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Timothy Leary

Timothy Francis Leary (22 October 1920 – 31 May 1996) was an American writer, psychologist, campaigner for psychedelic drug research and use, 1960s counterculture icon and computer software designer. He is most famous as a proponent of the therapeutic and spiritual benefits of LSD. During the 1960s, he coined and popularized the catch phrase "Turn on, tune in, drop out."

Quotes

 * We always have urged people: Don't take LSD unless you are very well prepared, unless you are specifically prepared to go out of your mind. Don't take it unless you have someone that's very experienced with you to guide you through it. And don't take it unless you are ready to have your perspective on yourself and your life radically changed, because you're gonna be a different person, and you should be ready to face this possibility.
 * CBC Documentary: How To Go Out of Your Mind: The LSD Crisis (1966)

 * People use the word "natural" … What is natural to me is these botanical species which interact directly with the nervous system. What I consider artificial is four years at Harvard, and the Bible, and Saint Patrick's cathedral, and the sunday school teachings.
 * LSD: Methods of Control (1966)

 * Art's certainly made a lot of money, and got on a lot of shows — he got himself into the Nixon White House riding on the death of his daughter. And I think that's ghoulish! That's ghoulish.
 * In a Stanley Siegel interview (c. 1977), with phone commentary by Art Linkletter who blamed his daughter's death on her involvement with LSD.

 * I declare that The Beatles are mutants. Prototypes of evolutionary agents sent by God, endowed with a mysterious power to create a new human species, a young race of laughing freemen.
 * As quoted in Shout! (1981) by Philip Norman, p. 365; and in An Encyclopedia of Quotations about Music (1981) by Nat Shapiro, p. 303

 * To describe externals, you become a scientist. To describe experience, you become an artist. The old distinction between artists and scientists must vanish. Every time we teach a child correct usage of an external symbol, we must spend as much time teaching him how to fission and reassemble external grammar to communicate the internal. The training of artists and creative performers can be a straightforward, almost mechanical process. When you teach someone how to perform creatively (ie, associate dead symbols in new combinations), you expand his potential for experiencing more widely and richly.
 * Changing My Mind, Among Others : Lifetime Writings (1982), p. 76; also in Change Your Brain (2000), p. 72

 * If you want to change the way people respond to you, change the way you respond to people.
 * Changing My Mind, Among Others (1982)

 * "Turn on" meant go within to activate your neural and genetic equipment. Become sensitive to the many and various levels of consciousness and the specific triggers that engage them. Drugs were one way to accomplish this end. "Tune in" meant interact harmoniously with the world around you — externalize, materialize, express your new internal perspectives. Drop out suggested an elective, selective, graceful process of detachment from involuntary or unconscious commitments. "Drop Out" meant self-reliance, a discovery of one's singularity, a commitment to mobility, choice, and change. Unhappily my explanations of this sequence of personal development were often misinterpreted to mean "Get stoned and abandon all constructive activity."
 * Flashbacks (1983)

 * Women who seek to be equal with men lack ambition.
 * As quoted in Third and Possibly the Best 637 Best Things Anybody Ever Said (1987) by Robert Byrne, #40

 * We are dealing with the best-educated generation in history. They are a hundred times better educated than their grandparents, and ten times more sophisticated. There has never been such an open-minded group. The problem is that no one is giving them anything fresh. They've got a brain dressed up with nowhere to go.
 * Interview by David Sheff in Rolling Stone Twentieth Anniversary Issue (1987)

 * Think for yourself and question authority.
 * Timothy Leary's track on Sound Bites from the Counter Culture (1989)

 * That’s the left wing of the CIA debating the right wing of the CIA.
 * Discussing CNN’s Crossfire as quoted in Rolling Stone (14 December 1989)

 * I have always considered myself, when I learned what the word meant, I've always considered myself a Pagan.
 * At the Neo-Pagan Starwood Festival (July 1991), recorded on Timothy Leary Live at Starwood (2001) by the Association for Consciousness Exploration ISBN 1-59157-002-6

 * The universe is an intelligence test
 * As quoted in Cosmic Trigger I: The Final Secret of the Illuminati (1977) by Robert Anton Wilson, p. 170

 * Throughout human history, as our species has faced the frightening, terrorizing fact that we do not know who we are, or where we are going in this ocean of chaos, it has been the authorities — the political, the religious, the educational authorities — who attempted to comfort us by giving us order, rules, regulations, informing — forming in our minds — their view of reality. To think for yourself you must question authority and learn how to put yourself in a state of vulnerable open-mindedness, chaotic, confused vulnerability to inform yourself.
 * How to Operate Your Brain (1994), a guided meditation spoken by Timothy Leary and set to music.

 * I am 100 percent in favor of the intelligent use of drugs, and 1,000 percent against the thoughtless use of them, whether caffeine or LSD. And drugs are not central to my life.
 * Chaos and Cyber Culture (1994)

 * A psychedelic experience is a journey to new realms of consciousness. The scope and content of the experience is limitless, but its characteristic features are the transcendence of verbal concepts, of space-time dimensions, and of the ego or identity. Such experiences of enlarged consciousness can occur in a variety of ways: sensory deprivation, yoga exercises, disciplined meditation, religious or aesthetic ecstasies, or spontaneously. Most recently they have become available to anyone through the ingestion of psychedelic drugs such as LSD, psilocybin, mescaline, DMT, etc. Of course, the drug does not produce the transcendent experience. It merely acts as a chemical key — it opens the mind, frees the nervous system of its ordinary patterns and structures.
 * The Psychedelic Experience (1995)

 * He's basically a romantic comedian. …. He was a government agent entering our bedroom at midnight. We had every right to shoot him. But I've never owned a weapon in my life, and I have no intention of owning a weapon, although I was a master sharpshooter at West Point on both the Garand, the Springfield rifle and the machine-gun. I was a howitzer expert. I know how to operate these lethal gadgets but I have never had and never will have a gun around.
 * Commenting on G. Gordon Liddy's 1994 remarks on shooting intruding ATF agents, and a 1966 raid by Liddy in which Leary had been arrested, in "Timothy Leary Revisited" a 1995 interview, in Paul Krassner's Impolite Interviews (1999) by Paul Krassner, p. 304

 * Monotheism is the primitive religion which centers human consciousness on Hive Authority. There is One God and His Name is _______ (substitute Hive-Label). If there is only One God then there is no choice, no option, no selection of reality. There is only Submission or Heresy. The word Islam means "submission". The basic posture of Christianity is kneeling. Thy will be done.
 * The Intelligence Agents (1996)

 * Each religion has got their own way of making you feel like a victim. The Christians say "you are a sinner", and you better just zip up your trousers and give the money to the pope and we'll give you a room up in the hotel in the sky.
 * Timothy Leary's Last Trip (1997)

 * We saw ourselves as anthropologists from the twenty-first century inhabiting a time module set somewhere in the dark ages of the 1960s. On this space colony we were attempting to create a new paganism and a new dedication to life as art.
 * On the Castalia Institute in Millbrook, New York; quoted in Storming Heaven : LSD and the American Dream (1998) by Jay Stevens, p. 208

 * You're only as young as the last time you changed your mind.
 * As quoted in Office Yoga : Simple Stretches for Busy People (2000) by Darrin Zeer, p. 52

 * In the information age, you don't teach philosophy as they did after feudalism. You perform it. If Aristotle were alive today he'd have a talk show.
 * As quoted in The Best Advice Ever for Teachers (2001) by Charles McGuire and Diana Abitz, p. 57

 * Why not?
 * Said repeatedly, with various inflections, these were among his last words before his death (31 May 1996), as quoted in "Timothy Leary's Last Moments" by Carol Rosin. Some have stated his final intelligible word was "Beautiful".

 * At one point consciousness-altering devices like the microscope and telescope were criminalized for exactly the same reasons that psychedelic plants were banned in later years. They allow us to peer into bits and zones of Chaos.
 * As quoted in Pronoia Is the Antidote for Paranoia : How the Whole World Is Conspiring to Shower You with Blessings (2005), by Rob Brezsny, p. 8

 * Civilization is unbearable, but it is less unbearable at the top.
 * As quoted in Still Casting Shadows : A Shared Mosaic of U.S. History (2006) by B. Clay Shannon, p. 376

 * I've left specific instructions that I do not want to be brought back during a Republican administration.
 * On being brought back to life, during the period in which he considered putting his body into cryonic suspension, as quoted in The Nastiest Things Ever Said About Republicans (2006) by Martin Higgins, p. 130

 * Seven million people I turned on, and only one hundred thousand have come by to thank me.
 * Don Lattin, The Harvard Psychedelic Club (2010), p. 202

 * The Tibetan Book of the Dead is ostensibly a book describing the experiences to be expected at the moment of death, during an intermediate phase lasting forty-nine (seven times seven) days, and during rebirth into another bodily frame. This however is merely the exoteric framework which the Tibetan Buddhists used to cloak their mystical teachings. … The esoteric meaning, as it has been interpreted in this manual, is that it is death and rebirth of the ego that is described, not of the body. Lama Govinda indicates this clearly in his introduction when he writes: "It is a book for the living as well as the dying." The book's esoteric meaning is often concealed beneath many layers of symbolism. It was not intended for general reading. It was designed to be understood only by one who was to be initiated personally by a guru into the Buddhist mystical doctrines, into the pre-mortem-death-rebirth experience. These doctrines have been kept a closely guarded secret for many centuries, for fear that naive or careless application would do harm.
 * The Psychedelic Experience (1964), p. 12

 * '''Giger’s work disturbs us, spooks us, because of its enormous evolutionary time span. It shows us, all too clearly, where we come from and where we are going.
 * Commenting on surrealist H. R. Giger.

Harvard Law School Forum (1966)

 * As quoted in "Leary calls LSD 'sacrament'" in The Tech (8 November 1966), p. 6

 * The only abuse of drugs is the control of drugs by other people. ...The only control is self-control.

 * What I feel or believe or experience is my business, and what I do is all our businesses; and reward or punish me according to whether I play the game well — ethically and rightly — or unethically.

 * There's one uneasy borderline between what is external and what is internal, and this borderline is defined exactly by the sense organs and the skin and the introduction of external things within my own body. Consciousness is altered by physical events and physical objects, which impinge upon my sense organs, or which I introduce into my body. Now the name traditionally given to external objects or processes which change you internally is sacrament. Sacraments are the visible and tangible techniques for bringing you close to your own divinity.

 * The language of God is not English or Latin; the language of God is cellular and molecular.

 * Anything that affects your senses … is your business. If you want to kill yourself through nicotine or cyanide, it's your business.

Start your own Religion (1967)

 * Later re-published in The Politics of Ecstasy (1968) and Turn On, Tune In, Drop Out (1999)

 * That intermediate manifestation of the divine process which we call the DNA code has spent the last 2 billion years making this planet a Garden of Eden. An intricate web has been woven, a delicate fabric of chemical-electrical-seed-tissue=organism=species. A dancing, joyous harmony of energy transactions is rooted in the 12 inches of topsoil which covers the rock
 * metal
 * fire
 * core of this planet.
 * The Purpose of Life is Religious Discovery

 * Individual societies begin in harmonious adaptation to the environment and, like individuals, quickly get trapped into nonadaptive, artificial, repetitive sequences. When the individual's behavior and consciousness get hooked to a routine sequence of external actions, he is a dead robot, and it is time for him to die and be reborn. Time to "drop out," "turn on," and "tune in." This period of robotization is called the Kali Yuga, the Age of Strife and Empire...
 * The Purpose of Life is Religious Discovery

 * Actions which are conscious expressions of the turn-on, tune-in, drop-out rhythm are religious. The wise person devotes his life exclusively to the religious search — for therein is found the only ecstasy, the only meaning. Anything else is a competitive quarrel over (or Hollywood-love sharing of) studio props.
 * Drop Out, Turn On. Tune In.

The Politics of Ecstasy (1968)

 * This was republished as two volumes: Ch. 1 -11 as Politics of Ecstasy (1999) and Ch. 12 - 22 as Turn On, Tune In, Drop Out (1999)

 * Drugs Are the Religion of the People — The Only Hope is Dope
 * Section title in "The Seven Tongues of God"

 * If you are serious about your religion, if you really wish to commit yourself to the spiritual quest, you must learn how to use psychochemicals. Drugs are the religion of the twenty-first century. Pursuing the religious life today without using psychedelic drugs is like studying astronomy with the naked eye because that's how they did it in the first century A.D., and besides telescopes are unnatural.
 * "The Seven Tongues of God"

 * My advice to myself and to everyone else, particularly young people, is to turn on, tune in and drop out. By drop out, I mean to detach yourself from involvement in secular, external social games. But the dropping out has to occur internally before it can occur externally. I'm not telling kids just to quit school; I'm not telling people to quit their jobs. That is an inevitable development of the process of turning on and tuning in.
 * A Trip with Paul Kassner

 * My advice to people today is as follows: If you take the game of life seriously, if you take your nervous system seriously, if you take your sense organs seriously, if you take the energy process seriously, you must turn on, tune in, and drop out.
 * "Neurological Politics"'

Flashbacks, An Autobiography (1983)

 * John asked what he could do to help my campaign for governor. "Write a campaign song," I replied. "Okay," said John, "what's the theme?" "Our campaign slogan is 'Come together, join the party.'" "Great title," said John. He grabbed his guitar and started improvising.
 * Come together right now. Don't come tomorrow, don't come alone, Come together right now, Over me.
 * On first proposing that John Lennon write a song for his California gubernatorial campaign; this eventually developed into the Beatles song, "Come Together", p. 281

 * While sitting in my prison cell, I was astonished to hear the local rock station play a new song by the Beatles entitled "Come Together." Although the new version was certainly a musical and lyrical improvement on my campaign song, I was a bit miffed that Lennon had passed me over this way. (I must explain that even the most good-natured persons tend to be a bit touchy about social neglect while in prison). When I sent a mild protest to John, he replied with typical Lennon charm and wit: that he was a tailor and I was a customer who had ordered a suit and never returned. So he sold it to someone else.
 * p. 388

Misattributed

 * The mark of a basic shit is that he can’t mind his own business.
 * Though at times attributed to Leary on the internet, no published source of this has been located. It is a misquote of a William S. Burroughs reading entitled M.O.B. from the Giorno Poetry Systems boxed set. M.O.B. was an extension of Burroughs' expression in The Place of Dead Roads (1983), p. 155:
 * You are a Shit Spotter. It's satisfying work. … We have observed that most of the trouble in the world has been caused by ten to twenty percent of folks who can't mind their own business, because they have no business of their own to mind, any more than a smallpox virus … The mark of a basic shit is that he has to be right.

 * But they all do sort of the same thing, and that is rearrange what you thought was real, and they remind you of the beauty of pretty simple things. You forget, because you're so busy going from A to Z, that there's 24 letters in between... You turn on... tune in... and you drop out...
 * Grace Slick, and Leary are both quoted in the Infected Mushroom song "Drop out" on the EP Deeply Disturbed (2003), but only the final portion actually quotes Leary.

 * LSD is a psychedelic drug which occasionally causes psychotic behavior in people who have NOT taken it.
 * Attributed to Leary by Terence McKenna in one of his talks ("The World and Its Double", 11 September 1993, Nature Friends Lodge, Sierra Madre, CA), though he also stated Leary denied ever having said it.

Quotes about Leary

 * Negative stereotypes about Jewish women permeated the Left and counterculture, making it even harder for radical women to identify as Jews. Naomi Weisstein recalled an incident when, while a doctoral student in Harvard's graduate psychology program, gurus Timothy Leary and Richard Alpert handed out magic mushrooms. Many students became delusional; Weisstein had a paranoid nightmare and hallucinated for a month. "We knew you would," Leary commented. "You're an uptight Jewish female who can't let herself go." Weisstein called them "sleazeballs."
 * Joyce Antler Jewish Radical Feminism: Voices from the Women’s Liberation Movement (2020)

 * Leary can get a part of my mind that's kind of rusted shut grinding again, just by being around him and talking, 'cause that's where he works. He knows that area of the mind and the brain, and he knows the difference between the two areas. He's a real master at getting your old wheel squeaking again. … When we first broke into that forbidden box in the other dimension, we knew that we had discovered something as surprising and powerful as the New World when Columbus came stumbling onto it. It is still largely unexplored and uncharted. People like Leary have done the best they can to chart it sort of underground, but the government and the powers do not want this world charted, because it threatens established powers. It always has.
 * Ken Kesey, as quoted in "Comes Spake the Cuckoo" the Far Gone interview (13 September 1992) by Todd Brendan Fahey

 * Leary was different things to different people. He was reviled. He was revered. He was a prophet. He was a phony. He was a brilliant, innovative thinker. He was a fool. He captured the irreverent, rebellious spirit of the sixties. He was a fame-seeking, manipulative con artist. Who was he? Perhaps The Trickster said it best when he quipped, “You get the Timothy Leary you deserve.”
 * Don Lattin, The Harvard Psychedelic Club (2010), p. 204

 * The most dangerous man alive.
 * Richard M. Nixon, as quoted in The War on Drugs : An International Encyclopedia (1999) by Ron Chepesiuk, p. 118

 * He really understood my generation. He called us "free agents in the Age of Information." What I learned from Tim didn't have anything to do with drugs, but it had everything to do with getting high. His die-hard fascination with the human brain was not all about altering it, but about using it to its fullest. And he showed us that that process-that journey-was our most important one. However we did it, as long as we did it. "You are the owner and operator of your brain," he reminded us. Tim was a huge influence on me-not just with his revolutionary ideas about human potential, but as someone who read me stories, encouraged me, took me to baseball games-you know, godfather stuff. He was the first person outside my family-who you never tend to believe while growing up-to make me believe I could do anything. He had an incredible way of making you feel special and completely supported. F. Scott Fitzgerald wrote a letter to his daughter in which he said that he hoped his life had achieved some sort of "epic grandeur." Tim's life wasn't "some sort of" epic grandeur. It was flat-out epic grandeur. It's easy sometimes to get lost in all the drug stuff that Tim's famous for all the "Turn on, tune in, drop out" stuff, especially in a society that loves a sound bite. But it wasn't Tim's only legacy. It was his vitality, enthusiasm, curiosity, humor, and humanity that made Tim great and those are the real ingredients of a mad scientist.
 * Winona Ryder (his goddaughter) speaking 6/9/1996, anthologized in Farewell, Godspeed: The Greatest Eulogies of Our Time edited by Cyrus M. Copeland (2023)

 * Timothy Leary's dead. No, no no no, he's outside, looking in.
 * Ray Thomas in "Legend of a Mind" on In Search of the Lost Chord (1968) by The Moody Blues

 * We are all wired into a survival trip now. No more of the speed that fueled the Sixties. Uppers are going out of style. This was the fatal flaw in Tim Leary's trip. He crashed around America selling "consciousness expansion" without ever giving a thought to the grim meat-hook realities that were lying in wait for all the people who took him too seriously. After West Point and the Priesthood, LSD must have seemed entirely logical to him … but there is not much satisfaction in knowing that he blew it very badly for himself, because he took too many others down with him. Not that they didn't deserve it: No doubt they all Got What Was Coming To Them. All those pathetically eager acid freaks who thought they could buy Peace and Understanding for three bucks a hit. But their loss and failure is ours, too. What Leary took down with him was the central illusion of a whole lifestyle that he helped to create … a generation of permanent cripples, failed seekers, who never understood the essential old-mystic fallacy of the Acid Culture: the desperate assumption that somebody—or at least some force—is tending that Light at the end of the tunnel.
 * Hunter S. Thompson, in Fear and Loathing in Las Vegas

 * There was an optimism that was ungrounded. Vietnam was happening, all this real stuff was going on, and the psychedelic movement wasn't really addressing that in a real way. Timothy and that bunch sold us a false bill of goods that didn't really work.
 * Douglas Rushkoff, quoted in DMT: The Spirit Molecule

 * Timothy Leary really so discredited a scientific approach to studying this, because he may have started off doing interesting research, and then got into advocating use in a way that was incredibly threatening. Culturally, we reacted, and politically, it became impossible to do this sort of research. Funding agencies didn't make resources available. Regulatory agencies increased the practical hurdles for initiating this kind of research. And I think people who had interest in research of this type largely were discredited because of their interest in the research. Social, political and scientific issues that came together pushed these drugs out of the scientific marketplace.
 * Roland Griffiths, quoted in DMT: The Spirit Molecule

title: Timothy Leary


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X-Men (film)

X-Men is a 2000 Marvel Comics action film about two mutants who come to a private academy for mutants whose resident superhero team must oppose a powerful mutant terrorist organization.
 * Directed by Bryan Singer. Screenplay by David Hayter. Written by Tom DeSanto and Bryan Singer.

Join the Evolution. taglines

Professor Charles Francis Xavier

 * Mutation: it is the key to our evolution. It has enabled us to evolve from a single-celled organism into the dominant species on the planet. This process is slow, and normally taking thousands and thousands of years. But every few hundred millennia, evolution leaps forward.

Erik Lehnsherr/Magneto

 * [to Senator Robert Kelly] Are you a God-fearing man, Senator? It's such a strange phrase. I've always thought of God as a teacher. As a bringer of light, wisdom and understanding. You see, l think what you really are afraid of is me. Me and my kind. The brotherhood of mutants. It's not so surprising, really. Mankind has always feared what it doesn't understand. Well, don't fear God, Senator, and certainly don't fear me. Not any more.

Dialogue

 * [Senator Robert Kelly addresses Congress]
 * Senator Robert Kelly: I have here a list of names of identified mutants living right here in the United States.
 * Jean Grey: Senator–
 * Kelly: Here's a girl in Illinois who can walk through walls. Now what's to stop her from walking into a bank vault, or the White House, or [gestures toward the gallery] into their houses?
 * Grey: Senator, please–
 * Kelly: And there are even rumors, Miss Grey, of mutants so powerful that they can enter our minds and control our thoughts, taking away our God-given free will. Now I think the American people deserve the right to decide if they want their children to be in school with mutants. To be taught by mutants! Ladies and gentlemen, the truth is that mutants are very real, and that they are among us. We must know who they are, and above all, what they can do!

 * [before Stu begins a cage-fight with Wolverine]
 * Emcee: Whatever you do, don't hit him in the balls.
 * Stu: You said "anything goes".
 * Emcee: Anything goes, but... he'll take it personally.

 * [Professor Xavier, Jean, Cyclops, and Storm go over Wolverine's x-ray]
 * Jean Grey: The metal is an alloy called adamantium. Supposedly indestructible. It's surgically grafted onto his entire skeleton.
 * Storm: How could he have survived a procedure like that?
 * Grey: His mutation. He has uncharted regenerative capability, which enable him to heal rapidly. It also makes his age impossible to determine. He could very well be older than you, Professor.
 * Cyclops: Who did this to him?
 * Grey: He doesn't know nor can he remember anything about his life before it happened.
 * Professor Xavier: Experimentation on mutants. It's not unheard of, but I have never seen anything like this before.

 * [Cyclops is not comfortable with Wolverine around Jean Grey]
 * Wolverine: You gonna tell me to stay away from your girl?
 * Cyclops: If I had to do that, she wouldn't be my girl.
 * Wolverine: Well then, I guess you've got nothing to worry about, do you, Cyclops?
 * Cyclops: It must burn you up that a boy like me saved your life, huh? Better be careful. I might not be there next time. Oh, and Logan – [grins] stay away from my girl.

 * Magneto: You homo sapiens and your guns.
 * Sabretooth: [Grabs Magneto's throat] That's enough Erik.
 * Toad: Let them go.
 * Magneto: Why not come out where I can see you, Charles?
 * Xavier: [speaking through Sabretooth] What do you want her for?
 * Magneto: Can't you read my mind? [tapping his helmet] And what now, save the girl? You'll have to kill me Charles, and what would that accomplish?  Let them pass that law and they'll have you in chains with a number burned into your forehead!
 * Xavier: It won't be that way.
 * Magneto: Then kill me and find out. No? Then release me.
 * [Sabertooth doesn't move, Toad starts walking off with Rogue]
 * Magneto: Fine. [magnetically fires a bullet and stops it just before it goes through a cop's head] Care to press your luck, Charles? I don't think I can stop them all. [Xavier reluctantly releases his control over Toad and Sabretooth] Still unwilling to make sacrifices. That's what makes you weak. Goodbye, Charles.

 * Storm: Logan, you can't do this alone!
 * Wolverine: Who's gonna help me, you? So far, you've all done a bang-up job.
 * Storm: Then join us. Fight with us!
 * Wolverine: Fight with you? Join the team? Be an 'X-Man'? Who the hell do you think you are? You're a mutant. The whole world out there is full of people that hate and fear you, and you're wasting your time trying to protect them? I got better things to do. [starts to leave, then turns back] You know, Magneto's right: there's a war coming. Are you sure you're on the right side?
 * Storm: At least I've chosen a side.

 * [Commenting on the X-Men uniforms.]
 * Wolverine: You actually go outside in these things?
 * Cyclops: Well, what would you prefer? Yellow spandex?

 * [At the base of the Statue of Liberty]
 * Magneto: Magnificent, isn't she?
 * Rogue: I've seen it.
 * Magneto: I first saw her in 1949. America was going to be the land of tolerance. Of peace.
 * Rogue: Are you gonna kill me?
 * Magneto: [pause] Yes.
 * Rogue: Why?
 * Magneto: Because there is no land of tolerance. There is no peace. Not here, nor anywhere else. Women, children, whole families destroyed simply because they were born different from those in power. Well, after tonight, the world's powerful will be just like us. They will return home as brothers. As mutants. Our cause will be theirs. Your sacrifice will mean our survival. I'll understand if that comes as small consolation.

 * [Storm arrives and walks to Logan.]
 * Storm: Logan, is that you?
 * Wolverine: Shhh. [Storm stumbles further to Logan, who sniffs the air] The other one ain't far away.
 * Storm: [walks up behind him] Come on. We have to regroup.
 * Wolverine: I know but there's a problem. [turns and stabs Storm with his claws] You're not part of the group! [Storm attempts to attack Wolverine, later reveals herself to be Mystique in disguise and collapses to the ground before shifting back to her original form.]

 * Wolverine: [To the startled Storm and Cyclops after battle with Mystique] Hey, hey, hey, it's me.
 * Cyclops: [Holding onto his visor] Prove it.
 * Wolverine: You're a dick.
 * Cyclops: [Releases his visor, amused] Okay.

 * [Xavier and Magneto play a game of chess at Magneto's cell]
 * Magneto: Doesn't it ever wake you in the middle of the night? The feeling that someday they will pass that foolish law, or one just like it, and come for you and your children?
 * Professor Xavier: It does, indeed.
 * Magneto: What do you do when you wake up to that?
 * Professor Xavier: I feel a great swell of pity for the poor soul who comes to that school looking for trouble.
 * Magneto: [halts the game, sighs] Why do you come here, Charles?
 * Professor Xavier: Why do you ask questions to which you already know the answer? [motions the guard to take Xavier away.]
 * Magneto: Ah yes, your continuing search for hope. [pause] You know this plastic prison of theirs won't hold me forever. The war is still coming, Charles, and I intend to fight it, by any means necessary.
 * Professor Xavier: And I will always be there, old friend.
 * [Erik concedes the game, knocking over his king]

About X-Men (film)

 * There seems to be this embarrassment with superheroes in the culture. If you see the new X-Men movie, they all have to wear black leather because it makes them look cool and tough, because people are afraid to make the characters look like the characters.
 * Craig McCracken "The Powerpuff Girls" Keith Phipps, AV Club, (6/21/00).
 * "X-Men" is at least not a manic editing frenzy for atrophied attention spans. It's restrained and introspective for a superhero epic, and fans of the comic books may like that. Graphic novels (as they sometimes deserve to be called) take themselves as seriously as the ones without pictures, and you can tell that here when the opening scene shows Jews being forced into death camps in Poland in 1944. One could argue that the Holocaust is not appropriate subject matter for an action movie based on a comic book, but having talked to some "X-Men" fans I believe that in their minds the medium is as deep and portentous as, say, "Sophie's Choice." The Holocaust scene introduces Magneto (Ian McKellen) as a child; his mental powers twist iron gates out of shape. The narrator informs us that "evolution takes thousands and thousands of years," which is putting it mildly, and that we live in an age of great evolutionary leaps forward. Some of the X-Men develop paranormal powers which cannot be accounted for by the strictly physical mutations which form the basis of Darwinian theory; I get restless when real science is evoked in the name of pseudoscience, but, hey, that's just me. Magneto's opponent in "X-Men" is Xavier (Patrick Stewart), another mutant of the same generation. They aren't enemies so much as ideological opposites. Magneto, having seen the Holocaust, has a deep pessimism about human nature. Xavier, who runs a school for mutants in Westchester County, where it doubtless seems no stranger than the other private schools, hopes these new powers can be used for good. Bruce Davison plays the McCarthy-like senator who waves a list of "known mutants" during a congressional hearing and wants them all registered—no doubt for dire purposes. Magneto wants to counter by using a device which can convert world leaders to mutants. (The world leaders are conveniently meeting on an island near Ellis Island, so the Statue of Liberty can be a prop.) How a machine could create a desired mutation within a generation is not much explored by the movie, which also eludes the question of why you would want to invest your enemies with your powers. No matter; Xavier, who can read minds, leads his good mutants in a battle to foil Magneto, and that's the plot, or most of it.
 * I started out liking this movie, while waiting for something really interesting to happen. When nothing did, I still didn't dislike it; I assume the X-Men will further develop their personalities if there is a sequel, and maybe find time to get involved in a story. No doubt fans of the comics will understand subtle allusions and fine points of behavior; they should linger in the lobby after each screening to answer questions.
 * Roger Ebert, “X-Men”, Rogerebert.com, (July 14, 2000).

 * Q: How did you decide Wolverine would be the star of the piece even more so than Xavier or Magneto?
 * A: He is the fulcrum of X-Men. The earlier X-Men group was a brilliant creation of Stan Lee's, but when Len Wein created Wolverine and they brought him into the X-Men, it was the perfect fulcrum between Professor X's philosophy and Magneto's philosophy. The fact that the wasn't bound by either gave him such a wild, attractive freedom that it was obvious that was the character that the series needed to revolve around. It was originally supposed to be Mel Gibson. Back when I got hired all of our concept art was Mel Gibson.

 * Q: Some fans complained Storm wasn't given her due in the first X-Men movie, and then became better over time. Did you pay attention to those concerns and how did that happen that she was given more to do in X2?
 * A: That was a conversation with the studio, because Halle won her Oscar [for 2001's Monster's Ball] between the first and second movies. I'm a huge fan of Storm and I'm a huge fan of Halle Berry as that character. But in that first movie, it's not Storm's movie. It's a double love triangle between Wolverine, Jean and Cyclops. And Wolverine, Rogue and Bobby. Those are the operative relationships and unfortunately because we had 11 main characters, there's only so much screenplay real estate you can dedicate to each. I think Storm did get short shrift in the first film, but because of her Oscar and because she's awesome, we all --- the studio, Bryan, myself and Marvel --- said she has to play a stronger role and because she is a really interesting character philosophically and her powers are great --- and she's Halle Berry.
 * David Hayter, "'X-Men' Screenwriter on Michael Jackson Lobbying for Prof. X and Hugh Jackman Casting Drama" Aaron Couch, The Hollywood Reporter, (March 02, 2017).

 * I was sold it by Bryan who said, ‘Mutants are like gays. They’re cast out by society for no good reason, and, as in all civil rights movements, they have to decide: Are they going to take the Xavier line — which is to somehow assimilate and stand up for yourself and be proud of what you are, but get on with everybody — or are you going to take the alternative view — which is, if necessary, use violence to stand up for your own rights. And that’s true. I’ve come across that division within the gay rights movement.
 * Ian McKellen, "Ian McKellen Took ‘X-Men’ Role Because Of Gay Rights Parallel", Cavan Sieczkowski, Huffington Post, (02/27/2014).
 * I of course studied the comic books. In fact I think it was some of the most relaxing research I've ever had to do on a movie. Usually the kind of projects that I've been involved in I end up with heavy novels and background research. But in this case the studio just sent over a box of comic books.
 * I wanted to get some of the history of the character of course, particularly with his relationship with Magneto, but also to feel how Stan Lee had got inside the mind of Xavier from the very beginning. That was valuable. But it's true, like Bryan, when we had the final draft of the shooting script that's what we worked on.
 * Patrick Stewart, "Interview With Patrick Stewart (Part 1 of 2)", by Dan Stewart, IGN, (25 Jul, 2000).

 * DS: Did you find it limiting as an actor to be stuck in that chair [as Professor Xavier]?
 * PS: Yes I did. It's a little bit like the play I'm doing at the moment where I spend half of the play immobilized in a hospital bed. Certainly for an actor like me who is accustomed to using his whole body in developing a role and creating a scene and expressing feelings. And it was restricting. In fact for a couple of days Bryan had been saying to me "Less, less. Do less. You're loud. You're speaking too loudly. Quieter, quieter.

 * PS: Bryan set out to make a serious movie. That was his intention from the very beginning. Which also happens to be very exciting and very colorful, funny and so forth. It wasn't only Xavier, but having Magneto also as an individual of substance, of great strength and power was important. And who better than Sir Ian to do that. It was a very sensible idea.
 * Patrick Stewart, "Interview With Patrick Stewart (Conclusion)", by Dan Stewart, IGN, (26 Jul, 2000).

Taglines

 * Join the Evolution.
 * Protecting Those Who Fear Them.
 * The time is coming when all that we are afraid of will be all that can save us.
 * Trust a few. Fear the rest.
 * We're Not What You Think.
 * The future is here.

Cast

 * Hugh Jackman – Logan/Wolverine
 * Patrick Stewart – Xavier
 * Ian McKellen – Magneto
 * Famke Janssen – Jean Grey
 * James Marsden – Cyclops
 * Halle Berry – Storm
 * Anna Paquin – Rogue
 * Tyler Mane – Sabretooth
 * Ray Park – Toad
 * Rebecca Romijn-Stamos – Mystique
 * Bruce Davison – Senator Kelly

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

title: X-Men (film)


text:
Glasses

glasses, also known as eyeglasses (formal) or spectacles, are frames bearing lenses worn in front of the eyes. They are normally used for vision correction. Safety glasses are a kind of eye protection against flying debris or against visible and near visible light or radiation. Sunglasses allow better vision in bright daylight, and may protect one's eyes against damage from high levels of ultraviolet light. Specialized glasses may be used for viewing specific visual information (such as stereoscopy). Sometimes glasses are worn simply for aesthetic or fashion purposes.

Quotes

 * The optimist looks at the world through rose-tinted spectacles.
 * English proverb

 * Rose-colored glasses are never made in bifocals. Nobody wants to read the small print in dreams.
 * Ann Landers

 * Men seldom make passes At girls who wear glasses.
 * Dorothy Parker Enough Rope (1926) First printed in New York World'', (16 August 1925)

 * When you're a kid that sees through plastic With a harness of elastic So the girls all think you're icky And the boys all think you're queer
 * John Sebastian, Four Eyes

title: Glasses


text:
User:John Abbe

Posted some of my http://ourpla.net/cgi/pikie?FavoriteQuotes to Truth and Change. More to come, of course.

title: User:John Abbe


text:
Lucy Green

Lucy Green (born 1957) is a musicologist.

Quotes

 * The emphasis of study upon a particular aspect of music is in itself ideological because it contains implications about the music's value.
 * from (1999). Ideology. Key Terms in Popular Music and Culture. Malden, Massachusetts. ISBN 0631212639.

title: Lucy Green


text:
Key Terms in Popular Music and Culture

Key Terms in Popular Music and Culture (1999) by Bruce Horner and Thom Swiss is a compilation of original essays by leading scholars in the field of popular music. It aims to map the competing perspectives on the key terms of contemporary debates on popular music and culture.

Quotes

 * "The emphasis of study upon a particular aspect of music is in itself ideological because it contains implications about the music's value."
 * Lucy Green. Ideology.

 * "We can no longer maintain any distinction between music and discourse about music, between the supposed object of analysis and the terms of analysis."
 * Bruce Horner. Discourse.

 * "Hip-hop backbeats have supported vocalists as far-flung as Bruce Springsteen and Sinead O'Connor, and digital samples have crossed over still more unexpected territory."
 * Russell A. Potter. Race.

 * "'Form' has always come into being in a dialogue between particular 'instances' and the larger body of work, or 'tradition.'"
 * Richard Middleton. Form.

 * "If words, images, and movements as elements of popular music's texts are linked in powerful ways to popular music's sounds in a manner that we yet do not fully understand, then...we may conclude that, although music can be textual, it is textual in some very distinctive ways."
 * John Shepherd. Text.

 * "Performance has remained the ideal locus of rock authenticity long after it has ceased to be the real origin of rock music."
 * David R. Shumway. Performance.

 * "Women are still a relative rarity in rock bands, and studies of women's experiences with pop and rock music have indicated that girls are socialized to pop and rock music differently from boys: boys and young men tend to learn songs by ear and talk about popular music's technical aspects, while girls and young women tend to focus on lyrics rather than on equipment and instrumentation, and to resist learning songs by ear. Miki Bernyi's experience testifies to the truthfulness of those findings:
 * 'Girls don't have the patience to spend six years learning someone else's music. Me and Emma [Anderson] can't jam because we only know how to play our own songs. Jamming's more of a boy's thing....I think that women play more imaginatively because they learn to play while they're writing songs, instead of waiting to be technically good first.' (Quoted in Evans, 1994, p. 44)
 * "These differences can make it difficult for female musicians to enter male-dominated musical cultures."
 * Holly Kruse. Gender.

 * "The term "chorus form" is often used to denote a type of performance - typically in jazz or rhythm 'n' blues, but also sometimes in country music and rock 'n' roll - where a given structural unit is repeated an indefinite number of times. The unit itself may be sectionally elaborate, as in the case of most Tin Pan Alley ballads. It may be twelve-bar blues, or something similar, as in the case of many R&B and rock 'n' roll numbers: here, a three-line AAB lyric, set to a three-phrase melody, is underpinned by a single gestural sweep in the harmony. Occasionally - as in some funk, dub reggae, and hip-hop, for example - it may approach the status of open-ended process."
 * Richard Middleton. Form.
 * See: Chorus form.

title: Key Terms in Popular Music and Culture


text:
Discourse

Discourse (Latin discursus, "running to and from") refers to communication that involves debate or argument. The term is today used mainly in semantics and discourse analysis. In semantics, discourses are linguistic units composed of several sentences; in other words, conversations, arguments, or speeches.

C

 * Discourse may want an animated "No" To brush the surface, and to make it flow; But still remember, if you mean to please, To press your point with modesty and ease.
 * William Cowper, Conversation, line 101 (1782).

F

 * A good discourse is that from which nothing can be retrenched without cutting into the quick.
 * St. Francis de Sales, Letter upon Eloquence

 * Those who violate the rules of a language do not enter new territory; they leave the domain of meaningful discourse. Even facts in these circumstances dissolve, because they are shaped by the language and subjected to its limitations.
 * Paul Karl Feyerabend, Conquest of Abundance, p. 20 (2001 [posthumous])

 * A discourse is "a language or system of representation that has developed socially in order to make and circulate a coherent set of meanings about an important topic area."
 * John Fiske (1987). Television Culture. New York: Methuen. ISBN 0415039347.

 * Les discours sont des éléments ou des blocs tactiques dans le champ des rapports de force; il peut y en avoir de différents et même de contradictoires à l'intérieur d'une même stratégie; ils peuvent au contraire circuler sans changer de forme entre des stratégies opposées.
 * Translation: Discourses are tactical elements or blocks operating in the field of force relations; there can exist different and even contradictory discourses within the same strategy; they can, on the contrary, circulate without changing their form from one strategy to another, opposing strategy.
 * Michel Foucault, Histoire de la sexualité (The History of Sexuality), Vol. I, pp. 101-102 (1976–1984)

H

 * Discourse, the sweeter banquet of the mind.
 * Homer, The Odyssey, Book 15, line 433. Pope's translation. Quotes reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 137.

 * We can no longer maintain any distinction between music and discourse about music, between the supposed object of analysis and the terms of analysis.
 * Bruce Horner (1999). Discourse. Key Terms in Popular Music and Culture. Malden, Massachusetts. ISBN 0631212639.

L

 * It is of the nature of idea to be communicated: written, spoken, done. The idea is like grass. It craves light, likes crowds, thrives on crossbreeding, grows better for being stepped on.
 * Ursula K. Le Guin, The Dispossessed (1974), Ch. 3

S

 * [H]ow can a democratic discourse exist in a corporate owned informational system? Who, for example, possesses freedom of speech in such a society?
 * Herbert Schiller, Living In The Number One Country, Chapter Five, Corporatizing Communication And Culture, p. 138 (2000)

 * Your fair discourse hath been as sugar, Making the hard way sweet and delectable.
 * William Shakespeare, Richard II, Act II, scene 3, line 6 (c. 1595).

title: Discourse


text:
Ideology

Ideology is a term referring to comprehensive sets or expressions of the ideas of individuals, groups or societies.

 * A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z · See also · External links

A

 * The moment the idea is admitted into society, that property is not as sacred as the law of God, and that there is not a force of law and public justice to protect it, anarchy and tyranny commence. If "," and "," are not commandments of Heaven, they must be made inviolable precepts in every society, before it can be civilized or made free.
 * John Adams, A Defence of the Constitutions of Government (1787), The Works of John Adams (1851), vol. 6, p. 9

 * For you and for me, the category of the subject is a primary ‘obviousness’ (obviousnesses are always primary): it is clear that you and I are subjects (free, ethical, etc.). Like all obviousnesses, including those that make a word ‘name a thing’ or ‘have a meaning’ (therefore including the obviousness of the ‘transparency’ of language), the ‘obviousness’ that you and I are subjects – and that that does not cause any problems – is an ideological effect, the elementary ideological effect. It is indeed a peculiarity of ideology that it imposes (without appearing to do so, since these are ‘obviousnesses’) obviousnesses as obviousnesses.
 * Louis Althusser, "Ideology and Ideological State Apparatuses," in  (1968), as translated by Ben Brewster (2001), p. 116

 * Those who are in ideology believe themselves by definition outside ideology: one of the effects of ideology is the practical denegation of the ideological character of ideology by ideology: ideology never says, ‘I am ideological’. It is necessary to be outside ideology, i.e. in scientific knowledge, to be able to say: I am in ideology (a quite exceptional case) or (the general case): I was in ideology. As is well known, the accusation of being in ideology only applies to others, never to oneself.
 * Louis Althusser, "Ideology and Ideological State Apparatuses," in  (1968), as translated by Ben Brewster (2001), p. 118

B

 * Perhaps I did not succumb to ideology … because I have never seen myself as a spokesman. I am a witness. In the church in which I was raised you were supposed to bear witness to the truth. Now, later on, you wonder what in the world the truth is, but you do know what a lie is.
 * James Baldwin, in interview with Julius Lester, "James Baldwin: Reflections of a Maverick" in The New York Times (27 May 1984)

 * At its core, the battle unfolding in the Middle East is more than a clash of arms. It is an ideological struggle. On one side are the forces of terror and death. On the other are tens of millions of ordinary people who want a free and peaceful life for their children. The future of the Middle East depends on the outcome of this struggle, and so does the security of the United States.
 * George W. Bush,

C

 * Capitalism is an exploitative system, as Marx has argued so cogently, and as anyone who studies the inequalities within and between the countries of the world today must see. It is therefore a priori likely that its ideology conceals realities that if known would make the exploited militant.
 * Andrew Collier in Transcendence: Critical Realism and God (2013), p. 85

E

 * The only value of ideology is to stop things becoming showbiz.
 * Brian Eno, A Year With Swollen Appendices (1995), p. 126, ISBN 0571179959

 * Ideology consist of a specific objective level, of a relatively coherent ensemble of representations, values and beliefs: just as 'men', the agents within a formation, participate in an economic and political activity, they also participate in religious, moral, aesthetic and philosophical activities. Ideology concerns the world in which men live, their relations to nature, to society, to other men and to their own activity including their own economic and political activity. The status of the ideological derives from the fact that it reflects the manner in which the agents of a formation, the bearers of its structures, live their conditions of existence; i.e. it reflects their relation to these conditions as it is 'lived' by them. Ideology is present to such an extent in all the agents' activities that it becomes indistinguishable from their lived experience. To this extent ideologies fix in a relatively coherent universe not only a real but also and imaginary relation: i.e. men's real relation to their conditions of existence in the form of an imaginary relation. This means that in the last analysis ideologies are related to human experience without being thereby reduced to a problematic of the subject—consciousness. This social-imaginary relation, which performs a real practical—social function, cannot be reduced to the problematic of alienation and false consciousness.
 * Terry Eagleton,

 * It follows that through its constitution ideology is involved in the functioning of this social-imaginary relation, and is therefore necessarily false; its social function is not to give agents a true knowledge of the social structure but simply to insert them as it were into their practical activities supporting this structure. Precisely because it is determined by its structure, at the level of experience the social whole remains opaque to the agents. In class-divided societies this opacity is over-determined by class exploitation and by the forms which this exploitation takes in order to be able to function in the social whole. Hence, even if it includes elements of knowledge, ideology necessarily manifests an adequation / inadequation vis-à-vis the real.
 * Terry Eagleton,

G

 * The emphasis of study upon a particular aspect of music is in itself ideological because it contains implications about the music's value.
 * Lucy Green (1999). Ideology. Key Terms in Popular Music and Culture. Malden, Massachusetts. ISBN 0631212639

H

 * The problem of ideology ... has especially to do with the concepts and the languages of practical thought which stabilize a particular form of power and domination; or which reconcile and accommodate the mass of the people to their subordinate place in the social formation.
 * Stuart Hall, The Problem of Ideology-Marxism without Guarantees, in Marx:100 Years On (London: 1983), p. 59

 * The whole notion of the free market, laissez-faire capitalism, globalization is a very thin rationale for unmitigated greed by a tiny oligarchic elite. And they have made sure that that ideology is taught in universities across the country. And people, especially economists, who deviate from that ideology have been pushed aside, and become pariahs. And yet the driving ethos of that ideology is really to justify the hoarding of immense amounts of wealth by a very tiny percentage of the upper ruling class.
 * Chris Hedges, interviewed by Paul Jay, “The Pathology of the Super-Rich” November 23, 2014 (12:07)

 * The average, vague understanding of being can be permeated by traditional theories and opinions about being in such a way that these theories, as the sources of the prevailing understanding, remain hidden.
 * Martin Heidegger, Being and Time, reprinted in Basic Writings, p. 46

 * Every human way of acting which hides the true nature of society ... is ideological.
 * Max Horkheimer, "Notes on Science and the Crisis," Critical Theory: Selected Essays (1995), p. 7

K

 * In the sense used by Marx and Engels, the concept of ideology was intended to mean forms of which prevent people from realising that their thinking about the world is determined by some conditions which do not depend on them and which are not themselves ingredients of consciousness. In ideological thinking, people imagine that the logic of thinking itself rules their consciousness and they are organically incapable of being aware of the social situations and of the interests which mould their mental work.
 * Leszek Kolakowski, Althusser’s Marx, , 1971, pp. 111-127

L

 * Ideologies involve a mistake about their origin: agents think that the ideology arose because of its responsiveness to epistemically relevant considerations (e.g., evidence, reasons, etc.), when, in fact, it arose only because it was responsive to the interests of the dominant economic class in the existing economic system.
 * Brian Leiter, “Morality Critics,” The Oxford Handbook of Continental Philosophy (2007), p. 737

 * Science may be in the interest of the ruling class, after all, but it is still responsive to epistemic norms, and so anyone with epistemic interests has reason to accept science. Ideologies, by contrast, have their genesis explained solely by their capacity to further the interests of the ruling class.
 * Brian Leiter, “Morality Critics,” The Oxford Handbook of Continental Philosophy (2007)

 * Only the dialectical conception of ... reality as a social process ... dissolves the fetishistic forms necessarily produced by the capitalist mode of production and enables us to see them as mere illusions which are not less illusory for being seen to be necessary.
 * György Lukács, History and Class Consciousness (1968) p. 13

M

 * Ideologies call on history as well, but in their hands the past becomes a prophecy. The faithful may have suffered, and may be suffering still, but history is moving toward a preordained end. Whether secular like Marxism or Fascism, or religious like the fundamentalisms of various faiths, the story they tell is at once breathtakingly simple and all-encompassing. Every event is fitted into the grand account and all is explained. The writer Arthur Koestler remembered the great relief and delight he felt when he discovered Marxism in the troubled years when the Weimar Republic was failing and the Nazis were reaching out for power. Past, present, and future all became comprehensible: “The new light seems to pour from all directions across the skull; the whole universe falls into pattern like the stray pieces of a jigsaw puzzle assembled at one stroke.”
 * Margaret MacMillan, The Uses and Abuses of History (2008), p. 64

 * Wars of ideology, whether religious or political, are often the cruellest of all because the kingdom of heaven or some form of earthly paradise justifies all that is done in its name, including removing human obstacles. Those who hold the wrong ideas or beliefs deserve to die much as diseases ought to be stamped out, or they are simply the necessary sacrifices on the way to achieving a dream which will benefit all of humanity. As Martin Luther, whose influence on Protestant thinking was enormous, once said, ‘The hand that wields the sword and kills with it is not man’s hand but God’s.’ Such attitudes fuelled the internecine religious wars of his own century and contributed to the Thirty Years War in the following, as, in the twentieth century, did wars for revolutionary socialism, which saw itself as doing history’s work rather than God’s. Today of course we have religious wars again and the targets are again without limit until the final goal is achieved. Sadly even wars which are meant to be about ending war itself take on that limitless character. If the purpose is to remove for ever the scourge of war, then whatever atrocities and cruelties are committed in its name will be justified because the sacrifice is surely worth it. In the lead-up to the Thirty Years War radical Calvinists, espousing an extreme form of Protestantism, came to believe that the Habsburg monarchy was the force of darkness which must be eradicated before the righteous could be saved. When the radicals in the French Revolution prepared to wage war on Europe it was for earthly salvation. As one revolutionary said in 1791, ‘It is because I want peace that I am asking for war.’ The enemy, as in religious wars, becomes the enemy of humanity itself and must be utterly destroyed not merely defeated.
 * Margaret MacMillan, War: How Conflict Shapes Us (2020)
 * Whereas the particular conception of ideology designates only a part of the opponent's assertions as ideologies — and this only with reference to their content, the total conception calls into question the opponent's total Weltanschauung (including his conceptual apparatus), and attempts to understand these concepts as an outgrowth of the collective life of which he partakes.
 * Karl Mannheim (1929) Ideology and Utopia

 * Today the ideology is in the process of production itself. ... The productive apparatus and the goods and services which it produces “sell” or impose the social system as a whole.
 * Herbert Marcuse, One Dimensional Man (1964), p. 11

 * The ideas of the ruling class are in every epoch the ruling ideas, i.e. the class which is the ruling material force of society, is at the same time its ruling intellectual force. The class which has the means of material production at its disposal, has control at the same time over the means of mental production.
 * Karl Marx, The German Ideology (1846), p. 64

 * The demand for explicit ideological justifications has been greatly enlarged, if only because new institutions of enormous power have arisen but have not been legitimated, and because older powers have outrun their old sanctions.
 * C. Wright Mills, The Sociological Imagination (1959), p. 81

 * Every interest and power, every passion and bias, every hatred and hope tends to acquire an ideological apparatus with which to compete with the slogans and symbols, the doctrines and appeals of other interests.
 * C. Wright Mills, The Sociological Imagination (1959), p. 81

 * As public communications are expanded and speeded up, their effectiveness is worn out by repetition; so there is a continuous demand for new slogans and beliefs and ideologies.
 * C. Wright Mills, The Sociological Imagination (1959), p. 81

 * Triteness of content has not necessarily hurt ideologies in the past. There are very few original or profound ideologies on the political scene.
 * Brian Reynolds Myers, interview with Chad O'Carroll (2014)

P

 * The rulers wanted to fool people, since they saw that people have a kinship with what is truly good. They took the names of the good and assigned them to what is not good, to fool people with names and link the names to what is not good. So, as if they were doing people a favor, they took names from what is not good and transferred them to the good, in their own way of thinking. For they wished to take free people and enslave them forever.
 * The Gospel of Philip, as translated by M. Meyer, in The Nag Hammadi Scriptures (2007), p. 163

 * Ideologues are the intellectual equivalent of fundamentalists, unyielding and rigid. Their self-righteousness and moral claim to social engineering is every bit as deep and dangerous. It might even be worse: ideologues lay claim to rationality itself. So, they try to justify their claims as logical and thoughtful. At least the fundamentalists admit devotion to something they just believe arbitrarily. They are a lot more honest. Furthermore, fundamentalists are bound by a relationship with the transcendent. What this means is that God, the center of their moral universe, remains outside and above complete understanding, according to the fundamentalist’s own creed. Right-wing Jews, Islamic hard-liners, and ultra-conservative Christians must admit, if pushed, that God is essentially mysterious. This concession provides at least some boundary for their claims, as individuals, to righteousness and power (as the genuine fundamentalist at least remains subordinate to Something he cannot claim to totally understand, let alone master). For the ideologue, however, nothing remains outside understanding or mastery.
 * Jordan Peterson, Beyond Order (2021), p. 173

 * Like God, however, ideology is dead. The bloody excesses of the twentieth century killed it.
 * Jordan Peterson, Beyond Order (2021), p. 177

R

 * Common rhetoric says that ideologies are dead, especially after the fall of the Berlin Wall in 1989. They are not. Ideologies are still there: they operate, for good or for bad, they govern, they propose different [models] of societies. Like democracy, ideologies must be judged on moral standards: it will thus become immediately clear that ideologies are not all the same.
 * Marco Respinti, "Unsung Heroes, Unsung Victims: Tai Ji Men, Justice, and the Elections in Taiwan", Bitter Winter (January 13, 2024)

 * People do things, and then they imagine what they are doing in a kind of cloudy realm. Thus we say first there is a social reality in which people fight to earn their living, and so on, and this is real reality, as praxis. This reality is then represented in the heaven of ideas, but it is falsely represented as having a meaning autonomous to this realm, as making sense on the basis of things which can be thought and not done or lived.
 * Paul Ricœur, Lectures on Ideology and Utopia (1975)

S

 * Ideologies also tempt those who reject them. Ideology, when stripped by time or partisanship of its political and economic connections, becomes a moralizing form of explanation for mass killing, one that comfortably separates the people who explain from the people who kill. It is convenient to see the perpetrator just as someone who holds the wrong idea and is therefore different for that reason. It is reassuring to ignore the importance of economics and the complications of politics, factors that might in fact be common to historical perpetrators and those who later contemplate their actions. It is far more inviting, at least today in the West, to identify with the victims than to understand the historical setting that they shared with perpetrators and bystanders in the bloodlands. The identification with the victim affirms a radical separation from the perpetrator. The Treblinka guard who starts the engine or the NKVD officer who pulls the trigger is not me, he is the person who kills someone like myself. Yet it is unclear whether this identification with victims brings much knowledge, or whether this kind of alienation from the murderer is an ethical stance. It is not at all obvious that reducing history to morality plays makes anyone moral. Unfortunately, claiming victim status does not itself bring sound ethical choices. Stalin and Hitler both claimed throughout their political careers to be victims. They persuaded millions of other people that they, too, were victims: of an international capitalist or Jewish conspiracy. During the German invasion of Poland, a German soldier believed that the death grimace of a Pole proved that Poles irrationally hated Germans. During the famine, a Ukrainian communist found himself beleaguered by the corpses of the starved at his doorstep. They both portrayed themselves as victims. No major war or act of mass killing in the twentieth century began without the aggressors or perpetrators first claiming innocence and victimhood. In the twenty-first century, we see a second wave of aggressive wars with victim claims, in which leaders not only present their peoples as victims but make explicit reference to the mass murders of the twentieth century. The human capacity for subjective victimhood is apparently limitless, and people who believe that they are victims can be motivated to perform acts of great violence. The Austrian policeman shooting babies at Mahileu imagined what the Soviets would do to his children.
 * Timothy D. Snyder, Bloodlands: Europe Between Hitler and Stalin (2010)
 * Elites in civil society invariably acquire a flawed ideology to explain their possession of an unjust amount of the goods of society. The purpose of the flawed ideology is to provide an apparently factual (in the best case, apparently scientific) justification for the otherwise manifestly unjust distribution of society’s goods. ... As a mechanism of social control, the elite seek to instill the ideology in the negatively privileged groups. By this route, the negatively privileged groups acquire the beliefs that justify the very structural features of their society that cause their oppression.
 * Jason Stanley, How Propaganda Works (Princeton University Press: 2015), p. 269

W

 * Those who say that all historical accounts are ideological constructs (which is one version of the idea that there is really no historical truth) rely on some story which must itself claim historical truth. They show that supposedly "objective" historians have tendentiously told their stories from some particular perspective; they describe, for example, the biasses that have gone into constructing various histories of the United States. Such an account, as a particular piece of history, may very well be true, but truth is a virtue that is embarrassingly unhelpful to a critic who wants not just to unmask past historians of America but to tell us that at the end of the line there is no historical truth. It is remarkable how complacent some "deconstructive" histories are about the status of the history that they deploy themselves.
 * Bernard Williams, Truth and Truthfulness (2002)

title: Ideology


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Category:Critics

fa:رده:ناقدان

title: Category:Critics


text: Category:Inventors

title: Category:Inventors


text: Category:Lexicographers

title: Category:Lexicographers


text:
Category:Lyricists

de:Kategorie:Lyriker

title: Category:Lyricists


text:
Category:Musicians

 * See also: Music.

title: Category:Musicians


text:
Christopher Morley

Christopher Morley (5 May 1890 - 28 March 1957) was an American journalist, novelist, poet, and playwright.

Quotes

 * "Lord!" he said, "when you sell a man a book you don't sell him just twelve ounces of paper and ink and glue — you sell him a whole new life. Love and friendship and humour and ships at sea by night — there's all heaven and earth in a book, a real book I mean. Jiminy! If I were the baker or the butcher or the broom huckster, people would run to the gate when I came by — just waiting for my stuff. And here I go loaded with everlasting salvation — yes, ma'am, salvation for their little, stunted minds — and it's hard to make 'em see it. That's what makes it worth while — I'm doing something that nobody else from Nazareth, Maine, to Walla Walla, Washington, has ever thought of. It's a new field, but by the bones of Whitman, it's worth while. That's what this country needs — more books!"
 * Parnassus on Wheels (1917)

 * It's a good thing to turn your mind upside down now and then, like an hour-glass, to let the particles run the other way.
 * The Haunted Bookshop (1919)

 * Printer's ink has been running a race against gunpowder these many, many years. Ink is handicapped, in a way, because you can blow up a man with gunpowder in half a second, while it may take twenty years to blow him up with a book. But the gunpowder destroys itself along with its victim, while a book can keep on exploding for centuries.
 * The Haunted Bookshop (1919)

 * The most interesting persons are always those who have nothing special to do: children, nurses, policemen and actors at 11 o'clock in the morning.
 * Travels in Philadelphia (1920)

 * Philadelphia was the first city to foresee the advantages of a Federal constitution and oatmeal as a breakfast food.
 * Travels in Philadelphia (1920)

 * We visit bookshops not so often to buy any one special book, but rather to rediscover, in the happier and more expressive words of others, our own encumbered soul.
 * On Visiting Bookshops, Pipefuls (1921)

Is that the Universe Was Dictated But not Signed.'''
 * '''My theology, briefly,
 * "Safe and Sane" in Hide and Seek (1920), p. 92

 * Happiness is surely the best teacher of good manners: only the unhappy are churlish in deportment.
 * Where the Blue Begins (1922)

 * There is only one success … to be able to spend your life in your own way.
 * Where the Blue Begins (1922)

 * Why do they put the Gideon Bibles only in the bedrooms, where it's usually too late, and not in the barroom downstairs?
 * "Contribution to a Contribution" as quoted in The Twin Bedside Anthology (1946) by Charles Lee, p. 183

 * April prepares her green traffic light and the world thinks Go.
 * John Mistletoe (1931)

title: Christopher Morley


text:
Monty Python's The Meaning of Life

Monty Python's The Meaning of Life (aka The Meaning of Life), is a 1983 movie by Monty Python

Part I: The Miracle of Birth

 * Obstetrician 1: Get the EEG, the BP monitor, and the AVV.
 * Obstetrician 2: And get the machine that goes "Ping!".
 * Obstetrician 1: And get the most expensive machine - in case the Administrator comes.

 * Patient: What do I do?
 * Obstetrician: Nothing, dear, you're not qualified.

 * Hospital Administrator: Ah, I see you have the machine that goes 'ping!'. This is my favourite. You see, we lease this back from the company we sold it to - that way it comes under the monthly current budget and not the capital account. [the doctors and onlookers applaud] Thank you, thank you. We try to do our best. Well, do carry on.

 * [As the doctors drop the baby into an incubator, the mother looks up]
 * Patient: Is it a boy or a girl?
 * Obstetrician: Now, I think it's a little early to start imposing roles on it, don't you? Now, a word of advice. You may find that you suffer for some time a totally irrational feeling of depression. PND is what we doctors call it. So it's lots of happy pills for you, and you can find out all about the birth when you get home. It's available on Betamax, VHS, and Super 8.

 * Dad: The mill's closed. There's no more work. We're destitute. I've got no option but to sell you all for scientific experiments. [the children protest and cry] That's the way it is my loves. Blame the Catholic Church for not letting me wear one of those little rubber things. Oh, they've done some wonderful things in their time. They preserved the might and majesty, even the mystery, of the Church of Rome, the sanctity of the sacrament, and the indivisible oneness of the Trinity. But if they'd let me wear one of those little rubber things on the end of my cock, we wouldn't be in the mess we are now.

 * Dad: [singing]
 * Every sperm is sacred, every sperm is great. If a sperm is wasted, God gets quite irate.

 * Mum: [singing]
 * Hindu, Taoist, Mormon spill theirs just anywhere, But God loves those who treat their semen with more care.

 * Mr Blackitt: When Martin Luther nailed his protest up to the church door in 1517, he may not have realised the full significance of what he was doing, but four hundred years later, thanks to him, my dear, I can wear whatever I want on my John Thomas. And Protestantism doesn't stop at the simple condom. Oh, no! I can wear French Ticklers if I want.
 * Mrs Blackitt: You what?
 * Mr Blackitt: French Ticklers, Black Mambos, Crocodile Ribs...Sheaths that are designed not only to protect but also to enhance the stimulation of sexual congress.
 * Mrs Blackitt: Have you got one?
 * Mr Blackitt: Have I got one? Well, no. But I can go down the road any time I want and walk into Harry's and hold my head up high, and say in a loud steady voice: 'Harry I want you to sell me a condom. In fact, today I think I'll have a French Tickler, for I am a Protestant.'
 * Mrs Blackitt: Well, why don't you?
 * Mr Blackitt: But they! They cannot. Because their Church never made the great leap out of the Middle Ages, and the domination of alien episcopal supremacy.

 * Narrator: But despite the efforts of Protestants to promote the idea of sex for pleasure, children continue to multiply everywhere.

Part II: Growth and Learning

 * Headmaster: [supposedly reading from The Bible] And spotteth twice they the camels before the third hour. And so the Midianites went forth to Ram Gilead in Kadesh Bilgemath by Shor Ethra Regalion, to the house of Gash-Bil-Betheul-Bazda, he who brought the butter dish to Balshazar and the tent peg to the house of Rashomon, and there slew they the goats, yea, and placed they the bits in little pots. Here endeth the lesson.

 * Chaplain and students: O Lord! Ooh, you are so big! So absolutely huge. Gosh, we're all really impressed down here, I can tell you.

 * Chaplain and students: [singing a hymn]
 * O Lord, please don't burn us. Don't grill or toast your flock. Don't put us on the barbecue Or simmer us in stock. Don't braise or bake or boil us, Or stir-fry us in a wok.

Part III: Fighting Each Other

 * General: Well, of course, warfare isn't all fun. Right, stop that! It's all very well to laugh at the military, but when one considers the meaning of life, it is a struggle between alternative viewpoints of life itself. And without the ability to defend one's own viewpoint against other perhaps more aggressive ideologies, then reasonableness and moderation could, quite simply, disappear. That is why we'll always need an army, and may God strike me down were it to be otherwise.
 * [A lightning bolt destroys the general. Cut to outside, where the Hand of God rises into the clouds. Outside, a Sergeant Major stands before his troops]
 * Sergeant Major: DON'T STAND THERE GAWPIN'! LIKE YOU'VE NEVER SEEN THE HAND O' GOD BEFORE!

 * [The Sergeant Major has dismissed all his troops to go home, read books, learn the piano, etc.]
 * Sergeant Major: Bloody Army, I dunno what it's coming to! Right, then! Sergeant Major, marching up and down the square: go! Left, right, left right...
 * Narrator: Democracy and humanitarianism have always been trademarks of the British Army.
 * Sergeant Major: RUBBISH!
 * Narrator: Shh!

 * Ainsworth: During the night old Perkins had his leg bitten sort of... off.
 * Dr. Livingstone: Eh? Been in the wars, have we? Well, let's take a look at this one leg of yours. Yes... Yes, well, this is nothing to worry about.
 * Perkins: Oh, good.
 * Dr. Livingstone: There's a lot of it about - probably a virus. Keep warm, plenty of rest, and if you're playing any football try and favour the other leg.
 * Perkins: So it'll just grow back again, will it?
 * Dr. Livingstone: Er...I think I'd better come clean with you about this. It's not a virus, I'm afraid. You see, a virus is what we doctors call 'very, very small'. So small, it could not possibly have made off with the whole leg. What we're looking for here for is, I think - and this is no more than an educated guess, I'd like to make that clear - is some multicellular life form with stripes, huge razor-sharp teeth, about eleven feet long, and of the genus felis horribilis - what we doctors, in fact, call a tiger.
 * Pakenham-Walsh/Ainsworth/Perkins: A tiger?!
 * Soldiers and Warriors: [outside the tent] A tiger?!
 * [The African warriors flee in terror]
 * Pakenham-Walsh: A tiger in Africa?
 * Ainsworth: Erm, well, it's probably escaped from the zoo.

 * Soldier: Here is better than home, eh, sir? I mean, at home if you kill someone they arrest you, here, they'll give you a gun and show you what to do, sir. I mean, I killed fifteen of those buggers. Now, at home they'd hang me. Here, they'll give me a fucking medal, sir!

The Middle of the Film

 * Man with Bendy Arms: I wonder where that fish has gone!
 * Transvestite: You did love it so. You looked after it like a son.
 * Man with Bendy Arms: And it went wherever I did go.
 * Transvestite: Is it in the cupboard?
 * Moviegoers: Yes! / No!
 * Transvestite: Wouldn't you like to know? It was a lovely little fish.
 * Man with Bendy Arms: And it went wherever I did go.
 * Moviegoer: It's behind the sofa!
 * Transvestite: Where can that fish be?
 * Moviegoer: Have you thought of the drawers in the bureau?
 * Transvestite: It is a most elusive fish.
 * Man with Bendy Arms: And it went wherever I did go.
 * Transvestite: Oh, fishy fishy fishy fish!
 * Man with Bendy Arms: I wish a fish, a fish, a fishy — oh!
 * Transvestite: Oh, fishy fishy fishy fish!
 * Man with Bendy Arms: That went wherever I did go.
 * Moviegoers: Look up his trunk! / It's in his trousers!

Part IV: Middle Age

 * Joeline: It's real Hawaiian food served in an authentic medieval English dungeon atmosphere.

 * Mrs. Hendy: Oh! I never knew that Schopenhauer was a philosopher!
 * Mr. Hendy: Oh, yeah! He's the one that begins with an s, like Nietzsche.
 * Mrs. Hendy: Does Nietzsche begin with an S?
 * Mr. Hendy: There's an s in Nietzsche.
 * Mrs. Hendy: Oh, wow! Yes there is. Do all philosophers have an s in them?
 * Mr. Hendy: Yeah, I think most of them do.
 * Mrs. Hendy: Oh. Does that mean Salena Jones is a philosopher?
 * Mr. Hendy: Right, she could be. She sings about the meaning of life.
 * Mrs. Hendy: Yeah, that's right, but I don't think she writes her own material.
 * Mr. Hendy: No. Maybe Schopenhauer writes her material?
 * Mrs. Hendy: No. Burt Bacharach writes it.
 * Mr. Hendy: There's no s in Burt Bacharach.
 * Mrs. Hendy: Or in Hal David.
 * Mr. Hendy: Who's Hal David?
 * Mrs. Hendy: He writes the lyrics, Burt just writes the tunes, only now he's married to Carole Bayer Sager.
 * [Pause]
 * Mr. Hendy: Waiter! This conversation isn't very good!

Part V: Live Organ Transplants

 * Mr. Brown: Yeah, I know what it is, but...I'm using it"!

 * The Man from the Fridge: [singing]
 * The universe itself keeps expanding and expanding, In all of the directions it can whizz, As fast as it can go, At the speed of light, you know, Twelve million miles a minute, And that's the fastest speed there is, So, remember, when you're feeling very small and insecure, How amazingly unlikely is your birth, And pray that there's intelligent life somewhere up in space 'Cause there's bugger all down here on Earth.

 * Chairman: Item six on the agenda, the Meaning of Life. Now Harry, you've had some thoughts on this.
 * Harry: That's right, yeah. I've had a team working on this over the past few weeks, and what we've come up with can be reduced to two fundamental concepts. One, people are not wearing enough hats. Two, matter is energy. In the Universe there are many energy fields which we cannot normally perceive. Some energies have a spiritual source which act upon a person’s soul. However, this soul does not exist ab initio as orthodox Christianity teaches; it has to be brought into existence by a process of guided self-observation. However, this is rarely achieved owing to man's unique ability to be distracted from spiritual matters by everyday trivia.
 * [Pause]
 * Max: What was that about hats again?

Part VI: The Autumn Years

 * Maître-D': Good afternoon, sir. And how are we today?
 * Mr Creosote: Better.
 * Maître-D': Better?
 * Mr Creosote: Better get a bucket. I'm gonna throw up.

 * Gaston: You see that? That's where I was born. You know, one day, my - my mother, she put me on her knee and she said to me, "Gaston, my son, the world is a beautiful place. You must go into it and love everyone, try to make everyone happy, and bring peace and contentment everywhere you go." And so, I became a waiter. Well, it's - it's not much of a philosophy, I know but well, fuck you! I can live my own life in my own way if I want to. Fuck off! Don't come following me!

Part VII: Death

 * Geoffrey: [is confronted by a hooded figure with a scythe] Yes? [pause] Is it about the hedge?
 * Grim Reaper: I am the Grim Reaper.
 * Geoffrey: The what?
 * Grim Reaper: The Grim Reaper. I am Death.
 * Geoffrey: Yes, I see. Well, the thing is, we've got some people from America over for dinner tonight, and-
 * English wife: Who is it, darling?
 * Geoffrey: It's a Mr. Death or something. He's come about the Reaping? I don't think we need any at the moment.

 * American husband: I don't see it that way, Jeff. Let me tell you what I think we're dealing with here. A potentially positive, learning experience-
 * Grim Reaper: Shut up! Shut up, you American. You always talk, you Americans, you talk and you talk and say "Let me tell you something" and "I just wanna say this." Well, you're dead now, so shut up.

 * Geoffrey: Now look here. You barge in here quite uninvited, break glasses and announce quite casually that we're all dead. Well, I would remind you that you are a guest in this house, and-
 * Grim Reaper: [pokes Geoffrey in the eye] Be quiet! You Englishmen! You're all so fucking pompous. None of you have got any balls!
 * American wife: Can I just ask you a question?
 * Grim Reaper: What?
 * American wife: How can we all have died at the same time?
 * Grim Reaper: [turns and points] The salmon mousse.
 * [Everyone except the Grim Reaper is shocked by this revelation]
 * Geoffrey: Darling, you didn't use canned salmon, did you?
 * English wife: I'm most dreadfully embarrassed.
 * Grim Reaper: Now, the time has come. Follow. Follow me.
 * [Geoffrey stands up, picks up a pistol and fires 5 shots, which all pass through the Grim Reaper, who turns round]
 * Geoffrey: [sheepishly] Just testing...sorry
 * Grim Reaper: Follow me...now.

 * American wife: But I didn't eat the mousse.

The End of the Film

 * Lady Presenter: [last lines] Well, that's the end of the film. Now, here's the meaning of life. [is handed a gold-wrapped booklet] Thank you, Brigitte. [clears her throat, then unwraps and examines the gilt booklet] Well, it's nothing very special. Try to be nice to people, avoid eating fat, read a good book every now and then, get some walking in, and try and live together in peace and harmony with people of all creeds and nations. And, finally, here are some completely gratuitous pictures of penises to annoy the censors and to hopefully spark some sort of controversy, which it seems is the only way these days to get the jaded, video-sated public off their fucking arses and back in the sodding cinema. Family entertainment? Bollocks. What they want is filth: people doing things to each other with chainsaws during tupperware parties, babysitters being stabbed with knitting needles by gay presidential candidates, vigilante groups strangling chickens, armed bands of theatre critics exterminating mutant goats. Where's the fun in pictures? Oh, well, there we are. Here's the theme music. Goodnight.

title: Monty Python's The Meaning of Life


text:
George Perle

George Perle (May 6, 1915 – January 23, 2009) was a composer and music theorist.

The Listening Composer

 * The edition cited here is The Listening Composer (University of California Press, 1990) ISBN 0520069919.

 * His partitioning of the octave in the first ten bars places Varèse with Scriabin and the Schoenberg circle among the revolutionary composers whose work initiates the beginning of a new mainstream tradition in the music of our century.
 * Page 12

 * Do we really have to look these chords up in Forte's catalog in order to find a name for them? Another theorist [Christopher Hasty] assures us that, 'Allen Forte's perceptive interpretation...accounts for an essential quality of this mysteriously pulsating music. The eighth-note chords of the flute and clarinets form alternately, with the sustaining oboes and horns, the six-tone sonorities labeled A and B. The sonorities A and B are both representatives of the same set class (6-Z19) and are thus made up of precisely the same intervals. As Forte points out, "There is a flucuation of pitch-class content while interval content remains constant."' 'A fluctuation of pitch-class content while interval content remains constant' is what the rest of us have always known as 'a transposition.'
 * Page 42

 * The crucial and monumental development in the art music of our century has been the qualitative change in the foundational premises of our musical language--the change from a highly chromaticized tonality whose principle functions and operations are still based on a limited selection, the seven notes of the diatonic scale, from the universal set of twelve pitch classes to a scale that comprehends the total pitch-class content of that universal set. We can point to the moment of that change with some precision. It occurs most obviously in the music of Scriabin and the Vienna circle, Schoenberg, Webern, and Berg, in 1909-1910, and very soon afterwards, though less obviously, in the music of Bartok and Stravinsky. I think it is safe to say that nothing of comparable significance for music has ever occurred, because the closing of the circle of fifths gives us a symmetrical collection of all twelve pitch classes that eliminates the special structural function of the perfect fifth itself, which has been the basis of every real musical system that we have hitherto known.
 * Pages 42-43

 * By the time of his Fourth String Quartet, inversional symmetry had become as fundamental a premise of Bartók's harmonic language as it is of the twelve-tone music of Schoenberg, Berg, and Webern. Neither he nor they ever realized that this connection establishes a profound affinity between them in spite of the stylistic features that so obviously distinguish his music from theirs...Nowhere does he [Bartók] recognize the communality of his harmonic language with that of the twelve-tone composers that is implied in their shared premise of the harmonic equivalence of inversionally symmetrical pitch-class relations.
 * Pages 46-47

 * I would not want you to suppose that my rejection of Allen Forte's theory of pitch-class sets implies a rejection of the notion that there can be such a thing as a pitch-class set. It is only when one defines everything in terms of pitch-class sets that the concept becomes meaningless.
 * Page 67
 * See: Allen Forte

 * Z-relation, or rather, "that certain pitch-class collections share the same 'interval vector' even though they are neither transpositionally nor inversionally equivalent was first pointed out by Howard Hanson in Harmonic Materials of Modern Music (New York: Appleton-Century-Crofts, 1960), p. 22, and by David Lewin in "Re: The Intervallic Content of a Collection of Notes," Journal of Music Theory 4:1 (1960). For a general criticism of Forte's concepts of pitch-class set equivalence see Perle, "Pitch-Class Set Analysis: An Evaluation," Journal of Musicology 8:2 (1990).
 * Page 67, note 8
 * See: Musical set theory

 * This intersecting of inherently non-symmetrical diatonic elements with inherently non-diatonic symmetrical elements seems to me the defining principle of the musical language of Le Sacre and the source of the unparalleled tension and conflicted energy of the work.
 * Page 83

 * The achievement of such a change of register through a sequential progression is a familiar procedure in the music of the "common practice." The significant distinction is that where Berg subdivides the registral span into equal, i.e., cyclic, intervals, his tonal predecessors subdivide it, in changing register through sequential transference, into the unequal intervals of the diatonic scale. As I pointed out in my last lecture, however, the qualitative transformation in the language of music which we have experienced in our century has a long prehistory. Beginning with Schubert, we occasionally find normal diatonic functions questioned in changes of key that progress along the intervals of the whole-tone scale, or the diminished-7th chord, or the augmented triad. An even more radical example of a cyclic progression in a tonal composition is...from Wagner (Die Walkure, Act III).
 * Page 96

 * If...[Alban] Berg departs so radically from tradition, through his substitution of a symmetrical partitioning of the octave for the asymmetrical partitionings of the major/minor system, he departs just as radically from the twelve-tone tradition that is represented in the music of Schoenberg and Webern, for whom the twelve-tone series was always an integral structure that could be transposed only as a unit, and for whom twelve-tone music always implied a constant and equivalent circulation of the totality of pitch classes.
 * Page 98
 * See: Common practice period, Twelve-tone technique

 * Collections of all twelve pitch classes can be differentiated from one another only by assigning an order to the pitch classes or by partitioning them into mutually exclusive sub-collections. The ordering principle is the basis of the twelve-tone system formulated by Schoenberg, the partitioning principle the basis of the system formulated around the same time by Hauer. In Schoenberg's compositional practice, however, the concept of a segmental pitch-class content is represented as well, as a basis for the association of paired inversionally related set forms. On the relation between Schoenberg and Hauer see Bryan R. Simms, "Who First Composed Twelve-Tone Music, Schoenberg or Hauer?" Journal of the Arnold Schoenberg Institute X/2 (November 1987).
 * Page 101, note 2

 * Every bit of theorizing I’ve ever done, including my interest in Berg, has come as a consequence of discoveries I made as a composer and interests that I developed as a composer. I never thought of my theory as being a kind of irrelevant activity to my composing.
 * Kozinn, Allan (January 24, 2009). "George Perle, a Composer and Theorist, Dies at 93", New York Times.
 * See: Alban Berg

title: George Perle


text:
Gilmore Girls

Gilmore Girls (2000–2007) is a dramatic television show, created by Amy Sherman-Palladino, centering on the relationship between a single mother and her daughter in a small Connecticut town.

See the discussion page for suggested formatting and inclusion guidelines.

 * Season 1; Season 2; Season 3; Season 4; Season 5; Season 6; Season 7; A Year in the Life

Cast

 * Lauren Graham — Lorelai Victoria Gilmore
 * Alexis Bledel — Lorelai "Rory" Leigh Gilmore
 * Scott Patterson — Luke Danes
 * Melissa McCarthy — Sookie St. James
 * Keiko Agena — Lane Kim
 * Yanic Truesdale — Michel Gerard
 * Kelly Bishop — Emily Gilmore
 * Edward Herrmann — Richard Gilmore
 * Jackson Douglas — Jackson Belleville
 * Liza Weil — Paris Geller
 * Sean Gunn — Kirk Gleason
 * Milo Ventimiglia — Jess Mariano
 * Matt Czuchry — Logan Huntzberger
 * Jared Padalecki — Dean Forrester
 * David Sutcliffe — Christopher Hayden
 * Michael Winters — Taylor Doose

title: Gilmore Girls