Eddie Jones Quotes

All Welsh knew was that he was scared shitless, and at the same time was afflicted with a choking gorge of anger that any social coercion existed in the world which could force him to be here.

Moreover, dissonance-evoking situations have been found to evoke a general negative affect without also evoking increased self-directed negative affect (Elliot & Devine, 1994) or decreased state self-esteem (E. Harmon-Jones, 2000a).

What's celebrate?" Eddie asked. "That's when you can't get no dame," said Mack. "I thought it was a kind of a party," said Jones. A silence fell on the room.

But at the same time, the humanist in me was always a bit troubled by the rather bleak, rather unappetizing picture the theory painted of the human condition—forever striving to justify our actions after the fact.

WARREN: I took the white bus with Daisy and Niccolo and Eddie and Pete. Jenny was with Pete sometimes. The white bus was a much better time. Also, yeah, I’ll be on the bus with the tits painted on the window, thanks.

Let me sum up that early tour for you: I was getting laid, Graham was getting high, Eddie was getting drunk, Karen was getting fed up, Pete was getting on the phone to his girl back home, and Billy was all five, at once.

Being proud that you predicted Eddie would leave the band is like saying 'I predicted the sun would come out today,' the day before a nuclear disaster. Yeah, man. Great guess. But you didn't exactly notice the world was ending?

To show actual avoidance of dissonant information, it is necessary to make comparisons against a neutral baseline.

What readers seek is an experience different from their own. Story is how readers dream. Story is what sells the book. The power of the premise is what captures the reader, editor, or agent’s attention—not the characters and prose. Unless we care about the story we will never welcome the actors on stage. It is this power of desire that pulls us into the story.

BILLY: I finally tapped Eddie on the shoulder, right before the finale, I said, 'Thanks, man. I just wanted to really give ’em a good show since Rolling Stone is out there.' EDDIE: He said he’d normally let me play but since it was Rolling Stone, he wanted to really do it right.

BILLY: I finally tapped Eddie on the shoulder, right before the finale, I said, 'Thanks, man. I just wanted to really give ’em a good show since Rolling Stone is out there.' "EDDIE: He said he’d normally let me play but since it was Rolling Stone, he wanted to really do it right.

Eddie: I smashed my guitar and walked off. I instantly regretted it. It was a ’sixty-eight Les Paul. Warren: The neck broke off of it and Eddie just swung it and let it land on the ground and he walked off. I thought about kicking my snare just to join the fun but it was a Ludwig. You don’t go kicking a Ludwig.

Bert, a slow moving tropical storm that had spent the past few days wandering around the Bahamas like a dog looking to do its business. Circle once, circle twice, and squat. Now the storm had settled over Cockroach Cay, prompting Sonny to conclude that renting a sailboat during hurricane season, while exciting and dangerous, was too much fun for him. He was glad they were still at the dock.

These are things like Michael Jackson's Thriller, an album that was (1) produced by Quincy Jones, (2) features guitar playing by Eddie Van Halen, (3) includes at least three singles that ooze awesomeness, and (4) has the single best bass line from the entire 1980s (i.e., the opening of "Billie Jean"). It is a "guilty pleasure," presumably, because 45 million people liked it, and because Jackson is quite possibly a pedophile, a d because two dancers had a really unfair knife fight in the video for "Beat It." This is akin to considering Thomas Jefferson a "guilty pleasure" among presidents because he briefly owned a pet bear. I mean, he still wrote the fucking Declaration of Independence, you know?

Questions and Topics for Discussion This book is written in an oral history format. Why do you think the author chose to structure the book this way? How does this approach affect your reading experience? At one point Daisy says, “I was just supposed to be the inspiration for some man’s great idea….I had absolutely no interest in being somebody else’s muse.” How does her experience of being used by others contribute to the decisions she makes when she joins The Six? Why do you think Billy has such a strong need to control the group, both early on when they are simply the Dunne Brothers and later when they become Daisy Jones & The Six? There are two sets of brothers in The Six: Eddie and Pete Loving, and Billy and Graham Dunne. How do these sibling relationships affect the band? Daisy, Camila, Simone, and Karen are each very different embodiments of female strength and creativity. Who are you most drawn to and why? Billy and Daisy become polarizing figures for the band. Who in the book gravitates more toward Billy’s leadership, and who is more inclined to follow Daisy’s way of doing things? How do these alliances change over time, and how does this dynamic upset the group’s balance? Why do you think Billy and Daisy clash so strongly? What misunderstandings between them are revealed through the “author’s” investigation? What do you think of Camila’s decision to stand by Billy, despite the ways that he has hurt her through his trouble with addiction and wavering faithfulness?

A horn honked. And honked. And honked. Dad’s signal that the waiting game was finished. I took a final glance at the dead cowboy’s fixed eyes and bloody shirt and hurried down the steps, out of the barn, and toward the waiting stagecoach, certain of only one thing—this was going to be the best summer vacation ever.

Just because you believe in vampires, werewolves, and witches,” I replied, “doesn’t mean they’re real.” I turned toward the marshal. “I know what I saw. And I’m telling you, there’s a dead man in that barn. Or was.

Sonny plunged back to earth like Neil Armstrong. Or maybe it was Lance Armstrong. Sonny could never remember which man had ridden around the moon seven times. But he knew he was headed for a splashdown.

Sir, was there a reason you called?” “Wild Bill Boggs? Know him?” “First term congressman from Texas? Running for president?” Anna felt her stomach tighten. “What about him?” “Dated once, didn’t you?” “I wouldn’t call it a date. We were on the same cruise ship. He had a state-room overlooking the pool. I slept in a bunk above the engine room. He probably wouldn’t remember me.” “Oh, he remembers you, all right. Called to ask if you were available for a little undercover work. His words, not mine. He’s got another of his fund-raising junkets planned for this weekend in the Bahamas.” “You want me to babysit Boggs?” “When you put it that way…yes. That’s exactly what I want you to do.

What do you mean there’s a dead cowboy in the barn?

Regardless, the growing chorus of Laker fans who wanted more Kobe and less Eddie was confounding, because the third-year guard was playing the best ball of his lifetime. But Bryant was on the verge of legitimate greatness—a greatness that Jones (talent be damned) would never touch.

The original statement of cognitive dissonance theory (Festinger, 1957) proposed that discrepancy between cognitions creates a negative affective state that motivates individuals to attempt to reduce or eliminate the discrepancy between cognitions

Using a slightly different procedure, other research has suggested that, when the counterattitudinal actions do not cause aversive consequences, attitude change does not occur

alternative explanations must prevent us from concluding that cognitive discrepancy is not necessary or sufficient to create dissonance.

However, these past theorists and researchers instead proposed that feelings of personal responsibility for aversive outcomes were necessary to produce dissonance effects.

It took me a couple of years, but it gradually dawned on me that what was at the heart of my argument in both of those situations was the self-concept.

That is, when I said above that dissonance theory made clear predictions at its core, what I implicitly meant by at its core were situations in which the person’s self-concept was at issue.

In contrast, people with high, well-grounded self-esteem would not use derogation of the victim as a way to reduce their dissonance; rather, they would be more likely to take responsibility for their actions and try, in some way, to make amends for their cruel behavior.

simple conveying of information to rational people.

We use the law though we are terrified of it, contemptuous of its Janus face. We ask the police for what we need, hoping they will not kill us before we have finished stating our claims.

Today’s Children, The Woman in White, and The Guiding Light crossed over and interchanged in respective storylines.) June 2, 1947–June 29, 1956, CBS. 15m weekdays at 1:45. Procter & Gamble’s Duz Detergent. CAST: 1937 to mid-1940s: Arthur Peterson as the Rev. John Ruthledge of Five Points, the serial’s first protagonist. Mercedes McCambridge as Mary Ruthledge, his daughter; Sarajane Wells later as Mary. Ed Prentiss as Ned Holden, who was abandoned by his mother as a child and taken in by the Ruthledges; Ned LeFevre and John Hodiak also as Ned. Ruth Bailey as Rose Kransky; Charlotte Manson also as Rose. Mignon Schrieber as Mrs. Kransky. Seymour Young as Jacob Kransky, Rose’s brother. Sam Wanamaker as Ellis Smith, the enigmatic “Nobody from Nowhere”; Phil Dakin and Raymond Edward Johnson also as Ellis. Henrietta Tedro as Ellen, the housekeeper. Margaret Fuller and Muriel Bremner as Fredrika Lang. Gladys Heen as Torchy Reynolds. Bill Bouchey as Charles Cunningham. Lesley Woods and Carolyn McKay as Celeste, his wife. Laurette Fillbrandt as Nancy Stewart. Frank Behrens as the Rev. Tom Bannion, Ruthledge’s assistant. The Greenman family, early characters: Eloise Kummer as Norma; Reese Taylor and Ken Griffin as Ed; Norma Jean Ross as Ronnie, their daughter. Transition from clergy to medical background, mid-1940s: John Barclay as Dr. Richard Gaylord. Jane Webb as Peggy Gaylord. Hugh Studebaker as Dr. Charles Matthews. Willard Waterman as Roger Barton (alias Ray Brandon). Betty Lou Gerson as Charlotte Wilson. Ned LeFevre as Ned Holden. Tom Holland as Eddie Bingham. Mary Lansing as Julie Collins. 1950s: Jone Allison as Meta Bauer. Lyle Sudrow as Bill Bauer. Charita Bauer as Bert, Bill’s wife, a role she would carry into television and play for three decades. Laurette Fillbrandt as Trudy Bauer. Glenn Walken as little Michael. Theo Goetz as Papa Bauer. James Lipton as Dr. Dick Grant. Lynn Rogers as Marie Wallace, the artist.

I craned my neck and read the label. "We're looking for a kid named Eddie Bauer," I said. "That's the clothing label!" Mila said.

In fact, extracted from the metatheory, the central element of Festinger’s theory boils down to this: A person can experience an unpleasant state of arousal (state of dissonance) that can be quantified by a ratio (the dissonance ratio; see Chapter 2, this volume, for further explanation) and is reduced when this ratio decreases. Cognitions are relevant and taken into consideration only to the degree that they allow for composing this ratio.

This type of measure was in perfect conformity with Heider’s premises, which viewed the cognitive universe as a scene contemplated by the perceiver and that satisfied, to a greater or lesser degree, his or her preference for balance (Heider, 1958).

That is why the dissonance-reduction process may result in greater inconsistency among other cognitions. Therefore, the reduction of the ratio, which for us remains the unconditional objective of the dissonance-reduction process, in no way implies that there is consistency among the cognitions that it contains.

In fact, the 1960s were to prove a rich source of experiments showing that the primary reward effect of dissonance in forced-compliance situations is observed only if the participants are allowed to choose whether to perform the requested act.

At the same time that the critical importance of free choice was being demonstrated, researchers revealed the significance of other cognitions relating to the public or anonymous nature of the problematic behavior (Carlsmith, Collins, & Helmreich, 1966), the irrevocable or reversible nature of the act (Helmreich & Collins, 1968), and, above all, the role of cognitions concerning its consequences (Calder, Ross, & Insko, 1973; Cooper & Worchel, 1970). Like free choice, such cognitions seem to function as more or less necessary conditions for dissonance arousal.

Dissonance theory and research also played a pioneering role in a second way. By highlighting the often paradoxical and even self-defeating ways that humans frequently deal with the world, dissonance theory was the first comprehensive model to focus our attention on the landscape of human irrationality and the genesis of suboptimal judgments and behaviors.

But whatever the case may be, the arousal can only be reduced by two principal kinds of processes. These processes serve to make the act less problematic. Some processes affect the commitment to the act and reduce this commitment, and other processes reduce the total amount of dissonance by changing one or several existing cognitions or by producing new ones.

Self-perception theory (Bem, 1967, 1972) argues that dissonance effects were not the result of motivation to reduce the psychological discomfort produced by cognitive dissonance but were due to a nonmotivational process whereby persons merely inferred their attitudes from their behavior and the circumstances under which the behavior occurred.

Self-Consistency One of the first revisions proposed was the self-consistency interpretation of dissonance (Aronson, 1968, 1992). It is based on the idea that situations that evoke dissonance do so because they create inconsistency between the self-concept and a behavior. Because most persons have a positive self-concept, persons are likely to experience dissonance when they behave in a way that they view as incompetent, immoral, or irrational.

That is, the affective state of dissonance signals a problem and dissonance is reduced so that effective action can occur. To state these ideas less abstractly, consider that most dissonance situations involve a commitment to a chosen course of action. Once an individual commits to a given action, any information inconsistent with that commitment is likely to arouse dissonance and prevent the action from occurring. To maintain the commitment in the face of this inconsistent information, the individual selectively enhances the value of the chosen course of action and reduces the value of the unchosen course of action.

For example, dissonance occurs in non-human animals (e.g., Egan, Bloom, et al., 2010; Egan, Santos, et al., 2007), suggesting that the metacognitive structure of self is not necessary.

Eddie, time is a complicated business. The general rule is that if your head isn't hurting, you're not thinking about it hard enough.