Genes Funny Quotes

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If the physical thing you're doing is funny, you don't have to act funny while doing it...Just be real and it will be funnier
Gene Wilder (Kiss Me Like a Stranger: My Search for Love and Art)
It was that time of life: Talents were rising to the surface, weaknesses were beginning to show through, we were finding out what kinds of people we would be. Some would turn out beautiful, some funny, some shy. Some would be smart, others smarter. THe chubby ones would likely always be chubby. THe beloved, I sensed, would be beloved for life. And I worried that loneliness might work that way, too. Maybe loneliness was imprinted in my genes, lying dormant for years but now coming into full bloom.
Karen Thompson Walker (The Age of Miracles)
Two things are not debatable: eroticism, and comedy. If you don't think it's sexy, or funny, there's no way I can change your mind.
Gene Siskel
That's it!" Victoria dramatically threw her hands up, disrupting people around them. "It's official. You inherited it." "What?" "The idiot gene.
J.M. Darhower (Sweetest Sorrow (Forbidden, #2))
Do you know why the number two hundred is so vitally descriptive to both you and me? It’s your weight and my I.Q.
Lex Luthor, Gene Hackman
So you’re her brother?” says Lynn. “I guess we know who got the good genes.” I laugh at the expression on Caleb’s face, his mouth drawn into a slight pucker and his eyes wide.
Veronica Roth (Insurgent (Divergent, #2))
The funny thing is if in England, you ask a man in the street who the greatest living Darwinian is, he will say Richard Dawkins. And indeed, Dawkins has done a marvelous job of popularizing Darwinism. But Dawkins' basic theory of the gene being the object of evolution is totally non-Darwinian.
Ernst W. Mayr
Is it not late? A late time to be living? Are not our generations the crucial ones? For we have changed the world. Are not our heightened times the important ones? For we have nuclear bombs. Are we not especially significant because our century is? - our century and its unique Holocaust, its refugee populations, its serial totalitarian exterminations; our century and its antibiotics, silicon chips, men on the moon, and spliced genes? No, we are not and it is not. These times of ours are ordinary times, a slice of life like any other. Who can bear to hear this, or who will consider it?... Take away the bomb threat and what are we? Ordinary beads on a never-ending string. Our time is a routine twist of an improbable yarn...There must be something heroic about our time, something that lifts it above all those other times. Plague? Funny weather? Dire things are happening... Why are we watching the news, reading the news, keeping up with the news? Only to enforce our fancy - probably a necessary lie - that these are crucial times, and we are in on them. Newly revealed, and we are in the know: crazy people, bunches of them. New diseases, shifts in power, floods! Can the news from dynastic Egypt have been any different?
Annie Dillard (For the Time Being: Essays (PEN Literary Award Winner))
Valkyrie stood there and waited for her to start making sense. "There is a vegetable-plant hybrid we've been working on, modifying the genes and receptors, mutating the proteins and acids so that they are, in effect, neurotransmitters. Our work on the synapses alone has been quite illuminating." Valkyrie stood there and waited for her to start making sense.
Derek Landy (The Dying of the Light (Skulduggery Pleasant, #9))
Two things are not debatable: eroticism and comedy. If you don't think it's sexy or funny, there's no way I can change your mind.
Gene Siskel
What's do DNA helicase and perverts have in common? They both want to unzip your genes.
Zakaria Abdulaziz (JOKES FOR KIDS : Over 400 Funny Jokes, Riddles , Chemistry Jokes , Tongue Twisters And Knock-Knock Jokes For Kids.)
Funny thing happened on the way to the moon: not much,” wrote Apollo 17 astronaut Gene Cernan. “Should have brought some crossword puzzles.
Mary Roach (Packing for Mars: The Curious Science of Life in the Void)
at this point, the analysis of gene expression in the brain isn't prectical because current (and foreseeable)techniques require that we analyze a piece of brain tissue. Most people find that unpleasant.
Matt Ridley
Let’s put to rest one cliché. You can sell refrigerators to Eskimos. The people of Savoonga are Yupiks, the westernmost of the Eskimo tribes, closer to Siberians than American Eskimos in their appearance, and their customs, and their distinctive, liquidly sibilant native language. And, yes, they all have refrigerators. In the winter, food gets freezer burn if left out in the elements. Eskimos need refrigerators to keep their food warm.
Gene Weingarten (The Fiddler in the Subway: The Story of the World-Class Violinist Who Played for Handouts. . . And Other Virtuoso Performances by America's Foremost Feature Writer)
Ain’t it queer that she’d take to stones, bugs, and butterflies, and save them. Now they are going to bring her the very thing she wants the worst. Lord, but this is a funny world when you get to studying! Looks like things didn’t all come by accident. Looks as if there was a plan back of it, and somebody driving that knows the road, and how to handle the lines. Anyhow, Elnora’s in the wagon, and when I get out in the night and the dark closes around me, and I see the stars, I don’t feel so cheap.
Gene Stratton-Porter (A Girl of the Limberlost (Limberlost, #2))
When reporters asked Shepard what he thought about as he sat atop the Redstone rocket, waiting for liftoff, he had replied, “The fact that every part of this ship was built by the low bidder.” It was a funny crack, but with an edge. In marked contrast to the tiny Mercury capsule, Apollo was, in spaceflight terms, practically a luxury liner.
Gene Kranz (Failure is not an Option: Mission Control From Mercury to Apollo 13 and Beyond)
quivering, as if she couldn’t decide whether to laugh or frown. I love my mom, and I have no idea how she can find Rafe funny. It must be a gene I missed. “So, are you two excited for your first day?” Mom asked. Changing the subject. Nicely done, Mom. “I can’t wait,” Rafe and I said together. Only his voice clearly meant “I can wait,” while my voice meant “I’m so excited that I’m about to explode!
James Patterson (Middle School: My Brother Is a Big, Fat Liar - FREE PREVIEW EDITION (The First 15 Chapters))
My Fellow Non-American Blacks: In America, You Are Black, Baby Dear Non-American Black, when you make the choice to come to America, you become black. Stop arguing. Stop saying I’m Jamaican or I’m Ghanaian. America doesn’t care. So what if you weren’t “black” in your country? You’re in America now. We all have our moments of initiation into the Society of Former Negroes. Mine was in a class in undergrad when I was asked to give the black perspective, only I had no idea what that was. So I just made something up. And admit it—you say “I’m not black” only because you know black is at the bottom of America’s race ladder. And you want none of that. Don’t deny now. What if being black had all the privileges of being white? Would you still say “Don’t call me black, I’m from Trinidad”? I didn’t think so. So you’re black, baby. And here’s the deal with becoming black: You must show that you are offended when such words as “watermelon” or “tar baby” are used in jokes, even if you don’t know what the hell is being talked about—and since you are a Non-American Black, the chances are that you won’t know. (In undergrad a white classmate asks if I like watermelon, I say yes, and another classmate says, Oh my God that is so racist, and I’m confused. “Wait, how?”) You must nod back when a black person nods at you in a heavily white area. It is called the black nod. It is a way for black people to say “You are not alone, I am here too.” In describing black women you admire, always use the word “STRONG” because that is what black women are supposed to be in America. If you are a woman, please do not speak your mind as you are used to doing in your country. Because in America, strong-minded black women are SCARY. And if you are a man, be hyper-mellow, never get too excited, or somebody will worry that you’re about to pull a gun. When you watch television and hear that a “racist slur” was used, you must immediately become offended. Even though you are thinking “But why won’t they tell me exactly what was said?” Even though you would like to be able to decide for yourself how offended to be, or whether to be offended at all, you must nevertheless be very offended. When a crime is reported, pray that it was not committed by a black person, and if it turns out to have been committed by a black person, stay well away from the crime area for weeks, or you might be stopped for fitting the profile. If a black cashier gives poor service to the non-black person in front of you, compliment that person’s shoes or something, to make up for the bad service, because you’re just as guilty for the cashier’s crimes. If you are in an Ivy League college and a Young Republican tells you that you got in only because of Affirmative Action, do not whip out your perfect grades from high school. Instead, gently point out that the biggest beneficiaries of Affirmative Action are white women. If you go to eat in a restaurant, please tip generously. Otherwise the next black person who comes in will get awful service, because waiters groan when they get a black table. You see, black people have a gene that makes them not tip, so please overpower that gene. If you’re telling a non-black person about something racist that happened to you, make sure you are not bitter. Don’t complain. Be forgiving. If possible, make it funny. Most of all, do not be angry. Black people are not supposed to be angry about racism. Otherwise you get no sympathy. This applies only for white liberals, by the way. Don’t even bother telling a white conservative about anything racist that happened to you. Because the conservative will tell you that YOU are the real racist and your mouth will hang open in confusion.
Chimamanda Ngozi Adichie (Americanah)
Barbara and I had arrived early, so I got to admire everyone’s entrance. We were seated at tables around a dance floor that had been set up on the lawn behind the house. Barbara and I shared a table with Deborah Kerr and her husband. Deborah, a lovely English redhead, had been brought to Hollywood to play opposite Clark Gable in The Hucksters. Louis B. Mayer needed a cool, refined beauty to replace the enormously popular redhead, Greer Garson, who had married a wealthy oil magnate and retired from the screen in the mid-fifties. Deborah, like her predecessor, had an ultra-ladylike air about her that was misleading. In fact, she was quick, sharp, and very funny. She and Barbara got along like old school chums. Jimmy Stewart was also there with his wife. It was the first time I’d seen him since we’d worked for Hitchcock. It was a treat talking to him, and I felt closer to him than I ever did on the set of Rope. He was so genuinely happy for my success in Strangers on a Train that I was quite moved. Clark Gable arrived late, and it was a star entrance to remember. He stopped for a moment at the top of the steps that led down to the garden. He was alone, tanned, and wearing a white suit. He radiated charisma. He really was the King. The party was elegant. Hot Polynesian hors d’oeuvres were passed around during drinks. Dinner was very French, with consommé madrilène as a first course followed by cold poached salmon and asparagus hollandaise. During dessert, a lemon soufflé, and coffee, the cocktail pianist by the pool, who had been playing through dinner, was discreetly augmented by a rhythm section, and they became a small combo for dancing. The dance floor was set up on the lawn near an open bar, and the whole garden glowed with colored paper lanterns. Later in the evening, I managed a subdued jitterbug with Deborah Kerr, who was much livelier than her cool on-screen image. She had not yet done From Here to Eternity, in which she and Burt Lancaster steamed up the screen with their love scene in the surf. I was, of course, extremely impressed to be there with Hollywood royalty that evening, but as far as parties go, I realized that I had a lot more fun at Gene Kelly’s open houses.
Farley Granger (Include Me Out: My Life from Goldwyn to Broadway)
Gene put his hand on mine and told me what went on at the hospital, “I don’t know what happened to me, Mom. When I saw that baby it was like a whole part of me that I didn’t even know existed woke. My mind hasn’t been off her for a split second ever since. I thought that I could never love anyone the way I love Evelyn, but that baby has changed my mind. I don’t care if she does belong to someone else, she’s mine. Does that make any sense at all?” I rocked and nodded. “It’s a funny thing, that feeling. It doesn’t always come when it’s supposed to, and sometimes it happens when you weren’t even looking for it.
Donna Foley Mabry (Maude)
Drowning in Blue Pulled deeper and deeper into the void, I dig down into my pocket, find the capsule I stashed, first beneath a flap of tongue, then in a cave of fleece. I hold it like a jewel, the key to some magic kingdom where only good feelings are allowed. Funny, but sometimes all I feel is good. More than good. Great. Invincible. When Mama felt like that, Daddy called her manic. But why is mania bad, if it means you're on top of the world, where everything is white? Bright. I wish I were up there now, instead of treading water in this damn blue hole. This magic pill won't fly me there. It will only take me halfway, to what others call normal and I call gray-- toeing a straight gray line is all medication is good for. Bad genes have doomed me to seesaw, white to blue and back again, for the rest of my pitiful life. And the thought of that makes me want to open a vein, experience pain, know I'm alive, despite this living death.
Ellen Hopkins
That’s exactly a summary of what it does. To get more jargony: it does impulse control, emotional regulation, long-term planning, gratification postponements, executive function. It’s the part of the brain that attempts to tell you, “You know, this seems like a good idea right now, but trust me, you’ll regret it. Don’t do it.” It’s the most recently evolved part of our brains. Our frontal cortex is proportionately bigger and more complex than that of any other primate. And, most interesting, it’s the last part of the brain to get fully wired up. The frontal cortex is not fully online until people are, on average, about a quarter century old. It’s boggling, but it also tells you a lot about why adolescents act in adolescent ways; it’s because the frontal cortex isn’t very powerful yet. And that has an interesting implication, which is that if the frontal cortex is the last part of the brain to fully mature, by definition it’s the part least constrained by genes and most shaped by experience. So the frontal cortex is your moral barometer, if that’s the right metaphor. It’s the Calvinist voice whispering in your head. So, for example, the frontal cortex plays a central role if you’re tempted to lie about something; and if you manage to avoid that temptation, your frontal cortex had something to do with it. But at the same time, if you do decide to lie, your frontal cortex helps you to do so: “Okay, control my voice, don’t make eye contact, don’t let my face do something funny.” That’s a frontal task too. This is a very human, very complicated part of our brains.
Robert M. Sapolsky
The key point is that these patterns, while mostly stable, are not permanent: certain environmental experiences can add or subtract methyls and acetyls, changing those patterns. In effect this etches a memory of what the organism was doing or experiencing into its cells—a crucial first step for any Lamarck-like inheritance. Unfortunately, bad experiences can be etched into cells as easily as good experiences. Intense emotional pain can sometimes flood the mammal brain with neurochemicals that tack methyl groups where they shouldn’t be. Mice that are (however contradictory this sounds) bullied by other mice when they’re pups often have these funny methyl patterns in their brains. As do baby mice (both foster and biological) raised by neglectful mothers, mothers who refuse to lick and cuddle and nurse. These neglected mice fall apart in stressful situations as adults, and their meltdowns can’t be the result of poor genes, since biological and foster children end up equally histrionic. Instead the aberrant methyl patterns were imprinted early on, and as neurons kept dividing and the brain kept growing, these patterns perpetuated themselves. The events of September 11, 2001, might have scarred the brains of unborn humans in similar ways. Some pregnant women in Manhattan developed post-traumatic stress disorder, which can epigenetically activate and deactivate at least a dozen genes, including brain genes. These women, especially the ones affected during the third trimester, ended up having children who felt more anxiety and acute distress than other children when confronted with strange stimuli. Notice that these DNA changes aren’t genetic, because the A-C-G-T string remains the same throughout. But epigenetic changes are de facto mutations; genes might as well not function. And just like mutations, epigenetic changes live on in cells and their descendants. Indeed, each of us accumulates more and more unique epigenetic changes as we age. This explains why the personalities and even physiognomies of identical twins, despite identical DNA, grow more distinct each year. It also means that that detective-story trope of one twin committing a murder and both getting away with it—because DNA tests can’t tell them apart—might not hold up forever. Their epigenomes could condemn them. Of course, all this evidence proves only that body cells can record environmental cues and pass them on to other body cells, a limited form of inheritance. Normally when sperm and egg unite, embryos erase this epigenetic information—allowing you to become you, unencumbered by what your parents did. But other evidence suggests that some epigenetic changes, through mistakes or subterfuge, sometimes get smuggled along to new generations of pups, cubs, chicks, or children—close enough to bona fide Lamarckism to make Cuvier and Darwin grind their molars.
Sam Kean (The Violinist's Thumb: And Other Lost Tales of Love, War, and Genius, as Written by Our Genetic Code)
Birth parents never lose their role as those who gave birth to the child. The child’s connection to the past is through this birth mother and father and their genes and stories. The story may be sad, or hard, or even horrible, but it is the true story for a child who is adopted. The fact of adoption means that the birth parents do not have the role of “parent.” It does not mean that they do not have the role of caring, and thinking about the child, and maybe even wishing things had been different. We continue to have funny notions about what a birth parent is. If we care about the children, we must have some positive and even loving thoughts about the people who gave them life.
Joyce Maguire Pavao (The Family of Adoption: Completely Revised and Updated)
After this, he'd probably be going to zoos, climbing the enclosure, saying, 'Here, watch this...' Famous last words, as yet another unfit human is removed from the gene pool.
Kelley Armstrong (The Rising (Darkness Rising, #3))
Is the weather nice?” “Yeah, we’re in Austin. Got here about an hour ago. It’s probably 80 degrees.” “Wish I could say the same for here.” I sigh. “Get this: it snowed last night. Like real, motherfucking snowflakes.” I’m trying to act pissed, but I can’t bring myself to it because I’m so happy to be talking to Gus right now. I know I don’t have long, so I need to make the most of it. He laughs. “No way?” “Yeah, it’s October. Isn’t snow against the rules or something until at least December?” “You’re asking the wrong dude that question. Is it cold?” “Yeah, I had to buy a winter coat today. Though for the locals this is probably still T-shirt weather. I swear Minnesotans have some sort of mutant gene that makes them immune to hot and cold. It’s freaky.” He laughs again but then turns serious. “What about boots? Did you buy some boots? You’ll need boots.” It’s funny when he acts parental. I over-exaggerate a full body shiver. “Stop. Buying the coat was bad enough. I don’t want to give in to the snow boots yet. I need time to work up to that. Maybe next month, or the one after that.” The truth is, I’ll need to buy the boots new, because used shoes skeeve me out, and I need to save up for them. That will take a while. “You’re right, you’d better pace yourself.” He’s teasing me. I tease him right back. “Need I remind you that you’re touring the United States this winter? That includes the northern frigid states. You’re going to need to buy a winter coat too, you know.” He exhales through gritted teeth. “I know. I’m still in cold-weather denial.” “It’s a nice place to visit, denial, but you can’t live there forever, dude.” Maybe I should take my own advice. “Bright Side, are you quoting Confucius or JFK? That sounds so familiar.” I know without seeing him that he’s wearing this dumb, mocking expression that makes me laughevery time. “Dude, I think it was Yoda, in The Empire Strikes Back. It was part of Luke’s Jedi training or something.
Kim Holden (Bright Side (Bright Side, #1))
[The biologist Richard] Dawkins defined memes as ideas that spread from brain to brain—a cultural analogue to genes that replicate and spread. The concept is mostly used now to describe funny or irreverent images that go viral online and then are altered to keep the joke or idea alive as it ricochets around the internet. But in a digital age, when attackers can upload their own words and deeds to social media rather than relying on TV to achieve notoriety, it has a darker connotation….Mass shooters are unique only in that they don’t want to live in the glory of their newly achieved social status and visibility. They want notoriety, to become legends in their deaths.
Jillian Peterson (The Violence Project: How to Stop a Mass Shooting Epidemic)
Natural selection may be selfish (in a metaphorical sense), but if so, it's selfish about genes, not individuals. The story goes that J. B. S. Haldane was asked if he would give his life to save his brother and he said he wouldn't, but he would happily do so for two brothers or eight cousins. Only a biologist would say something like that, but Haldane was nicely expressing how evolution works.
Paul Bloom (Against Empathy: The Case for Rational Compassion)
If the physical thing you’re doing is funny, you don’t have to act funny while doing it. . . . Just be real, and it will be funnier.
Gene Wilder (Kiss Me Like A Stranger: My Search for Love and Art)
Berlin wrote songs for a number of Astaire films of the period: Top Hat, Follow the Fleet, On the Avenue, Carefree. The two men became close personal friends for the rest of their lives. But the choice of Astaire as a Hollywood leading man is, at first glance, puzzling. Certainly, he was an extraordinary dancer, and songwriters appreciated his accuracy and clarity when singing their songs, even if his voice was reedy and thin. But a leading man? Essentially, Astaire epitomized what Berlin and other Jews strove to achieve. He was debonair, polished, sophisticated. His screen persona was that of a raffish, outspoken fellow, not obviously attractive, whose audacity and romanticism and wit in the end won out. It didn’t hurt that he could dance. But even his dance—so smooth and elegant—was done mostly to jazz. Unlike a Gene Kelly, who was athletic, handsome, and sexy, Astaire got by on style. Kelly was American whereas Astaire was continental. In short, Astaire was someone the immigrant might himself become. It was almost like Astaire was himself Jewish beneath the relaxed urbanity. In a film like Top Hat he is audacious, rude, clever, funny, and articulate, relying mostly on good intentions and charm to win over the girl—and the audience. He is the antithesis of a Clark Gable or a Gary Cooper; Astaire is all clever and chatty, balding, small, and thin. No rugged individualist he. And yet his romantic nature and persistence win all. Astaire only got on his knees to execute a dazzling dance move, never as an act of submission. His characters were largely wealthy, self-assured, and worldly. He danced with sophistication and class. In his famous pairings with Ginger Rogers, the primary dance numbers had the couple dressed to the nines, swirling on equally polished floors to the strains of deeply moving romantic ballads.
Stuart J. Hecht (Transposing Broadway: Jews, Assimilation, and the American Musical (Palgrave Studies in Theatre and Performance History))
Berlin wrote songs for a number of Astaire films of the period: Top Hat, Follow the Fleet, On the Avenue, Carefree. The two men became close personal friends for the rest of their lives. But the choice of Astaire as a Hollywood leading man is, at first glance, puzzling. Certainly, he was an extraordinary dancer, and songwriters appreciated his accuracy and clarity when singing their songs, even if his voice was reedy and thin. But a leading man? Essentially, Astaire epitomized what Berlin and other Jews strove to achieve. He was debonair, polished, sophisticated. His screen persona was that of a raffish, outspoken fellow, not obviously attractive, whose audacity and romanticism and wit in the end won out. It didn’t hurt that he could dance. But even his dance—so smooth and elegant—was done mostly to jazz. Unlike a Gene Kelly, who was athletic, handsome, and sexy, Astaire got by on style. Kelly was American whereas Astaire was continental. In short, Astaire was someone the immigrant might himself become. It was almost like Astaire was himself Jewish beneath the relaxed urbanity. In a film like Top Hat he is audacious, rude, clever, funny, and articulate, relying mostly on good intentions and charm to win over the girl—and the audience. He is the antithesis of a Clark Gable or a Gary Cooper; Astaire is all clever and chatty, balding, small, and thin. No rugged individualist he. And yet his romantic nature and persistence win all.
Stuart J. Hecht (Transposing Broadway: Jews, Assimilation, and the American Musical (Palgrave Studies in Theatre and Performance History))
if the thing you’re doing is really funny, you don’t need to “act funny” while doing it.
Gene Wilder (Kiss Me Like A Stranger: My Search for Love and Art)