Bolin Quotes

Father figures and male authorities hold a sinister interest in controlling girl bodies, and therefore in harming them.

While the sound mixing was underway, Bonzo was on the loose, taking care of buisness his own way. One night he showed up backstage at a Deep Purple concert at the Nassau Coliseum on Long Island. Bonzo was drunk and in very high spirits, and was wobbling on his feet in the wings when he noticed a free microphone during a lull in the music. Staggering forward, Bonzo walked out onto the stage before the Deep Purple roadies could grab him. The group stopped playing, amazed, as Bonzo grabbed the mike and shouted, 'My name is John Bonham of Led Zeppelin, and I just wanna tell ya that we got a new album comin' out and that it's fuckin' great!!' Then Bonzo turned to leave, but before he went he turned back and gratuitously insulted Deep Purple's guitarist. 'And as far as Tommy Bolin is concerned, he can't play for shit!!

Violent men’s grievances are born out of a conviction of their personal righteousness and innocence: they are never the instigators; they are only righting what has been done to them. This shit-eating innocence is crucial to the fantasy of American masculinity, a bizarre collection of expectations and tropes “so paralytically infantile,” as James Baldwin writes in “Freaks and the American Ideal of Manhood,” “that it is virtually forbidden—as an unpatriotic act—that the American boy evolve into the complexity of manhood.

When a cop kills an unarmed man, it is because he senses his power being threatened by fear that he believes he should never have to feel. When a man kills his ex-girlfriend because she leaves him, he is saying the same thing: shame and sadness are feelings I should not have. Honor killings, as it turns out, are as American as apple pie.

Serial killers and the investigators who look for them both exploit the bodies of vulnerable women.

It’s clear we love the Dead Girl, enough to rehash and reproduce her story, to kill her again and again, but not enough to see a pattern. She is always singular, an anomaly, the juicy new mystery.

Our cultural obsession with murder stories and the criminal justice system is a prime example of the impulse to narrativize a reality that is basically unexplainable. For better or worse, narrative is the tool that the system uses to deliver justice: the defense and the prosecution each present their stories, and the one that makes more sense— read as: the more satisfying one— becomes the reality.

For “decent” guys, comfortably vested with patriarchal authority, the nightmare is merely to be questioned, to no longer be the narrator of their own story. In Gone Girl, Flynn cracks open the American mainstream and lets Nick say one of our unsayable beliefs: that it is scarier for a man to be accused than to be killed.

En sommar hade de också en kokerska som hade följt med dem från Moskva. Karin trivdes med att vara med henne och tala ryska, en dag frågade hon Karin vad "Abbelentehao" betydde på svenska. Det sa flickorna i köket så ofta när hon serverade dem. Karin hade fått tänka länge, be henne upprepa ordet tills hon förstod att det var : "Jag vill inte ha" på bred skånska.

Do not be slow to answer the Lord’s call! From the passage of the Book of Exodus read to us in this Mass we can learn how the Lord acts in every vocation (cf. Ex 3:1–6, 9–12). First, he provokes a new awareness of his presence—the burning bush. When we begin to show an interest he calls us by name. When our answer becomes more specific and like Moses we say: “Here I am” (cf. v. 4), then he reveals more clearly both himself and his compassionate love for his people in need. Gradually he leads us to discover the practical way in which we should serve him: “I will send you.” And usually it is then that fears and doubts come to disturb us and make it more difficult to decide. It is then that we need to hear the Lord’s assurance: “I am with you” (Ex 3:12). Every vocation is a deep personal experience of the truth of these words: “I am with you.”[153]