Chris Barrie Quotes

Look, we've all got something to contribute to this discussion. And I think what you should contribute from now on is silence.

We don't have to put up with your snidey remarks, your total slobbiness, your socks that set off the sprinkler system.

Ah, Mr. War, sir. It seems that owing to circumstances completely beyond my control, there's been a bit of a cock up in the bravado department. I may indeed have come across as being more brave than in fact I am.

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Acknowledgments You hold this book in your hands ◆ because Bonnie Nadell and Austen Rachlis, no matter how many bananas drafts they read (and boy were they bananas), saw what this book could be, and helped me to see it too. Because Naomi Gibbs saw it and brought it fully into itself, and was a joy to work with, like everyone at Houghton Mifflin Harcourt: Larry Cooper, Chrissy Kurpeski, Liz Anderson, Michelle Triant, among others, who took my weird visions and made them manifest, and beautiful. And because Andrea Schulz, years ago, when she first heard about my day job, said, Oh, you should definitely write about that. Thank you, Kayla Rae Whitaker and Amber Sparks, for your words and your kindness. You hold this book because I lived in Boston for eleven years and worked in both fundraising and finance, and had a LOT to process. Thank you, MGH and the Prospect Research Team (2010–2014), especially Angie Morey. I loved the work, but I loved working with you all even more. You are an astounding group of human beings. Thank you, Michael and Deanna Sheridan, Wendy Price, Barry Abrams, Heather Heald, and Eddie Miller, for the years before MGH, the days of RFPs and BlackBerrys (those who know, know). I didn’t always love the work itself, but working with you was a gift, and it changed my life. Thank you, Grub Street, which I am thrilled to work for still; thank you to Michelle Hoover, Alison Murphy, and Chris Castellani, and to all the thoughtful, visionary, funny, and immensely talented writers and people in the Grub universe.

In his 2004 book The Paradox of Choice: Why More Is Less, psychologist Barry Schwartz makes the case that when one is given more choice, it can easily overwhelm and lower overall performance: As the number of available choices increases, as it has in our consumer culture, the autonomy, control, and liberation this variety brings are powerful and positive. But as the number of choices keeps growing, negative aspects of having a multitude of options begin to appear. As the number of choices grows further, the negatives escalate until we become overloaded. At this point, choice no longer liberates, but debilitates.

One day, Sara is at home alone and the doorbell rings. She opens the door and a guy says, “Hi, I’m Chris. Is Tony home?” “No, he went to the store, but you can wait here if you want.” So they sit down and after a few moments of silence Chris says, “You know, Sara, you have the greatest breasts. I’d give you a hundred bucks just to see one.” Sara thinks about it for a second and figures, what the hell—a hundred bucks! She peels back her robe and shows one to him for a few seconds. He promptly thanks her and throws a hundred bucks on the table. They sit there a while longer and Chris says, “That was so amazing! I’ve got to see both of them. I’ll give you another hundred dollars if I can just see them both together.” Sara, amazed by the offer, decides, what the hell, why not? So she opens her robe and gives him a nice, long look. A while later, after Chris has gone, Tony comes home from the store. The wife says, “You know, your friend Chris came over.” “Did he drop off the two hundred bucks he owes me?

You’re about as popular as a horny dog in a ‘Miss Lovely Legs’ competition?” –  Chris Barrie on Red Dwarf

Along with Alice Bag (née Alicia Armendariz), front woman of the Bags, and the members of the all-Chicano, Chula Vista–bred quartet the Zeros, Humberto “Tito” Larriva was one of the first prominent Latino performers on the L.A. punk scene. Born in Ciudad Juárez, Chihuahua, Larriva had arrived in L.A. in 1975. The singer–guitarist–actor (later featured as a heavy in several of director Robert Rodriguez’s films) had founded the wound-up punk trio the Plugz, sometimes billed as Los Plugz, with Chicano drummer Charlie Quintana and Anglo bassist Barry McBride in 1978. That year, a three-track single by the band became the second release (following a 45 by the Germs) from Slash Records, the fledgling imprint of the like-named L.A. punk magazine. It prefaced the Plugz’s self-released 1979 album Electrify Me, which included a high-velocity, lyrically retooled version of Ritchie Valens’s “La Bamba.” It

CHRIS Good evening, Barry. BARRY Yeah? CHRIS Some people think God is dead. Do you think God is dead, Barry? BARRY I happen to know that God is alive and well and living in Gary, Indiana.

CHRIS Don’t you think that without some kind of belief in God our actions in this world are meaningless? It would just be physics and chemicals without God... just shapes and colors... BARRY Shapes and colors? Come on! Chris! We been reading William Blake? CHRIS I think you do believe in God. BARRY Oh, you do? CHRIS Yes, you believe in God. BARRY Really? What makes you so sure? CHRIS It’s simple. You think you are God. And aren’t you ashamed?