Quotes of All Topics . Occasions . Authors
Both for the production on a mass scale of this communist consciousness, and for the success of the cause itself, the alteration of men on a mass scale is necessary, an alteration which can only take place in a practical movement, a revolution; this revolution is necessary, therefore, not only because the ruling class cannot be overthrown in any other way, but also because the class overthrowing it can only in a revolution succeed in ridding itself of all the muck of ages and become fitted to found society anew.
Women are age-shamed. Women should they be put out to pasture. And it's not about people trying to look like me at 60. I'm not suggesting that, but look your best, feel your best, but most of all, be your best. And it's not only for women of 60. It's about women of all age, when you're 20 till you die. Whatever era you're in, whatever decade, whatever age you are, learn how to embrace it. Don't be ashamed of it. Be proud of it, because there's no negotiation. Either you get older, or you're dead. It's that simple.
I've said repeatedly publicly, and other members have, that until you adjust the eligibility for entitlements, do things like raising the age for Medicare for future beneficiaries. Not for those currently receiving or those about to receive. Have serious means testing for high income people. You know Warren Buffett's always complaining about not paying enough taxes. And what I'm complaining about is we're paying for his Medicare. We ought not to be providing these kinds of benefits for millionaires and billionaires.
Scientists are educated from a very early time and a very early age to believe that the greater scientist is the scientist who makes discoveries or theories that apply to the greatest ambit of things in the world. And if you've only made a very good theory about snails, or a very good theory about some planets but not about the universe as a whole, or about all the history of humankind, then you have in some sense accepted a lower position in the hierarchy of the fame of science as it's taught to you as a young student.
I am a writer who is definitely working with a specific language and more than English, that language is American. And I work very much in idiom and am very interested in the play of different kinds of rhetoric, whether it is the more high-flown stuff that reeks of age. I love to juxtapose something like that with something more current or urgent. I am always interested not in America by itself, but America as an idea and how that idea has changed over time, in the eyes of the rest of the world and in the eyes of Americans.
Now that the most interesting matter of identity is not what place someone was born in, but what point in time they are from - where they sit in relation to time. Age has become much more divisive than place. With the Internet and globalization, a twenty-year-old in New York has far more cultural references in common with a twenty-year-old in Nebraska than they do with a thirty-year-old who lives next door. National identity is what they trick you with when they want your feet in their army boots or your taxes in their bailouts.
I didn't know if it would be a successful one, or what the stages would be, but I always saw myself as a lifetime musician and songwriter...I was always concerned with writing to my age at a particular moment. That was the way I would keep faith with the audience that supported me as I went along...I'm a synthesist. I'm always making music. And I make a lot of different kinds of music all the time. Some of it gets finished and some of it doesn't...The best music is essentially there to provide you something to face the world with.
No matter how physically faint, a photograph involuntarily whisper of something exquisitely carnal. The weeks, the years, whatever stretches of time separating our present from the photographs retire into the transparence of the shot and seem erased by it. We almost have to shake ourselves to overcome the feeling that we peer out at the other place, in that different age. Yet we are always aware of this illusory dislocation, for such is the ambiguity, in principle, that seduces us over and over again in the photographic experience.
Instead of casting away all our old prejudices, we cherish them to a very considerable degree, and, to take more shame to ourselves, we cherish them because they are prejudices; and the longer they have lasted and the more generally they have prevailed, the more we cherish them. We are afraid to put men to live and trade each on his own private stock of reason; because we suspect that this stock in each man is small, and that the individuals would do better to avail themselves of the general bank and capital of nations and of ages.
I am wary of repeating myself too much. In this age of Netflix, as a Netflix show, if you want to go back and watch a season 1 episode, you can do that easily. I'm not interested in repeating the same story beats over and over and over again. But part of the truth of BoJack story is about how much he repeats himself and these patterns that are difficult to get out of. I'm trying not to be evasive about that. I'm not using that as an excuse. I think that's convenient to fall back on as a TV writer: "Oh, it's a show about stagnation."
We stand for a living wage. Wages are subnormal if they fail to provide a living for those who devote their time and energy to industrial occupations. The monetary equivalent of a living wage varies according to local conditions, but must include enough to secure the elements of a normal standard of living-a standard high enough to make morality possible, to provide for education and recreation, to care for immature members of the family, to maintain the family during periods of sickness, and to permit of reasonable saving for old age.
We have feudal governments in a commercial age. It would be but an easy extension of our commercial system, to pay a private emperor a fee for services, as we pay an architect, an engineer, or a lawyer. If any man has talent for righting wrong, for administering difficult affairs, for counselling poor farmers how to turn their estates to good husbandry, for combining a hundred private enterprises to a general benefit, let him in the county- town, or in Court-street, put up his sign-board, Mr. Smith, Governor, Mr. Johnson, Working king.
On previous occasions when God incarnated on earth, the bliss of recognising Him in the incarnation was vouchsafed only after the physical embodiment had left the world, in spite of plenty of evidences of His Grace. But, ponder a moment on this Sathya Sai Manifestation; in this age of rampant materialism, aggressive disbelief and irreverence, what is it that brings to It the adoration of millions from all over the world? You will be convinced that the basic reason for this is the fact that this is the Supra-worldly Divinity in Human Form.
When you are five, you know your age down to the month. Even in your twenties, you know how old you are. I'm twenty-three you say, or maybe twenty-seven. But then in your thirties, something strange starts to happen. It is a mere hiccup at first, an instant of hesitation. How old are you? Oh, I'm--you start confidently, but then you stop. You were going to say thirty-three, but you are not. You're thirty-five. And then you're bothered, because you wonder if this is the beginning of the end. It is, of course, but it's decades before you admit it.
For those [observations] that I made in Leipzig in my youth and up to my 21st year, I usually call childish and of doubtful value. Those that I took later until my 28th year [i.e., until 1574] I call juvenile and fairly serviceable. The third group, however, which I made at Uraniborg during approximately the last 21 years with the greatest care and with very accurate instruments at a more mature age, until I was fifty years of age, those I call the observations of my manhood, completely valid and absolutely certain, and this is my opinion of them.
Much has seen said of the wisdom of old age. Old age is wise, I grant, for itself, but not wise for the community. It is wise in declining new enterprises, for it has not the power nor the time to execute them; wise in shrinking from difficulty, for it has not the strength to overcome it; wise in avoiding danger, for it lacks the faculty of ready and swift action, by which dangers are parried and converted into advantages. But this is not wisdom for mankind at large, by whom new enterprises must be undertaken, dangers met, and difficulties surmounted.
I will never compromise - I can now say with assurance at the age of 57 - with my libertarian and my revolutionary commitments; they'll have to kill me first. They can't buy me out. I'm just not interested in what they have to offer. I've managed to stick it out, and the thing that has been the most rescuing, the most redeeming, feature of my life that has kept me alive, that has kept me more or less single-minded about my commitment to libertarian ideals once I escaped the trap of Marxist-Leninism - a childhood trap, to be sure - has been consciousness.
If you're in music, you're in music, and if you're in music you just want to keep making records and playing. That's what it's about, isn't it? At least, that's what I always thought it was about, anyway. I don't think I could bear years and years off. Perhaps in me older, older age, maybe I will, for physical reasons. But to me you've always got to keep proving yourself. I never want to just sit on me laurels. You have to keep forging, to prove yourself to yourself. I always think, every time I start a record, this could be the best thing I've ever done.
I was very curious about the world even at a young age, and I don't know at what point I became aware that other cultures believed in different religions, and my question was, 'Well, why don't they get to go to heaven then?' And the answer was always, 'Well, everyone gets a chance - meaning at the word of God as it was described to me then. And that didn't sit well with me then. But in times of trouble or discord, it's a great comfort. And it wasn't till I left home that I really came to the conclusion that it didn't make sense to me for many other reasons.
Every writer owes something to a particular tradition he/she grew up in. But no serious writer - other than the militantly nationalist ones - would reduce his/her domain of influence to a single tradition. Furthermore, historical breaks are so common and large in Europe that there are ruptures in every tradition which then connect the same generations across national borders. Younger Eastern European writers, for instance, have more in common with other writers of the same age in Europe, than with the previous, communist-era generations in their own countries.
The central problem of our age is not liberalism or modernism, nor the old Roman Catholicism or the new Roman Catholicism, nor the threat of communism, nor even the threat of rationalism and the monolithic consensus which surrounds us. All these are dangerous but not the primary threat. The real problem is this: the church of the Lord Jesus Christ, individually corporately, tending to do the Lord’s work in the power of the flesh rather than of the Spirit. The central problem is always in the midst of the people of God, not in the circumstances surrounding them.
Although it is easier to find information these days, it is easier than ever before to find misinformation, pseudo-facts, unsupported and fringe opinions, and the like. Children should be taught at an early age what constitutes evidence, how to detect biases or distortions in newspaper accounts, and that there exist hierarchies of information sources. In the medical field, for example, a controlled experiment published in a peer-reviewed journal is a better source than a blog by the Ginseng Growers Association, promoting the health benefits of their own product.
If Murakami's novels are grand enigmas, his stories are bite-sized conundrums. (...) The great pleasure of the new story collection, Blind Willow, Sleeping Woman, is watching Murakami come at his obsessions from so many different angles. There's a panoply of strangeness between these covers (.....) This collection shows Murakami at his dynamic, organic best. As a chronicler of contemporary alienation, a writer for the Radiohead age, he shows how taut and thin our routines have become, how ill-equipped we are to contend with the forces that threaten to disrupt us.
So too, since Christ has in principle defeated the fallen "gods" (principalities and powers) who have for ages inspired injustice, cruelty and apathy toward the weak, the poor the oppressed and the needy (Ps. 82), the church can hardly carry out its role in manifesting, on earth and in heaven, Christ's victory over these gods without taking up as a central part of its missions just these causes. We can, in truth, no more bifurcate social concerns and individual salvation than we can bifurcate the cosmic and anthropocentric dimensions of Christ's work on the cross.
In this day and age, if you're aspiring to be an actor, and you're putting all your eggs in one basket, you could be disappointed. I started out as an actor, but I forced myself to be a writer, even though I wasn't very good at it and had never written. I don't think I ever passed an English course in my life. My first 8 to 10 scripts were pretty horrendous, but I stayed at it until I eventually found a voice and a subject that people were interested in. So, I recommend that you go out and try to be as versatile as possible: writer, actor, producer and especially director.
The irresistible proliferation of graphomania shows me that everyone without exception bears a potential writer within him, so that the entire human species has good reason to go down into the streets and shout: we are all writers! for everyone is pained by the thought of disappearing, unheard and unseen, into an indifferent universe, and because of that everyone wants, while there is still time, to turn himself into a universe of words. one morning (and it will be soon), when everyone wakes up as a writer, the age of universal deafness and incomprehension will have arrived.
I did a pilot for Judd Apatow when I was 20 years old, so 18 years ago. The same year that he did that pilot, he made another pilot called Freaks And Geeks.Judd felt bad for me because I was living in L.A. by myself. Not only did he put me in an episode of Freaks And Geeks, but he was like, "Hey, just come hang out. I'm on set, getting to know everybody." I started hanging with everybody, and they were all either my age or a little younger. Seth and I just got along really well - Jason Segel and I, too - and before you know it, it was a really strong, solid group of friends.
In truth, the gold standard is already a barbarous relic. All of us, from the Governor of the Bank of England downwards, are now primarily interested in preserving the stability of business, prices, and employment, and are not likely, when the choice is forced on us, deliberately to sacrifice these to outworn dogma, which had its value once, of 3 pounds, 17 shill ings, 10 1/2 pence per ounce. Advocates of the ancient standard do not observe how remote it now is from the spirit and the requirements of the age. A regulated nonmetallic standard has slipped in unnoticed. It exists.
T-Mobile is a young, consumer-driven business, and the average age of my customer outside of Bellevue is 27 or 28. They like outspoken, frank discussion. There was an event where it started to come together, I thought the audience would only care about the MLB guys, but they wanted to know what was on my mind. And I literally snapped about the state of the wireless industry. Over the next 24 hours, there was a lot of stuff that was coming out of my mouth that was meant to stay in Vegas, but it hit a chord. It was an action statement for me that I was going to fix this industry.
If Nick Broomfield never found anyone with affection for Courtney Love, it's only because he conspicuously avoided the countless friends, colleagues and fans who appreciate her talent and admire her as a person. But then, why would Broomfield have opened up his film to those of us who work with Courtney and are close to her when there are so many bitter left - behinds and desperate attention - seekers eager to validate his attack on her character? Inquisitors in every age, scared of forceful women, have used all kinds of half - baked testimony to whip up chants of 'Burn the witch!'
Gangsters live for the action. The closer to death, the nearer to the heated coil of the moment, the more alive they feel. Most would rather succumb to a barrage of bullets from a roomful of sworn enemies than to the debilitation of old age, dying the death of the feeble. A gangster becomes as addicted to the thrill of the battle and the potential to die in the midst of it as he does to he more attractive lures in his path. In his world, the potential for death exists every day. The better gangsters don't shy away from such a dreaded possibility but rather find comfort in its proximity.
The key strengths of civilizations are also their central weaknesses. You can see that from the fact that the golden ages of civilizations are very often right before the collapse. The Renaissance in Italy was very much like the Classic Maya. The apogee was the collapse. The Golden Age of Greece was the same thing. We see this pattern repeated continuously, and it is one that should make us nervous. I just heard Bill Gates say that we are living in the greatest time in history. Now you can understand why Bill Gates would think that, but even if he is right, that is an ominous thing to say.
The average age of the Jazz audience is increasing rapidly. Rapidly enough to suggest that there is no replacement among young people. Young people aren't starting to listen to Jazz and carrying it along in their lives with them. Jazz is becoming more like Classical music in terms of its relationship to the audience. And just a Classical music is grappling with the problem of audience development, so is Jazz grappling with this problem. I believe, deeply that Jazz is still a very vital music that has much to say to ordinary people. But it has to be systematic about getting out the message.
