 1957, p. 28–29

 * Let us consider two important factors, the two poles of the creation of art: the artist on one hand, and on the other the spectator who later becomes the posterity; to all appearances the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing.

 * If we give the attributes of a medium to the artist, we must then deny him the state of consciousness on the aesthetic plane about what he is doing or why he is doing it. All this decisions in the artistic execution of the work rest with pure intuition and cannot be translated into a self-analysis, spoken or written, or even thought out.

In the last analysis, the artist may shout from all the rooftops that he is a genius; he will have to wait for the verdict of the spectator in order that his declarations take a social value and that, finally posterity include him in the primers of Art history. I know that this statement will not meet with the approval of many artists who refuse this mediumistic role and insist on the validity of their awareness in the creative act.
 * Millions of artist create; only a few thousands are discussed or accepted by the spectator and many less again are consecrated by posterity.

Therefore, when I refer to 'art coefficient', it will be understood that I refer not only to great art, but I am trying to describe the subjective mechanism which produces art in a raw state – 'à l'état brute' – bad, good or indifferent.
 * I want to clarify our understanding of the word 'art' – to be sure, without an attempt to a definition. What I have in mind is that art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way as a bad emotion is still an emotion.

 * In the creative act, the artist goes from intention to realization through a chain of totally subjective reactions. His struggle towards the realization is a series of efforts, pains, satisfactions, refusals, decisions, which also cannot be fully self-conscious, at least on the aesthetic plane. The result of his struggle is a difference between the intention and its realization, a difference which the artist is not aware of.

 * Consequently, in the chain of reactions accompanying the creative act, a link is missing. This gap which represents the inability of the artist to express fully his intention, this difference between what he intended to realize and did realize, is the personal 'art coefficient', contained in the work.

 * ..we must remember that this 'art coefficient' is a personal expression of art 'à l'état brute', that is, still in a raw state, which must be 'refined' as pure sugar from molasses, by the spectator; the digit of this coefficient has no bearing whatsoever on his verdict.. ..the role of the spectator is to determine the weight of the work on the aesthetic scale.

1960s

 * My brother [the sculptor artist Raymond Duchamp-Villon had a kitchen in his little house in Puteaux, and he had the idea of decorating it with pictures by his buddies. He asked Gleizes, Metzinger,, and I think Leger [all Cubist painters, then] to do some little paintings of the same size, like a sort of frieze. He asked me too, and I painted a coffee grinder which I made to explode.
 * Quote from: Entretiens avec Marcel Duchamp, 1965; as cited in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 198
 * Duchamp's quote is referring to his painting 'Moulin a café', 1911 - many times reproduced from the lithography, made for the 1947 re-edition of Gleizes and Metzingers book 'Du Cubisme'

 * I wanted to kill art for myself.. ..a new thought for that object.
 * In: 'Marcel Duchamps 1887 – 1968', Artforum 7 no. 3, November 1968, p. 6

 * the idea of movement.. ..just transferred from the Nude [ Nude Descending a Staircase, No. 2 - Duchamp painted this in 1912] into a bicycle wheel Bicycle wheel, his early ready-made from 1916-17].
 * Quote in Looking at Dada, eds. Sarah Ganz Blythe & Edward D. Powers - The Museum of Modern Art New York, ISBN: 087070-705-1; p. 41
 * Duchamp is looking back shortly before his death in 1968

'Apropos of Ready Mades', 1961

 * Quotes from: 'Apropos of Ready Mades, 1961' (Duchamp’s lecture at the MOMA museum), New York, 19 October 1961; in Art and Artists 1, July 1966: 47

 * In 1913 I had the happy idea to fasten a bicycle wheel to a kitchen stool and watch it turn. A few months later I bought a cheap reproduction of a winter evening landscape, which I called 'Pharmacy' after assign two small dots, one red and one yellow, in the horizon. In New York in 1915 I bought at a hardware store an snow shovel on which I wrote 'In advance of the broken arm'. It was around that time that the word 'Readymade' came to mind to designate this form of manifestation.

 * A point which I want very much to establish is that the choice of these 'Readymade' was never dictated by aesthetic delectation. This choice was based on a reaction of visual indifference with at the same time a total absence of good or bad taste.. ..in fact a complete anesthesia. One important characteristic was the short sentence which I occasionally inscribed on the 'readymade'. That sentence instead of describing the object like a title was meant to carry the mind of the spectator towards other regions more verbal.

 * I realized very soon the danger of repeating indiscriminately this form of expression and decided to limit the production of 'ready-mades' to a small number yearly. I was aware at that time, that for the spectator even more than for the artist, art is a habit forming drug and I wanted to protect my 'ready-mades' against such contamination.

Since the tubes of paint used by the artist are manufactured and ready made products we must conclude that all the paintings in the world are 'ready-made's aided' and also works of assemblage.
 * Another aspect of the 'readymade' is its lack of uniqueness.. ..the replica of a 'readymade' delivering the same message; in fact nearly every one of the 'ready-made's existing today is not an original in the conventional sense.

Posthumous

 * First, there's the idea of the movement of the train [in his painting 'Nude (Study), Sad Young Man on a Train', (made in 1911–12)] and then that of the sad young man who is in a corridor and who is moving about; thus there are two parallel movements corresponding to each other. Then, there is the distortion of the young man—I had called this elementary parallelism. It was a formal decomposition; that is, linear elements following each other like parallels and distorting the object. The object is completely stretched out, as if elastic. The lines follow each other in parallels, while changing subtly to form the movement, or the form of the young man in question. I also used this procedure in the [painting] 'Nude Descending a Staircase'.
 * Quote from Cabanne, 1971 p. 29; as quoted on Wikipedia: Marcel Duchamp
 * Duchamp was intrigued then with the concept of depicting the fourth dimension in art. His painting 'Sad Young Man on a Train' embodies this concern; (from Wikipedia)
 * The spectator experiences the phenomenon of transmutation; through the change from inert matter into a work of art, an actual transubstantiation has taken place.. .All in all, the creative act is not performed by the artist alone; the spectator brings the work into contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.
 * Quote from The Writings of Marcel Duchamp (Marchand du Sel) e.d. Michel Sanouille and Elmer Peterson, New York 1973, pp. 139-140

 * ..the thing was to choose one [a ready-made object] that you were not attracted by.. ..and that was difficult because anything becomes beautiful if you look at it long enough..  .[My intention was to] completely eliminate the existence of taste, bad or good or indifferent.
 * Quote from The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p. 164

 * He [= Duchamp himself, writing in the third person] CHOSE IT. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object.
 * Quote in: 'The Bride and the Bachelors', Tomkins, p. 41; as quoted in The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p. 171
 * in this quote Duchamp is quoting himself

 * In French there is an old expression, 'la patte', meaning the artist's touch, his personal style, his 'paw'. I wanted to get away from la patte and all that retinal painting.
 * The only man in the past whom I really respect was Seurat.. .He didn't let his hand interfere with his mind.
 * Quote from Bride and the Bachelors, Tomkins, p. 24; as quoted in Outside the Lines, David W. Galenson, Harvard University Press, 2001, p. 109

 * ..because his applying paint to it [the sculpture 'Painted Bronze, two painted ale cans', created by the American pré-Pop Art artist Jasper Johns ] was absolutely mechanical or, at least, as close to the printed thing as possible. It was not an act of painting; actually, the printing [or painting?] was just like printing except it was made by hand by him. That doesn’t add a thing to it. – it's just the idea of imitating the beer can that is important.
 * Quote from 'Some late thoughts of Marcel Duchamp', an interview with Jeanne Siegel, p. 21; as quoted in 'The New York school – the painters & sculptors of the fifties' Irving Sandler, Harper & Row, Publishers, 1978, p. 194

 * The chess pieces are the block alphabet which shapes thoughts; and these thoughts, although making a visual design on the chess-board, express their beauty abstractly, like a poem.. .I have come to the personal conclusion that while all artists are not chess players, all chess players are artists.
 * quote from Marcel Duchamp, by Kynaston McShine, 1989; as quoted on Wikipedia: Marcel Duchamp

 * Somebody in Germany [the German artist Joseph Beuys, who frequently visited America to discuss and to do performances] has been talking about my 'silence', saying that it is overrated. What does that mean? [this quotes you find also in Joseph Beuys' quotes on Wikiquote], he himself heard this 'rumor' from several American artists! (Joseph Beuys continued: 'I am convinced that he [= Duchamp] knew very well what it meant. If he was unsure about it, he could have written me a letter').
 * Quote from: 'Interview with Achille Bonito Oliva', 1986; Republished in: 'Joseph Beuys', Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993

 * Well, this man [the T.V. interviewer of Jasper Johns,] wanted to know why I stopped painting [the so-called famous 'Silence of Duchamp'].. ..and he had said [it was] because of dealers and money and various reasons. Largely moralistic reasons..  ..But you know; it wasn’t like that. It’s like you break a leg; you don't mean to do it.
 * Quote in: Jasper Johns, Writings, sketchbook Notes, Interviews, ed. Kirk Varnedoe, Moma, New York, 1996; p. 151

 * ..paint was always [in history of painting] a means to an end, whether the end was religious, social, decorative or romantic. Now it's become an end in itself..
 * Quote in 'Artist's Voice', Kuh; as cited in Outside the Lines, David W. Galenson, Harvard University Press, 2001, p. 109

 * [ Impressionism was] the beginning of a cult devoted to the material on the canvas – the actual pigment..
 * I was interested in ideas - not merely in visual products. I wanted to put painting once again at the service of the mind.
 * In 'Artist's Voice', Kuh; p. 89; as quoted in Writings of Marcel Duchamp, Sanouillet and Peterson, p. 125

 * I wanted to get away from the physical act of painting.. .For me the title ('Fresh Widow', 1920), with inscription under: 'Fresh Widow Copyright Rose Sélavy, 1920', [probably referring to all the widows because of the many killings of soldiers in World War, 1. which ended in 1918] was very important..  .I was interested in ideas – not merely visual products. I wanted to put painting once again at the service of the mind.
 * Quote from: Looking at Dada ed. Sarah Blyth / Edward Powers, MoMa, New york 2006; p. 13

Quotes about Marcel Duchamp

 * sorted chronologically, by date of the quotes about Marcel Duchamp

 * And then there is that one-man movement, Marcel Duchamp - for me a truly modern movement because it implies that each artist can do what he thinks he ought to - a movement for each person and open for everybody.
 * Quote from Willem de Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.

 * Marcel Duchamp's silence is overrated
 * (Originally German: Das Schweigen von Marcel Duchamp wird überbewertet)
 * Quote from a Poster by Joseph Beuys, 1964

 * Marcel Duchamp, one of this century's pioneers, moved his work through the retinal boundaries which had been established with Impressionism into a field where language, thought and vision act upon one another. There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art.. .He declared that he wanted to kill art ('for myself') but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, a "new thought for that object".
 * Quote by Jasper Johns, in 'Marcel Duchamps 1887 – 1968', 'Artforum 7' no. 3, November 1968, p. 6

 * His [Marcel Duchamp's] idea was that anything could be art by focusing the mind to think of it as art. My images are similar but at the time my work was first being shown, 1958-'59, I was unfamiliar with Duchamp and Dada. Everyone said my work was Dada, so I read on it, went to Philadelphia to see the 'Arensberg Duchamp collection', was delighted by it and later met him [Duchamp].. .But it was all more a coincidence. Perhaps it’s that certain ideas get into the air, ideas that come out of our living and out of the environment automatically
 * Quote of Jasper Johns, in 'Daily Close-up, after the Flag', Roberta Brandes Gratz, New York Post, 30 December 1970, p. 25

 * The Duchamp thing is played both ways. The 'Urinal' [a famous 'readymade' art-work of Marcel Duchamp] signed R. Mutt, is played as an art object, and then as the opposite of a legitimate art object. And it vacillates back and forth. Well perhaps that is a nice thing, but I don't know. I find Duchampianism a bore. It’s very adolescent. I was very much excited by it when I was a teenager.. .My tradition is quite different. My conscious tradition is through Constantin Brâncuși, and Brancusi just strikes me as an infinitely wiser and infinitely more talented, an infinitely stronger figure than Duchamp. I think I could have done my work if Duchamp had not lived. I could not have done my work if Brancusi had not lived.
 * Quote of Carl Andre, as quoted in Artists talks 1969 – 1977, ed. Peggy Gale, The Press N.S.C.A.D, Nova Scotia, Canada 2004, pp. 15-16

 * In discussing his work [of Marcel Duchamp], it is necessary to avoid overrating his silence. I hold him in a very high esteem, but I have to reject his silence. Duchamp was simply finished. He had run out of ideas; he was unable to come up with anything important.. ..I would say that even the bourgeois tendencies in Duchamp's work – i.e., a form of provocative, bohemian behavior intended to 'épater le bourgeois'- follow the same path. Duchamp started out from here and wanted to shock the bourgeoisie, and because of that he destroyed his creative powers..  ..The content of Duchamp's silence refers to the aim of leaving the subconscious passive, of developing it. This is the aspect of Duchamp, which is related to Surrealism. The surrealists asserted that they could live with their subconscious; they thought they were above reality, but instead they were beneath it. They thought they could fish in muddy waters.. ..but to my mind, the images which emerged have a repressive effect.
 * Quote of Joseph Beuys statement on the 'Silence of Marcel Duchamp', in 'Death keeps me awake', interview with Achille Bonito Oliva, 1986; as quoted in Energy Plan for the Western man, by Four Walls Eight Windows, New York, 1993, pp. 169-170

 * I just like - just breathing. I like breathing better than working.
 * Quote, spoken by the character 'Marcel Duchamp' in the play The Mysteries and What's So Funny (play, 1992) by David Gordon

 * Asked to submit something for display by the Society of Independent Artists in New York [in 1917], Duchamp sent a urinal. Duchamp of course knew the history of art. He knew what had been achieved - how over the centuries art had been a powerful vehicle that called upon the highest development of the human creative vision and demanded exacting technical skill; and he knew that art had an awesome power to exalt the senses, the intellects, and the passions of those who experience it. Duchamp reflected on the history of art and decided to make a statement. The artist is a not great creator—Duchamp went shopping at a plumbing store. The artwork is not a special object — it was mass-produced in a factory. The experience of art is not exciting and ennobling — at best it is puzzling and mostly leaves one with a sense of distaste. But over and above that, Duchamp did not select just any ready-made object to display. In selecting the urinal, his message was clear: Art is something you piss on.
 * Quote from Stephen Hicks (2004). Explaining Postmodernism: Skepticism and Socialism from Rousseau to Foucault Tempe AZ: Scholargy Press, p. 196

title: Marcel Duchamp


text:
Charles Demuth

Charles Demuth (1883-11-09 – 1935-10-23) was a gay American Precisionist painter. He was born in Lancaster, Pennsylvania and studied at Philadelphia's Pennsylvania Academy of Fine Arts.

Quotes

 * There is a war against vice in Lancaster. I am going home to speak for vice.
 * Quoted in Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde by Jonathan Weinberg (Yale University Press, 1993).

title: Charles Demuth


text:
Talk:Saved by the Bell

I think SBTB should be split into three different pages: 1- the original series, 2- the college years, and 3- the new class. What does everyone think, and how do we do that?

title: Talk:Saved by the Bell


text:
Fillmore!

Fillmore! is a Disney animated television series, created by Scott Gimple. Loosely based on popular cop shows of the 1970s like The Mod Squad, Fillmore is centered on a reformed delinquent teenager, Cornelius Fillmore, and his partner, Ingrid Third, working as part of the Safety Patrol at "X Middle School".

To Mar a Stall [1.01]

 * Vallejo: Is that - for me?
 * Anza: Got your name on it.
 * Vallejo: Beautiful... You just keep your elbows in, and your eyes focused on the target.
 * (Vallejo opens box and a springy fish pops out. He pulls out a "Singing Fish")
 * Singing Fish Model: Row Row Row your boat gently down the stream, merrily merrily merrily merrily life is but a dream.
 * Glee Club: (chimes in) Life is but a Dreeeaaammm!

 * Tommy: I ain't goin' out like Charles Laskey, know what I'm sayin'?
 * Ingrid: Who's Charles Laskey?
 * Tommy: That's what I'm sayin', know what I'm sayin'?

 * Jean Grace: I can't help you there. I don't believe in indoor plumbing, and I have never set foot in a school bathroom. I always go out-
 * Ingrid: Uh. Don't even wanna know.

 * Frankie Polk: Yes! I draw toilets. Beautiful toilets. The perfect marriage of form and function, of style and substance, of water and porcelain.

 * Vallejo: Principal Folsom isn't sure whether to give you guys a commendation or to give you detention. On the one hand, you put Stainless away. But on the other hand, you destroyed an entire shipment of brushed steel stalls, you ruined a month's supply of macaroni, and you allowed the most notorious graffiti vandal in the history of the school to escape.

 * Robin Spencer: Are you reading those?
 * Ingrid: Photographic memory.

Test of the Tested [1.02]

 * Ingrid: The S.A.T.T.Y. 9. Has there been anything more pointless?
 * Protestor: Ban Lobstee the Lobster! Make X Middle School get a new mascot! Stop crustacean exploitation!
 * Fillmore: (Beat) You tell me.

 * Fillmore: (in the phone)Fillmore. Huh, not now, the duck is in ear shot. Peace.
 * Ingrid: Fillmore, you know me pretty well.
 * Fillmore: I'd say very well.
 * Ingrid: Uhuh,so how can you think you could pull over on me. Listen, I know all you guys are shipping in getting me a scooter for my birthday.
 * Fillmore: Your birthday is coming up?
 * Ingrid: You guys can't get me a scooter.
 * Fillmore: Oh, yeah. We can.
 * Ingrid: Fillmore, everybody is gonna think that I'm trying to be in the scoot bandwagon.
 * Fillmore: Ingrid, you have an Abe Lincoln lunch box, since when do you care what everybody thinks?
 * Ingrid: Hey, Abe Lincoln is coo- oh, good point.

 * Karen Tehama: That one's got attitude.
 * Vallejo: That one is also the best.

 * Principal Folsom: The last thing I want to see is 12 hundred kids having to take it over.
 * (Door to the pool opens)
 * Willie: We'll have to take it over?! The SATTY-9, or the Sensless Aptitude Tryout Tested Yearly, was the hardest test I've ever taken! It took three hours! I saw spots! (with French accent) I developed this spontaneous French accent! (normal voice) I can't take it again! I can't! (Fillmore splashes water in his face)
 * Fillmore: Check yourself, Willie. You don't want to take this test again, and we don't want to either, so it's not going to happen. We're on it.

 * Ingrid: Um, Elliot? The reason to wear boxers is to avoid mooning strangers. Maybe you should get some new ones. Or maybe a big patch.
 * (Elliot realizes his boxers are torn, covers himself, and runs off)
 * Vallejo: People, can we cover Elliot's butt please?

 * Ingrid: I didn't need that in my photographic memory.

 * Cheerleading Coach: You're as solid as a geodude using it's harden attack.

 * Augie: I love Tartar sauce!

 * Fillmore: (Cutting off Seth's escape route) Ingrid! We take Seth back to HQ, and then we talk (cut to Safety Patrol HQ) You were gonna let him go.
 * Ingrid: I thought about it... but I was going to get him
 * Fillmore:You almost didn't. Ingrid, we're partners. Be straight with me
 * Ingrid: I know Seth. he's creative. he does these cool little cartoons about a pig named Schmoogoogey. He invented a candy bar wallet that keeps them from melting in your pocket. But you don't see that in a S.A.T.T.Y. 9 score
 * Seth: Cool. *weeping* level 26
 * Ingrid: For a second, I just thought, maybe the world would be better off without those answer sheets.
 * Fillmore: That test may be beat, but there's a right way to fight it. Protesting. Giant banners. Editorials. Hard jams with harder rhymes. Going the other way is a sucker move. We have a job. We don't make the rules.
 * Ingrid: (Indignant) I only forgot that for a second.
 * Fillmore: (Forlorn) But Ingrid, you forgot that.

 * Principal Folsom: (Phone ringing) You hear that? That's how it's been since the answer sheets got stolen. I hear it in my sleep, I add milk to my crisped rice cereal, and it SOUNDS LIKE MY PHONE (bangs fists on table)! Norma, hold my calls. I gave you 48 hours, and we're down to 12. Where are my results, people (bangs fists on table again)?!

 * Ingrid: Um, Elliott?
 * Elliott: What?
 * Ingrid: Here's your candy back. (Spills malt balls)
 * Elliott: Whoa! (Slips on the candy and falls to the ground)
 * Ingrid: You should stay away from that stuff. It's real bad for ya.

 * Fillmore: (While leaving school) Sorry we had to give you your birthday present a day early.
 * Ingrid: It was a nice non-surprise. Fillmore, about what went down on the bridge...
 * Fillmore: Hey, it was a bridge you had to cross. Now you're on the other side
 * Ingrid: I am. But I'd still like to see that stupid test go down.
 * Fillmore: Don't we all. But Ingrid, what can you do?
 * Ingrid: Something.
 * Fillmore: I don't think that's against the rules, at least any of the rules I know. *Laughs* Hey, let's get some egg rolls. You're buying.
 * Ingrid: *pulls out scooter and puts on gear while looking at Fillmore*
 * Fillmore: Ingrid, you can't ride that on school grounds.
 * Ingrid: Oh sure I can. Watch!
 * Fillmore: You're gonna let me take a turn right?
 * Ingrid: Only if you catch me... *rides off*

A Wurm in Our Midst [1.03]

 * O'Farrell: Hi, Tony. Is your refridgerator running, like you? ...Man, that was weak!

 * Student: Excuse me! We're meditating here!
 * Tony: Excuse yourself, sister.

 * Tony: Shut up and call my mother!
 * Fillmore: Trust me, I'll get right on that.

 * Ingrid: Don't let him get to you, Fillmore.
 * Fillmore: Too late! Dog that kid is bad news!

 * Fillmore: This ain't good.
 * Librarian: 'Isn't'.
 * Fillmore: Isn't.

 * Ingrid: Judy Blume doesn't have a subtext, but she is very good.

Cry, The Beloved Mascot [1.04]

 * Larkin: (to Ingrid) Hey, Third! How'd you like that cream pie?

 * Alistair: Whatcha gonna do now we've come for you?

Red Robins Don't Fly [1.05]

 * Fillmore: Sorry man, I was comin' up to— Hey, Vallejo. Is this your card?
 * (Drops card, spins around and knocks over projector screen.)
 * Vallejo: My what? (nearly
 * '''(Fillmore quickly picks projector back up.)
 * Vallejo: (baffled) Whoa, Fillmore. Nice catch! Thanks.
 * Fillmore: Huh, listen man, ain't no thing but a chicken on a string.
 * Vallejo: Huh?
 * Fillmore: (Smugly) Exactly! Uh, you okay? Oh, and uh, could you sign this communications report?
 * (Vallejo, rightly confused, mindlessly signs the forms for the new Walkies.)
 * Fillmore: Cool. Brief away, baby.

 * Vallejo: No other volunteers? (beat) Put your hand down, O'Farrell.
 * O'Farrell: But I already got the outfit! What am I supposed to do with this wig?
 * Vallejo: Lots of things.

 * Anagram: PIONEER LASSES FREAKS BAKE TAN CAPS.

 * Vallejo: She likes playing Red Robin, Fillmore. She likes it a lot.
 * Fillmore: Just what are you driving at, Vallejo?
 * Vallejo: Maybe something, maybe nothing... Just keep an eye on your partner, Fillmore.

 * Vallejo: (after Fillmore and he saw Ingrid 'wrap' Jamie)Ingrid might be in over her head.
 * Fillmore: I think she's playing the part.
 * Vallejo: You see what she did to that kid? She was smiling.
 * Fillmore: Yeah, she was. To make it look good.
 * Vallejo: You wanna know the truth? I didn't want to put Ingrid on that case. Not because she's new, but because she's

different. She ain't the most popular girl in school, Fillmore.
 * Fillmore: Hey, Vallejo, neither are you.
 * Vallejo: She doesn't run with a crowd. Now she's got one! You're her friend, you're close, and I thought that was enough! But the thing is, I made that mistake before...

-Flashback-
 * Vallejo: Back in the seventh grade I was partnered with a safety patroller who was sent undercover as a Red Robin. She was a lot like Ingrid; very smart, her own person. But being around that kinda group, she turned, Fillmore. I tried to talk her out of it, (wistfully) but... no dice. She's now the head of the Red Robins.
 * Fillmore: Malika... snap!

Act 3: A Bond Broken
 * Fillmore: Why didn't you tell me.
 * Vallejo: I'm telling you now. I don't want to lose Ingrid the way I lost Malika. I thought things would be different, maybe Ingrid was stronger-
 * Fillmore: She is stronger.
 * Vallejo: Thing is, I don't know if it's about strong, Fillmore. Malika was smart. Like Ingrid. Quirky, out of the mainstream. But unlike Ingrid, she was in a couple clubs. Head of the unicycle squad, president of the A/V club, (hesitantly) and... of course... she was a-
 * Fillmore: safety patroller.
 * Vallejo: Even then, the Robins took it all away from her. She sold her unicycle, disbanded the A/V club, and now only has one passion; the Red Robins. I don't want that to happen to Ingrid!
 * Fillmore: (Determined) Oh it won't happen to Ingrid. I'll make sure.
 * Vallejo: (Challenging) I don't know if it's your decision, Fillmore.
 * Fillmore: I'm gonna go talk to Ingrid.

 * Malika: You could have been a part of the greatest organization in the school!
 * Ingrid: (putting on her sash) I already am.

 * Jenna: Ah, yes. Ingrid. Technically, you're still too new.
 * Jamie: Uh, she can have my place! She can have whatever she wants!

 (Ingrid puts her new walkie talkie on the table during the safety patrol's poker game)
 * Vallejo: Nice walkie... Wait a second, you couldn't have gotten those without my signature... Communications report!
 * Fillmore: Shh. Did you hear that? Sounded like someone calling for help... Out there. We better check it out. (He and Ingrid rush outside)
 * Vallejo: (turns around) Where? I didn't... (Turns back to see they're gone.) FILLMORE!

Next Stop, Armageddon [1.06]

 * Vallejo: Of all the days you picked to tick Folsom off!

 * Ingrid: I'm gonna have to ask you to stop "tooting" so close to us!

 * Danny O'Farrell: Oh merciful pancakes! Did I say pancakes? Oh why did I say pancakes?

 * Folsom: I don't want your promises, I want answers!

 * Vallejo: If your not gonna replace Thelonius, can you at least flush him or somethin'?

Nappers Never Sleep [1.07]

 * Fillmore: Goin' undercover's part of the gig, Ingrid.

 * Mrs. Konquist: I almost made it out until someone decided to read War and Peace in one sitting!
 * Mr. Almaden: I'm on page 220!

Ingrid Third, Public Enemy #1 [1.08]

 * Fillmore: "Dear Wayne, greetings from your old hometown man. Sorry haven’t written to you yet, but things been pretty busy down here in Safety patrol. For the best officer of the force had moved to Tennessee. By the way, I'm talking about you. A lot of stuffs had gone since you left. Thought I tell you about it. Last time we saw each other I call you seeing me at the stop of the bus school".

 * Fillmore: You're always by the book.
 * Wayne: You threw out my book.

 * Cheerleader: Hi! Suprised ya? I'm Sherri Shatler, with the X Middle School Welcome Wagon. Welcome Ingrid Third!
 * Ingrid: Uh... Hi. Thank you? Can you tell me why all the kids are looking at me like...
 * Cheerleader: -Like you transferred from Lameville? Sure! First, You're new. Second, you dress differently. Third, It's only a matter of time before kids learn you're the smartest kid in school! Yeah, I looked at your transcript. Now here's an "X" shaped cookie! It's X-Middle School-Licious! I'll see you at the intro later today! So longsees!
 * Ingrid: ...Intro?

 * Ingrid: This. School. Stinks.

 (after stink bomb)
 * Kid: I was just on my may to class when the hallway started to reek so very badly...

 * Fillmore: Some room! I practically spent my first two months of school here... 'Til that is, my former partner Wayne drafted me out of delinquency and into the safety patrol. You're lying, Ingrid. You didn't do it, and I can prove it.
 * Ingrid: So what? Listen. They're gonna expell me, and I want out. Why would I wanna stay here?
 * Fillmore: I have an ATM tape that proves you weren't anywhere near the school when the stink bomb went off!
 * Ingrid: And I have an eggplant that looks like Fred Durst! Did you hear me? I don't care. I just wanna forget you people!
 * Fillmore: Don't say "you people"! Because THIS person's been out there, busting his tail trying to clear YOUR name. And what do I get in return? a messed up eggplant. (Ingrid smiles) Well, what's that?! Joan of Arc cracked a smile! Ingrid, you didn't do it. Don't take the fall because of a hundred fools who want easy answers! You got a friend at X, me.
 * Ingrid: ...You know. I was thinking, if one person other than the Welcome Wagon Girl is the least bit nice to me by two o' clock? I wouldn't confess to doing something I didn't do.
 * Fillmore: I would've been here earlier, but... I was busy trying to clear a friend's name. Cornelius Fillmore.
 * Ingrid: Ingrid Third.

 * Fillmore: Are you reading those files?
 * Ingrid: Yeah, photographic memory... This school, you got kids with slingshots, baseball card sharks, test paper peddlers... But you don't have any rebels.
 * Fillmore: That's why you've gotta stick around.

 * Lenny: By Don King's hair, that's her!

 * Ingrid: How dare you bring a "Dancey Lads" pin into my house!

 * Fillmore: Locked!... Where did you learn how to pick-
 * Ingrid: You know how my records list that I spent a year in Nepal? They didn't say that I was at a reform school. What? I didn't think it was pertinent to your investigation.
 * Fillmore: What were you in for?
 * Ingrid: A number of things... Including an incident with a stink bomb and a piñata.
 * Fillmore: You're right. It wasn't pertinent.

Masterstroke of Malevolence [1.10]

 * Mrs. Lawson: Book her, Cornelius!

 * Fillmore: A tripod couldn't represent like you just did, O'Farrell. Remember that.

Two Wheels, Full Throttle, No Breaks [1.11]

 * B.A.G.A.S.T. Member: The corn! It all looks the same!

 * Howie: I SAY! That LASS is STEALING my SCOOT-AH!

 * Vallejo: Uh...Fillmore...please tell me that's not my bike.

 * Fillmore: It doesn't work that way, Minna. There aren't enough brief yet effective hunger strikes in the world to justify what you've done. You're a criminal.
 * Derek Minna: Yeah? So are you. (Jumps from the branch to the rooftop and has his escape routes cut off by Ingrid, then O'Farrell and Tehama)
 * Fillmore: (Lands on the roof) No. I'm a safety patroller, and I'm bringing you down.

Of Slain Kings on Checkered Fields [1.12]

 * Girl: If loving Checkmatey is a crime, then I plead guilty in the first degree!

 * Checkmatey: Yeah! Checkmatey's in the house!

 * Joyce: I am the one who will leave you defeated, silent, listening to the lamentations of your kin!

 * Danny: (About the giant mustard and ketchup ball) Help! It's Alive! Help!

 * Checkmatey: Who drew these? (Drawing of fire-breathing cat)
 * Ingrid: My sister.
 * Checkmatey: She look like you?
 * Ingrid: Taller.
 * Checkmatey: But not prettier, because you are fine like the sunshine, and I...
 * (Ingrid twists Checkmatey's arm)

A Forgotten Yesterday [1.13]

 * Fillmore: I'm on entry. (Hands over the binoculars) Sonny, you take lookout.
 * Ingrid: (Skeptical) Fillmore, you're not going in there alone, are you?
 * Sonny: No disrespect domino, but you'd just be in his way.
 * Fillmore: Ingrid, it's cool. Give Sonny your walkie. (Sonny gloatingly reaches for the walkie) Look, trust me on this (Leaps down).
 * Sonny: Relax, sunshine. Just sit back and enjoy the ride.

 * Ingrid: You two have done this before?
 * Sonny: (Chuckles) Just a hundred times or so. Fillmore was once the top entry-man in the school. He was like a straight-up ghost (Fillmore silently runs behind the grill). (Fillmore hanging upside-down under a table and rolling away) He could get in and out of anywhere, steal anything. (Fillmore rises from underwater and swims out of the pool) Plain and simple, he was the best.
 * Ingrid: He still is the best, only now, it's for the good guys.
 * Sonny: (Chuckles sarcastically) You really think you know him, don't you?

 (Upon escaping, Fillmore runs down to the docks, where he meets Sonny, and hands him the ledger)
 * Sonny: Beautiful. I knew you could do it man (villainously revs his watercraft as he moves away from Fillmore).
 * Fillmore: Sonny!
 * Sonny: Sorry, C.
 * Fillmore: The evidence.
 * Sonny: There is no evidence. Never was (opens book to reveal many CDs)
 * Fillmore: The term papers.
 * Sonny: Thousands of them. I knew Rudy had 'em. I also knew you were the only person good enough to steal them from him. Bottom line, I needed you, C. (Bragging) Hey, check the getaway I jacked from the personal watercraft team.
 * Fillmore: It was you all along. The stuff that happened to my bike...
 * Sonny: (Nonchalantly) What can I say? I knew you'd come to me for help, and when you did, I just pointed you towards Rudy.
 * Fillmore: And the helicopter?
 * Sonny: I staged the whole thing to gain your trust. Beautiful, huh? The rest was easy. Once we got the location of the ledger, I made that little call to Peabody, and then, I planted the hall passes (Clips of Sonny being a snake playing all the while).
 * Fillmore: So you played me for a sucker?
 * Sonny: Not really. I just know you, and I knew when push came to shove, you'd take that ledger. (Smugly) You're a thief, Fillmore, and you always will be. (Arrogantly) And do you wanna know the best part? You can't even go to the Safety Patrol now. Not unless you want to do some serious detention time. You took that ledger without a warrant.
 * Fillmore: (Jovially) Guess again, Sonny. This is a warrant to seize the ledger signed by Representative Peabody this afternoon.
 * Sonny: (Incredulously) WHAT?!
 * Fillmore: (Hard) You made one mistake. You didn't erase the memory on your cellphone. Remember that anonymous call made to Peabody? Guess what phone it came from?
 * Sonny: (In shock) No.
 * Fillmore: (Lifts shirt to reveal wire) And now that we got your confession on tape, I'd say it's over. (Into the wire) You reading this, Danny?
 * O'Farrell: (Loudly and deliberately) Loud and clear.
 * Vallejo: (Looks at Peabody as if to say 'I told you so' and then to the walkie) Move in.
 * Ingrid: (On a loudspeaker from an oddly large boat) This is the Safety Patrol. We have you surrounded. Shut off your engine
 * Fillmore: Sorry, man. It's over.
 * Sonny: Uh-uh. Not yet! (Awesome chase ensues)

 * Sonny Lombard: I always said you were the best, Fillmore.
 * Fillmore: Believe that (Fillmore outmaneuvers Sonny, getting him caught on the hook of the boat).

 * Sonny Lombard: (Booked, being taken to HQ) Hey, Fillmore. It didn't have to end like this.
 * Fillmore: You're right, Sonny, it didn't. When I went straight, man you should have come along with me. Because I got a better life now—and a better partner too. And I'm never going back to the way I was before. Never. Now that's beautiful (Fillmore jerks his head, prompting Anza and Tehama to get Sonny out of his sight).
 * Fillmore: (Looks to Ingrid) You ready to get out of here? (She smiles earnestly. The fist-bump and walk off together).

The Currency of Doubt [2.01]

 * Ingrid: Did you catch that vibe?
 * Fillmore: The nasty food vibe?
 * Ingrid: Not just nasty food, nasty British food.

 * Ingrid: Stay back, this won't be pretty. I'm putting on my cute face.
 * Fillmore: Oh, snap!

 * Fillmore:You sure took one for the team, Ingrid.

The Shreds Fell Like Snowflakes [2.02]

 * Lorenzo: (curled up in fetal position) Ay mamacita! Ay mamacita! Ay mamacita!
 * Cheri: Your mama sat on what? En Englais, por favor!

 * Vallejo: (about Frank's profiling skills) He was the best - just by looking at his shoe print he could tell you what the perp had for breakfast!

 * Principal Folsom: Let's see, things I'd like to see shredded...beef for loose meat sandwiches, any paperwork documenting my weight or age, oh, and one other thing, YOUR BADGE IF I DON'T SEE RESULTS!

 * Tehama: Okay. What the heck is that?
 * Fillmore: Uh, no offence, Danny, but that kinda looks like Tiger Woods on a very bad morning.
 * Ingrid: (squinting) Oh yeah, and that's his elbow...at least, I hope that's his elbow...

Immune to All but Justice [2.05]

 * Vallejo: We may not be able to officially bust you, but if you cause any more trouble in this school, the entire Safety Patrol is going to turn your life into a nightmare from which you will never wake. Am I making myself clear?
 * Winston Cotter: ...yes, sir.

 * Fillmore: (to Penny after he found out what she did) And one last thing babe...that chicken was dry, real dry.

The Nineteenth Hole is a Shallow Grave [2.06]

 * Fillmore: (deeply bothered) That's *my* business.
 * Ingrid Third: (annoyed)Ooh, didn't realize I was dealing with tortured Fillmore today. It's cool. Late.

 * Fillmore: (shows Ingrid his golf club with 6 notches scratched into it) These notches are 6 peoples lives I'd ruined: It was the 6th Grade, back when I was a delinquent; I'd always been good at mini golf, and I decided to throw-in with the school team, but because of my little discipline problems, I wasn't even allowed to try-out. 'Since they didn't let me try-out, I decided to stamp them out. All of them. I challenged the whole team to a match, betting each of them everything they had; CDs, video games, their trophies, you name it. It wasn't about the swag; I only had 1 thing on my mind--destroying their Game: Ingrid, mini golf is 100% Mental; I played the holes to break them; I made it look like the greens broke differently; I swung my arm slow, but hit fast, and made it look the windmill was standing still. They didn't know what hit them. I beat them so-badly, so-completely, it's like... there was nothing of them left. I Took Them Out. They never played the game again. And, until this case, neither had I.
 * Ingrid: Fillmore, that was a long time ago. You did something harsh, and it hurts; That's how your paying the price for it. But Don't make other people pay that price. You are the only one who can take Biggie down. You're the only one who can stop him. 'You don't, and you may as well put some notches for All of us.

The Unseen Reflection [2.08]

 * O'Farrell: I'm only through book eight. I didn't even get a chance to become disillusioned.

 * Vallejo: FILLMORE! Why did I get a bill from the art lab for 10 plastic chairs, 8 wooden easels, a velvet couche, AND A SPEAR?!
 * Fillmore: (chuckles nervously) They don't make 'em like they used to?
 * Vallejo: (chuckles sarcastically) Cut the chuckles!

 * Trace: Daylight kills vamps, and that's with the ozone layer. I mean, a vampire astronaut in space? Hello? What about the sun?

 * Ingrid: Trace and TQ working in tandem tried to trash Torrie and Terri's attempts to take the trophy together.

 (Fillmore is bringing in a mime, and Vallejo bursts out of his office)
 * Vallejo: Fillmore! Why did I receive a bill for 68 trashed monster novels and a zombie standee?!
 * Fillmore: Relax, Vallejo. Mimey here has offered to put on a show, and donate the proceeds to pay for the damages.

(The mime starts to nod, and performs being trapped in a box, when Fillmore's walkie talkie goes off.)
 * Ingrid: (over walkie) Fillmore, I need help. I'm tracking a perp on foot. He's stolen a ten foot ladder, and he's heading for the ceramics club.
 * Vallejo: (looking terrified) Ceramics club? Ten foot ladder?!
 * Fillmore: (to Ingrid) On my way. (to Vallejo)'' Sorry, bro, duty calls.
 * Vallejo: (still looking terrified, with the mime mimicking him) Wait, uh, Fillmore... Maybe we should...
 * Fillmore: You know, Vallejo, you worry too much. When I get back, I got a tea that just might fix that. (Runs off)
 * Vallejo: (with the mime STILL mimicking him) FILLMORE! (Vallejo stares off into space, while the mime continues acting) Stop that. (The mime pauses, then stands upright)''

Play On, Maestro, Play On [2.10]

 * Ingrid: X Middle School Safety Patrol, hold your horseshoes!

 * Principal Folsom: I need these clever headlines to stop!

A Dark Score Evened [2.11]

 * Danny O'Farrell: (talking about Fiona's fashion list) She always puts me down on the "worst dressed list". I don't know why.
 * (He stands up wearing a kilt, out-of-date shoes, and a pair of novelty, over-sized sunglasses)

 * Becca: (on the fashion display) ...They're man-capris. You know, to go with the man-halter.

 * Danny O'Farrel: It's clean. The girl's bathroom is clean! Why is the boy's room such a pit?! It smells like lavender in here. I love lavender!

 * Horace: I'm not a bully! I'm a computer geek!

Field Trip of the Just [2.12]

 * O'Farrell: Polly want to confess what you saw between 10:26 and 10:31 this morning? Huh? Do you, Polly?

 * Fillmore: Dog!
 * Man: It's a horse! A seeing eye horse!

This Saviour, A Snitch [2.13]

 * Reporter: (after Fillmore has broken a macaroni statue) Wow, he really hates macaroni.

title: Fillmore!


text:
User talk:213.144.119.234

- InvisibleSun 17:47, 24 November 2006 (UTC)

title: User talk:213.144.119.234


text:
User:Tennislover~enwikiquote

Hello, my name is Tennislover and I have just created this account. I don't do much work here, but you can find me on the English Wikipedia. If I have somehow made a mistake just let me know. Thanks!

title: User:Tennislover~enwikiquote


text:
User talk:Tennislover~enwikiquote

Leave me a messege:

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 07:07, 25 November 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

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

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

title: User talk:Tennislover~enwikiquote


text:
User talk:24.224.240.192

- InvisibleSun 19:20, 24 November 2006 (UTC)

~ Ningauble 14:32, 6 May 2010 (UTC)

title: User talk:24.224.240.192


text:
Daniel Jonah Goldhagen

Daniel Jonah Goldhagen (born June 30, 1959) is an American political scientist best known for his book, Hitler's Willing Executioners (1996).

Quotes

 * We are all Danes now. We are all Jews now. We are all Pope Benedict.
 * Said during a speech in Berlin (2006-11-20), referring to Islamist reaction to the Danish Muhammad cartoons and to Pope Benedict XVI's quoting a Byzantine emperor on the subject of Islam.

title: Daniel Jonah Goldhagen


text:
User:Usp

Look Usp in English Wikipedia.

title: User:Usp