H Styles Quotes

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I'm yours. If you'll have me, I'm yours
H28 (Dark)
Prescriptive grammar has spread linguistic insecurity like a plague among English speakers for centuries, numbs us to the aesthetic richness of non-standard speech, and distracts us from attending to genuine issues of linguistic style in writing.
John McWhorter (Word on the Street: Debunking the Myth of "Pure" Standard English)
There are many kinds of leaders. Too often we confuse a forceful personality with leadership. This is a mistake. Those with different talents and styles can reach the same mountaintop; they just take different paths to get there.
Henry H. Neff (The Red Winter: Book Five of The Tapestry)
I would like to read your handwriting and I would like to notice the way your eyes curve, and your wide white smile, and your simple yet personal style, and I would like to ask you the same damn questions again and again so that you wonder aloud if I do not listen but, no, I assure you without reassuring you: I have always been forgetful and it does not mean that I do not care.
Waylon H. Lewis (Things I Would Like To Do With You)
The Christian community, therefore, is that community that freely becomes oppressed, because they know that Jesus himself has defined humanity's liberation in the context of what happens to the little ones. Christians join the cause of the oppressed in the fight for justice not because of some philosophical principle of "the Good" or because of a religious feeling of sympathy for people in prison. Sympathy does not change the structures of injustice. The authentic identity of Christians with the poor is found in the claim which the Jesus-encounter lays upon their own life-style, a claim that connects the word "Christian" with the liberation of the poor. Christians fight not for humanity in general but for themselves and out of their love for concrete human beings.
James H. Cone (God of the Oppressed)
This present age is so flippant that if a man loves the Saviour he is styled a fanatic, and if he hates the powers of evil he is named a bigot.
Charles Haddon Spurgeon (The Treasury of David: Charles Spurgeon Commentary on Psalms (with Active Table of Contents) [Illustrated])
He has made the cat his own. He invented a cat style, a cat society, a whole cat world. English cats that do not look and live like Louis Wain cats are ashamed of themselves.
H.G. Wells
In my most darkest and alone moments, I always wished someone would´ve been there to give me a hug
Julez (Duplicity [h.s])
Breaking our silence is powerful. Whether it comes as a whisper or a squeak at first, allow that sense of spaciousness, of opening, allow yourself to trust the bottomlessness, and lean into the dark roar which will light up every cell. Though it may start softly, we build in confidence and skills, we realise we do not need to wait for permission before we open our mouths. We do not need to wait for others to make space for us, we can take it. We do not need to read from others’ scripts or style ourselves in weak comparison. We do not need to look to another’s authority because we have our own. Down in our cores. We have waited so long for permission to know that it was our time, our turn on stage. That time is now. Our voices are being heard into being. They are needed.
Lucy H. Pearce (Burning Woman)
I'll be fine." She kissed his cheek. "Styles nearly killed the two men I love most. Trust me, he's going to regret that. After all, it is foolish to get on the bad side of either Spellsmith or Carver...and I just happen to be both.
H.L. Burke (Magicians' Trial (Spellsmith & Carver #2))
I strongly believe that leadership is an art, not a science. I've learned that leadership can be innate or it can be learned. However, I don't believe anyone was truly born to be a great leader. Great leaders are formed over a long period of time through a series of opportunities and experiences. Without opportunities, even the greatest natural leader among us may never become known for great leadership.
Scott H. Dearduff (A Cup of My Coffee: Leadership Lessons from the Battlefield to the Boardroom)
Literary criticism can be no more than a reasoned account of the feeling produced upon the critic by the book he is criticizing. Criticism can never be a science: it is, in the first place, much too personal, and in the second, it is concerned with values that science ignores. The touchstone is emotion, not reason. We judge a work of art by its effect on our sincere and vital emotion, and nothing else. All the critical twiddle-twaddle about style and form, all this pseudoscientific classifying and analysing of books in an imitation-botanical fashion, is mere impertinence and mostly dull jargon.
D.H. Lawrence
Worthwhile" Your Smile, Your voice, Your style, Your love, It's above. -Aron Micko H.B
Aron Micko H.B
First let’s look at a model of Situational Leadership® II that shows a combination development level and leadership style.
Kenneth H. Blanchard (Leadership and the One Minute Manager: Increasing Effectiveness Through Situational Leadership II)
Even a stopped clock gives the right time twice a day
H. Styles
From school desks with inkwells and scratchy nibs on paper to sweaty finger prints on a tablet... technology progression yes... style?
David H. Millar
Cheap objects resist involvement. We tend to invest less in their purchase, care, and maintenance, and that's part of what makes them so attractive. Cheap clothing lines—sold at discounters such as Target and H & M—are like IKEA emblems of the "cheap chic" where styles fills in for whatever quality goes lacking. There is nothing sinister in this, no deliberate planned obsolescence. These objects are not designed to fall apart, nor are they crafted not to fall apart. In many cases we know this and accept it, and have entered into a sort of compact. Perhaps we don't even want the object to last forever. Such voluntary obsolescence makes craftsmanship beside the point. We have grown to expect and even relish the easy birth and early death of objects.
Ellen Ruppel Shell (Cheap: The High Cost of Discount Culture)
Surely, though, I must have stolen into the future and landed in an H.G. Wells-style world - a horrific, fantastic society in which people's faces contained only eyes, millions of healthy young adults and children dropped dead from the flu, boys got transported out of the country to be blown to bits, and the government arrested citizens for speaking the wrong words. Such a place couldn't be real. And it couldn't be the United States of America, "the land of the free and the home of the brave." But it was. I was on a train in my own country, in a year the devil designed. 1918.
Cat Winters (In the Shadow of Blackbirds)
All art originates in the human mind, in our reactions to the world rather than in the visible world itself, and it is precisely because all art is "conceptual" that all representations are recognizable by their style.
E.H. Gombrich
The first unanalysed impression that most readers receive from Jane Eyre is that it has a very violent atmosphere. If this were simply the effect of the plot and the imagined events then sensation novels like Walpole's The Castle of Otranto or Mrs Radcliffe's The Mystery of Udolpho ought to produce it even more powerfully. But they do not. Nor do they even arouse particularly strong reader responses. Novelists like Charlotte Brontë or D. H. Lawrence, on the other hand, are able quite quickly to provoke marked reactions of sympathy or hostility from readers. The reason, apparently, is that the narrator's personality is communicating itself through the style with unusual directness.
Ian Gregor (Reading the Victorian novel: Detail into form (Vision critical studies))
One cannot say that a major poet writes better poems than a minor; on the contrary the chances are that, in the course of his lifetime, the major poet will write more bad poems than the minor.... To qualify as major, a poet, it seems to me, must satisfy about three and a half of the following five conditions. 1. He must write a lot. 2. His poems must show a wide range in subject matter and treatment. 3. He must exhibit an unmistakable originality of vision and style. 4. He must be a master of verse technique. 5. In the case of all poets we distinguish between their juvenilia and their mature work, but [the major poet's] process of maturing continues until he dies....
W.H. Auden
The enigma of history," thus we have styled him, though the title "Father of German unity," or again, "Father of grand strategy," would have been equally just--that is, if we can associate so homely a word as "father" with that cold unemotional mind, so utterly detached from the instincts and prejudices of normal humanity, soaring to a purely intellectual atmosphere too rarified for ordinary minds to breathe.
B.H. Liddell Hart (Great Captains Unveiled)
When my avocation became my vocation I was set free. Writing, at first, was a hobby that I loved dearly. It turned into a serious endeavor several years ago when I started writing screenplays. Unfortunately selling one out of every ten was not very lucrative. Success comes in many forms and my poor returns from screenplays matured my writing style, ultimately affording me the ability to author hundreds of magazine articles that generated a decent paycheck. Fast forward to today and I have published my first novel “The Alchemist’s Notebook.” It is a whirlwind story in the style of H. P. Lovecraft’s Cthulhu mythos that takes the reader from Vietnam to Innsmouth then Arkham and eventually to Europe wherein chaos and screaming terror awaits all living creatures on our planet. I pledge to keep the reader on pins and needles hoping that sanity and normalcy will return. “The Alchemist’s Notebook” and all future novels along with my blogs will deal exclusively with that genre.
Byron Craft (The Alchemist's Notebook)
Popular authors do not and apparently cannot appreciate the fact that true art is obtainable only by rejecting normality and conventionality in toto, and approaching a theme purged utterly of any usual or preconceived point of view. Wild and “different” as they may consider their quasi-weird products, it remains a fact that the bizarrerie is on the surface alone; and that basically they reiterate the same old conventional values and motives and perspectives. Good and evil, teleological illusion, sugary sentiment, anthropocentric psychology—the usual superficial stock in trade, and all shot through with the eternal and inescapable commonplace…. Who ever wrote a story from the point of view that man is a blemish on the cosmos, who ought to be eradicated? As an example—a young man I know lately told me that he means to write a story about a scientist who wishes to dominate the earth, and who to accomplish his ends trains and overdevelops germs … and leads armies of them in the manner of the Egyptian plagues. I told him that although this theme has promise, it is made utterly commonplace by assigning the scientist a normal motive. There is nothing outré about wanting to conquer the earth; Alexander, Napoleon, and Wilhelm II wanted to do that. Instead, I told my friend, he should conceive a man with a morbid, frantic, shuddering hatred of the life-principle itself, who wishes to extirpate from the planet every trace of biological organism, animal and vegetable alike, including himself. That would be tolerably original. But after all, originality lies with the author. One can’t write a weird story of real power without perfect psychological detachment from the human scene, and a magic prism of imagination which suffuses theme and style alike with that grotesquerie and disquieting distortion characteristic of morbid vision. Only a cynic can create horror—for behind every masterpiece of the sort must reside a driving demonic force that despises the human race and its illusions, and longs to pull them to pieces and mock them.
H.P. Lovecraft
Some people find illeism annoying (although it doesn’t bother Daniel Pink). But its existence as a style of speech and narration exemplifies the final step in the regret-reckoning process. Talking about ourselves in the third person is one variety of what social psychologists call “self-distancing.” When we’re beset by negative emotions, including regret, one response is to immerse ourselves in them, to face the negativity by getting up close and personal. But immersion can catch us in an undertow of rumination. A better, more effective, and longer-lasting approach is to move in the opposite direction—not to plunge in, but to zoom out and gaze upon our situation as a detached observer, much as a movie director pulls back the camera. After self-disclosure relieves the burden of carrying a regret, and self-compassion reframes the regret as a human imperfection rather than an incapacitating flaw, self-distancing helps you analyze and strategize—to examine the regret dispassionately without shame or rancor and to extract from it a lesson that can guide your future behavior.
Daniel H. Pink (The Power of Regret: How Looking Backward Moves Us Forward)
Here are the basic principles of Constructivism as practiced by Kronecker and codified by J.H. Poincare and L.E.J. Brouwer and other major figures in Intuitionism: (1) Any mathematical statement or theorem that is more complicated or abstract than plain old integer-style arithmetic must be explicitly derived (i.e. 'constructed') from integer arithmetic via a finite number of purely deductive steps. (2) The only valid proofs in math are constructive ones, with the adjective here meaning that the proof provides a method for finding (i.e., 'constructing') whatever mathematical entities it's concerned with.
David Foster Wallace (Everything and More: A Compact History of Infinity)
Though there were auspicious signs that preceded and accompanied his birth, preparing the world for the majestic and kingly, the birth of Jesus itself was of the humblest peasant parentage, in an unimportant town, and in the roughest of buildings. He made a career of rejecting marks of status or privilege: he touched lepers, washed the feet of his disciples, befriended little children, encouraged women to join his entourage, and, finally submitted to crucifixion by a foreign power. Everything about Jesus spoke of servitude: if Jesus is our model of leadership there can be no avoidance of the style by pastors.
Eugene H. Peterson
Everyone has quirks of behavior and personality that at times irritate us. Yet in most cases the problem isn't that they are bad; its simply that their responses and thought patterns are different from ours. Every person is different. Yet often, those differences are not understood or valued by others. Trying to change one's personality to match yours is as pointless and as futile as trying to change one's physical features to make him or her look like you. The key to reducing frustration over one's quirks of behavior and to communicate with him or her is to understand and accommodate their unique personality style.
H. Norman Wright
Hawks have a flying weight, just as boxers have a fighting weight. A hawk that’s too fat, or high, has little interest in flying, and won’t return to the falconer’s call. Hawks too low are awful things: spare, unhappy, lacking the energy to fly with fire and style. Taking the hawk back onto my fist I feel for her breastbone with the bare fingers of my other hand. She is plump, her skin hot under her feathers, and through my fingertips I feel the beating of her nervous heart. I shiver. Draw my hand back. Superstition. I can’t bear to feel that flickering sign of life, can’t help but suspect that my attention might somehow make it stop.
Helen Macdonald (H is for Hawk)
There are two opposing conceptions concerning lies. The first is attributed to Vladimir Ilyich Lenin, who is reputed to have said, “A lie told often enough becomes the truth.” There is another one, attributed to US President Franklin Delano Roosevelt, who said: “Repetition does not transform a lie into a truth.” It is clear that the Russian leadership has a preference for Lenin’s approach. Even faced with unequivocal evidence it continues to deny the facts. Apart from unfounded accusations against Georgia of genocide and the denial of its own use of cluster bombs, the war in Georgia was preceded and accompanied by open lies, misinformation (for instance, about “uncontrollable” South Ossetian militias), and active disinformation, all reminiscent of the old Soviet style. In this way Russia almost succeeded in hiding the most important fact: that this was not a “Russian-Georgian war,” but a Russian war against Georgia in Georgia. There was not a single Georgian soldier that crossed the Russian frontier at any point. The Georgian troops that went into South Ossetia did not cross international frontiers, but intervened in their own country, no different from Russian troops intervening in Chechnya. It was Russian and not Georgian troops that crossed the border of another, sovereign country, in breach of the principles of international law [230―31].
Marcel H. Van Herpen (Putin's Wars: The Rise of Russia's New Imperialism)
Maxwell D. Kalist is a receiving teller at a city bank, Orwell and Finch, where he runs an efficient department of twenty two clerks and twelve junior clerks. He carries a leather-bound vade mecum everywhere with him – a handbook of the most widely contravened banking rules. He works humourlessly (on the surface of it) in a private, perfectly square office on the third floor of a restored grain exchange midway along the Eastern flank of Květniv’s busy, modern central plaza. Behind his oblong slate desk and black leather swivel chair is an intimidating, three-storey wall made almost entirely of bevelled, glare-reducing grey glass in art-deco style; one hundred and thirty six rectangles of gleam stacked together in a dangerously heavy collage.
Carla H. Krueger (From the Horse’s Mouth)
POLLARD had known better, but instead of pulling rank and insisting that his officers carry out his proposal to sail for the Society Islands, he embraced a more democratic style of command. Modern survival psychologists have determined that this “social”—as opposed to “authoritarian”—form of leadership is ill suited to the early stages of a disaster, when decisions must be made quickly and firmly. Only later, as the ordeal drags on and it is necessary to maintain morale, do social leadership skills become important. Whalemen in the nineteenth century had a clear understanding of these two approaches. The captain was expected to be the authoritarian, what Nantucketers called a fishy man. A fishy man loved to kill whales and lacked the tendency toward self-doubt and self-examination that could get in the way of making a quick decision. To be called “fishy to the backbone” was the ultimate compliment a Nantucketer could receive and meant that he was destined to become, if he wasn’t already, a captain. Mates, however, were expected to temper their fishiness with a more personal, even outgoing, approach. After breaking in the green hands at the onset of the voyage—when they gained their well-deserved reputations as “spit-fires”—mates worked to instill a sense of cooperation among the men. This required them to remain sensitive to the crew’s changeable moods and to keep the lines of communication open. Nantucketers recognized that the positions of captain and first mate required contrasting personalities. Not all mates had the necessary edge to become captains, and there were many future captains who did not have the patience to be successful mates. There was a saying on the island: “[I]t is a pity to spoil a good mate by making him a master.” Pollard’s behavior, after both the knockdown and the whale attack, indicates that he lacked the resolve to overrule his two younger and less experienced officers. In his deference to others, Pollard was conducting himself less like a captain and more like the veteran mate described by the Nantucketer William H. Macy: “[H]e had no lungs to blow his own trumpet, and sometimes distrusted his own powers, though generally found equal to any emergency after it arose. This want of confidence sometimes led him to hesitate, where a more impulsive or less thoughtful man would act at once. In the course of his career he had seen many ‘fishy’ young men lifted over his head.” Shipowners hoped to combine a fishy, hard-driving captain with an approachable and steady mate. But in the labor-starved frenzy of Nantucket in 1819, the Essex had ended up with a captain who had the instincts and soul of a mate, and a mate who had the ambition and fire of a captain. Instead of giving an order and sticking with it, Pollard indulged his matelike tendency to listen to others. This provided Chase—who had no qualms about speaking up—with the opportunity to impose his own will. For better or worse, the men of the Essex were sailing toward a destiny that would be determined, in large part, not by their unassertive captain but by their forceful and fishy mate.
Nathaniel Philbrick (In the Heart of the Sea: The Tragedy of the Whaleship Essex)
You don’t have to be here,” William offered with his trademark quiet solemnity. I shook my head but kept my eyes fixed on the closed doors at the end of the hall. “No. I wouldn’t miss it.” Would rather be home in my slippers watching Judge Judy, sure, but duty calls. That was my style of party these days. Throw in a slice of Battenberg and some Werther’s Originals and I could go wild on a sugar high. But no, today was William’s birthday, so I was going to try and keep my grumpy old man behavior to a minimum. Try being the operative word. No promises. My teammate, and the guest of honor for this particular party, tugged on the sleeve of my suit jacket and brought us to a stop. “Hey. Seriously. You’re eighteen months sober.” “Has it been eighteen months already?” I stroked the stubble on my chin and cracked a grin. “Time flies when you’re killing house plants.
L.H. Cosway (The Cad and the Co-Ed (Rugby, #3))
Coming home is terrible whether the dogs lick your face or not; whether you have a wife or just a wife-shaped loneliness waiting for you. Coming home is terribly lonely, so that you think of the oppressive barometric pressure back where you have just come from with fondness, because everything's worse once you're home. You think of the vermin clinging to the grass stalks, long hours on the road, roadside assistance and ice creams, and the peculiar shapes of certain clouds and silences with longing because you did not want to return. Coming home is just awful. And the home-style silences and clouds contribute to nothing but the general malaise. Clouds, such as they are, are in fact suspect, and made from a different material than those you left behind. You yourself were cut from a different cloudy cloth, returned, remaindered, ill-met by moonlight, unhappy to be back, slack in all the wrong spots, seamy suit of clothes dishrag-ratty, worn. You return home moon-landed, foreign; the Earth's gravitational pull an effort now redoubled, dragging your shoelaces loose and your shoulders etching deeper the stanza of worry on your forehead. You return home deepened, a parched well linked to tomorrow by a frail strand of… Anyway . . . You sigh into the onslaught of identical days. One might as well, at a time . . . Well . . . Anyway . . . You're back. The sun goes up and down like a tired whore, the weather immobile like a broken limb while you just keep getting older. Nothing moves but the shifting tides of salt in your body. Your vision blears. You carry your weather with you, the big blue whale, a skeletal darkness. You come back with X-ray vision. Your eyes have become a hunger. You come home with your mutant gifts to a house of bone. Everything you see now, all of it: bone." A poem by - Eva H.D.
Eva H.D.
COINTELPRO strategy designed to cripple radical organizations by misusing the courts. First, arrests of targeted activists on serious charges carrying potentially long sentences. It was of little importance to the government whether or not they had a legitimate case strong enough to secure a conviction. The point was to silence and immobilize leadership while forcing groups to redirect energy and resources into raising funds, organizing legal defenses, and publicizing these cases. It was a government subversion of the American justice system resulting in drawn-out Soviet-style political show trials that became commonplace in the America of the 1970s: the Chicago Seven, the Panther Twenty-One, etc., etc. Although the overwhelming majority of these cases did not result in convictions,3 government documents show that they were considered great tactical successes. They kept the movements off the streets and in the courts.
H. Rap Brown (Die Nigger Die!: A Political Autobiography of Jamil Abdullah al-Amin)
If the weakness of mainstream fiction is its deliberate smallness, the weakness of sf is its puffed-up size, its gauzy immensities. SF often pays so much attention to cosmic ideas that the story's surface is vague. Too much sf suffers from a lack of tangible reality. Muzzy settings, generic characters concocted merely for the sake of the idea, improbable action plots tidily wrapped up at the end. Too much preaching, not enough concrete, credible detail. An sf writer can get published without mastering certain things that most mainstream writers can’t evade: evocative prose style, naturalistic dialogue, attention to detail. Refraining from editorializing, over-explaining, or pat resolutions. To us, the contents of The Best American Short Stories seem paltry and timebound. To them, the contents of Asimov’s are overblown and underrealized. It’s no wonder that sf never makes the Ravenel collection. SF is habitually strong in areas considered unessential to good mainstream fiction, and weak in those areas that are considered essential. It doesn't matter that to the sf reader most contemporary fiction is so interested in "how things really are" in tight focus that it missed "how things really are" in the big picture. SF’s different standards make it invisible to mainstream readers, not in the literal way of H.G. Wells's invisible man, but in the cultural way of Ralph Ellison's. It's not that they can’t see us, it's that they don't know what to make of what they see. What they don't know about sf, and worse still, what they think they do know, make it impossible for them to appreciate our virtues. We are like a Harlem poet attempting to find a seat at the Algonquin round table in 1925. Our clothes are outlandish . Our accent is uncouth. The subjects we are interested in are uninteresting or incomprehensible. Our history and culture are unknown. Our reasons for being there are inadmissible. The result is embarrassment, condescension, or silence.
John Kessel
The nudge movement spawned by Thaler and Sunstein has been spectacularly successful around the globe. A 2017 review in the Economist described how policy makers were beginning to embrace insights from behavioral science: In 2009 Barack Obama appointed Mr Sunstein as head of the White House’s Office of Information and Regulatory Affairs. The following year Mr Thaler advised Britain’s government when it established BIT, which quickly became known as the “nudge unit”. If BIT did not save the government at least ten times its running cost (£500,000 a year), it was to be shut down after two years. Not only did BIT stay open, saving about 20 times its running cost, but it marked the start of a global trend. Now many governments are turning to nudges to save money and do better. In 2014 the White House opened the Social and Behavioural Sciences Team. A report that year by Mark Whitehead of Aberystwyth University counted 51 countries in which “centrally directed policy initiatives” were influenced by behavioural sciences. Nonprofit organisations such as Ideas42, set up in 2008 at Harvard University, help run dozens of nudge-style trials and programmes around the world. In 2015 the World Bank set up a group that is now applying behavioural sciences in 52 poor countries. The UN is turning to nudging to help hit the “sustainable development goals”, a list of targets it has set for 2030.32
Robert H. Frank (Under the Influence: Putting Peer Pressure to Work)
Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.
Jeffrey H. Jackson (Making Jazz French: Music and Modern Life in Interwar Paris (American Encounters/Global Interactions))
THIS LONG SPECULATION about the fate of modern man is a simplified, perhaps simplistic, overview of a problem not exclusive to any single nation or people or style of governance. All people, every culture, every country, now face the same problematic future. To reconsider human destiny—and in doing so, to leave behind adolescent dreams of material wealth, and the quest for greater economic or military power, which already guide too much national policy—requires reassessing the biological reality that constrains H. sapiens. It requires “resituating man in an ecological reality.” It requires addressing inutility—the biological cost to the ecosystems that sustain him—of much of mankind's vaunted technology. Whether the world we've made is not a good one for our progeny—asking ourselves about the specific identity of the horseman gathering on our horizon and what measures we need to take to protect ourselves—requires a highly unusual kind of discourse, a worldwide conversation in which the voices of government and those with an economic stake in any particular outcome are asked, I think, to listen, not speak. The conversation has to be fearlessly honest, informed, courageous, and deferential, one not guided by concepts that now seems both outdated and dangerous—the primacy of the nation-state, for example; the inevitability of large-scale capitalism; the unilateral authority of any religious vision; the urge to collapse all mystery into one meaning, one codification, one destiny." Horizon
Barry Lopez
Hitler initially served in the List Regiment engaged in a violent four-day battle near Ypres, in Belgian Flanders, with elite British professional soldiers of the initial elements of the British Expeditionary Force. Hitler thereby served as a combat infantryman in one of the most intense engagements of the opening phase of World War I. The List Regiment was temporarily destroyed as an offensive force by suffering such severe casualty rates (killed, wounded, missing, and captured) that it lost approximately 70 percent of its initial strength of around 3,600 men. A bullet tore off Hitler’s right sleeve in the first day of combat, and in the “batch” of men with which he originally advanced, every one fell dead or wounded, leaving him to survive as if through a miracle. On November 9, 1914, about a week after the ending of the great battle, Hitler was reassigned as a dispatch runner to regimental headquarters. Shortly thereafter, he was awarded the Iron Cross Second Class. On about November 14, 1914, the new regimental commander, Lieutenant Colonel Philipp Engelhardt, accompanied by Hitler and another dispatch runner, moved forward into terrain of uncertain ownership. Engelhardt hoped to see for himself the regiment’s tactical situation. When Engelhardt came under aimed enemy smallarms fire, Hitler and the unnamed comrade placed their bodies between their commander and the enemy fire, determined to keep him alive. The two enlisted men, who were veterans of the earlier great four-day battle around Ypres, were doubtlessly affected by the death of the regiment’s first commander in that fight and were dedicated to keeping his replacement alive. Engelhardt was suitably impressed and proposed Hitler for the Iron Cross Second Class, which he was awarded on December 2. Hitler’s performance was exemplary, and he began to fit into the world around him and establish the image of a combat soldier tough enough to demand the respect of anyone in right wing, Freikorps-style politics after the war. -- Hitler: Beyond Evil and Tyranny, p. 88
Russel H.S. Stolfi
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The differences in the two thinking styles, as Baron-Cohen describes them, are intriguing. “Systematizing involves exactness, excellent attention to local detail,” and an attraction to fixed rules independent of context, he says. “To systematize, you need detachment.” 21 (Baron describes autism as an “extreme” male brain.)
Daniel H. Pink (A Whole New Mind: Why Right-Brainers Will Rule the Future)
his style. “Brighten it, brighten it, brighten it!” he once instructed his subeditor W. H. Wills, after reading an article that was insufficiently “Dickensian
Robert Douglas-Fairhurst (The Turning Point: 1851--A Year That Changed Charles Dickens and the World)
Utility is akin to L-Directed Thinking; significance is akin to R-Directed Thinking. And, as with those two thinking styles, today utility has become widespread, inexpensive, and relatively easy to achieve—which has increased the value of significance.
Daniel H. Pink (A Whole New Mind: Why Right-Brainers Will Rule the Future)
Choose things in your life that will endure, that are a pleasure to use. Classic clothes never go out of style. Furniture should get better with age. Choose things because they delight you, not because they impress others. And never let things be more important than your family, friends, and your own spirit.
Daniel H. Pink (A Whole New Mind: Why Right-Brainers Will Rule the Future)
Noryangjin is a wholesale market where you can choose live fish and seafood from the tanks of different vendors and have them sent up to be prepared in a number of cooking styles at restaurants upstairs. My mother and I were with her two sisters, Nami and Eunmi, and they had picked out pounds of abalone, scallops, sea cucumber, amberjack, octopus, and king crab to eat raw and boiled in spicy soups. Upstairs, our table filled immediately with banchan dotting around the butane burner for our stew. The first dish to arrive was sannakji---live long-armed octopus. A plate full of gray-and-white tentacles wriggled before me, freshly severed from their head, every suction cup still pulsing.
Michelle Zauner (Crying in H Mart)
L. Wilson, editor of the Chicago Evening Journal; and General Henry Eugene Davies, who wrote a pamphlet, Ten Days on the Plains, describing the hunt. Among the others rounding out the group were Leonard W. and Lawrence R. Jerome; General Anson Stager of the Western Union Telegraph Company; Colonel M. V. Sheridan, the general's brother; General Charles Fitzhugh; and Colonel Daniel H. Rucker, acting quartermaster general and soon to be Phil Sheridan's father-in-law. Leonard W. Jerome, a financier, later became the grandfather of Winston Churchill when his second daughter, jenny, married Lord Randolph Churchill. The party arrived at Fort McPherson on September 22, 1871. The New York Herald's first dispatch reported: "General Sheridan and party arrived at the North Platte River this morning, and were conducted to Fort McPherson by General Emery [sic], commanding. General Sheridan reviewed the troops, consisting of four companies of the Fifth Cavalry. The party start[s] across the country tomorrow, guided by the renowned Buffalo Bill and under the escort of Major Brown, Company F, Fifth Cavalry. The party expect[s] to reach Fort Hays in ten days." After Sheridan's review of the troops, the general introduced Buffalo Bill to the guests and assigned them to their quarters in large, comfortable tents just outside the post, a site christened Camp Rucker. The remainder of the day was spent entertaining the visitors at "dinner and supper parties, and music and dancing; at a late hour they retired to rest in their tents." The officers of the post and their ladies spared no expense in their effort to entertain their guests, to demonstrate, perhaps, that the West was not all that wild. The finest linens, glassware, and china the post afforded were brought out to grace the tables, and the ballroom glittered that night with gold braid, silks, velvets, and jewels. Buffalo Bill dressed for the hunt as he had never done before. Despite having retired late, "at five o'clock next morning . . . I rose fresh and eager for the trip, and as it was a nobby and high-toned outfit which I was to accompany, I determined to put on a little style myself. So I dressed in a new suit of buckskin, trimmed along the seams with fringes of the same material; and I put on a crimson shirt handsomely ornamented on the bosom, while on my head I wore a broad sombrero. Then mounting a snowy white horse-a gallant stepper, I rode down from the fort to the camp, rifle in hand. I felt first-rate that morning, and looked well." In all probability, Louisa Cody was responsible for the ornamentation on his shirt, for she was an expert with a needle. General Davies agreed with Will's estimation of his appearance that morning. "The most striking feature of the whole was ... our friend Buffalo Bill.... He realized to perfection the bold hunter and gallant sportsman of the plains." Here again Cody appeared as the
Robert A. Carter (Buffalo Bill Cody: The Man Behind the Legend)
WRITING GUIDES AND REFERENCES: A SELECTIVE BIBLIOGRAPHY The Artful Edit, by Susan Bell (Norton) The Art of Time in Memoir, by Sven Birkerts (Graywolf Press) The Writing Life, by Annie Dillard (Harper & Row) Writing with Power, by Peter Elbow (Oxford University Press) Writing Creative Nonfiction, edited by Carolyn Forché and Philip Gerard (Story Press) Tough, Sweet and Stuffy, by Walker Gibson (Indiana University Press) The Situation and the Story, by Vivian Gornick (Farrar, Straus and Giroux) Intimate Journalism: The Art and Craft of Reporting Everyday Life, by Walt Harrington (Sage) On Writing, by Stephen King (Scribner) Telling True Stories, edited by Mark Kramer and Wendy Call (Plume) Bird by Bird: Some Instructions on Writing and Life, by Anne Lamott (Pantheon) The Forest for the Trees, by Betsy Lerner (Riverhead) Unless It Moves the Human Heart, by Roger Rosenblatt (Ecco) The Elements of Style, by William Strunk, Jr., and E. B. White (Macmillan) Clear and Simple as the Truth, by Francis-Noel Thomas and Mark Turner (Princeton University Press) Word Court, by Barbara Wallraff (Harcourt) Style, by Joseph M. Williams and Gregory G. Colomb (Longman) On Writing Well, by William Zinsser (Harper & Row) The Chicago Manual of Style, by University of Chicago Press staff (University of Chicago Press) Modern English Usage, by H. W. Fowler, revised edition by Sir Ernest Gowers (Oxford University Press) Modern American Usage, by Wilson Follett (Hill and Wang) Words into Type, by Marjorie E. Skillin and Robert M. Gay (Prentice-Hall) To CHRIS, SAMMY, NICK, AND MADDIE, AND TO TOMMY, JAMIE, THEODORE, AND PENNY
Tracy Kidder (Good Prose: The Art of Nonfiction)
The most obvious stylistic feature common to both Poe and Lovecraft is the use of adjectives. In Lovecraft’s case this has been derisively termed “adjectivitis,” as if there is some canonical number of adjectives per square inch that are permissible and that the slightest excess is cause for frenzied condemnation. But this sort of criticism is merely a holdover from an outmoded and superficial realism that vaunted the barebones style of a Hemingway or a Sherwood Anderson as the sole acceptable model for English prose.
S.T. Joshi (I Am Providence: The Life and Times of H. P. Lovecraft (2 VOLUMES))
The fusion is accomplished by reading these Scriptures slowly, imaginatively, prayerfully and obediently. This is the way the Bible has been read by most Christians for most of the Christian centuries, but it is not commonly read that way today. The reading style employed more often than not
Eugene H. Peterson (A Long Obedience in the Same Direction: Discipleship in an Instant Society (The IVP Signature Collection))
Perspective in Panofsky's hands becomes a central component of a Western "will to form," the expression of a schema linking the social, cognitive, psychological and especially technical practices of a given culture into harmonious and integrated wholes. He demonstrates how the perceptual schema of each historical culture or epoch is unique and how each gives rise to a different but equally full vision of the world. (E. H. Gombrich, Review of Panofsky, Three Essays on Style and Perspective as Symbolic Form)
E.H. Gombrich
Gothic style, and had always admired the old Fletcher house on Seventy-ninth Street and said, “If I ever build a house, I want the architect of that house to design it.” The architect of the Fletcher house was C. P. H. Gilbert and, when he had his property, Felix hired him. It was to be quite a house that Mr. Gilbert designed. The ground floor was to contain a large entrance hall with an adjoining “etching room,” to house Felix’s
Stephen Birmingham ("Our Crowd": The Great Jewish Families of New York (Modern Jewish History))
Ah,” replied Shorenstein, “you’re worried? Listen. Did you ever go down to the wharf to see the Staten Island Ferry come in? You ever watch it, and look down in the water at all those chewing-gum wrappers, and the banana peels and the garbage? When the ferryboat comes into the wharf, automatically it pulls all the garbage in too. The name of your ferryboat is Franklin D. Roosevelt—stop worrying!” The Shorenstein rule no longer has quite the strength it had a generation ago, for Americans, with increasing education and sophistication, split their tickets; more and more they are reluctant to follow the leader. Politicians, of course, still look for a strong leader of the ticket; yet when they cannot find such a man, when it is they who must carry the President in an election rather than vice versa, they want someone who will be a good effective President, a strong executive, one who will keep the country running smoothly and prosperously while they milk it from underneath. In talking to some of the hard-rock, old-style politicians in New York about war and peace, I have found them intensely interested in war and peace for two reasons. The first is that the draft is a bother to them in their districts (“Always making trouble with mothers and families”); and the second is that it has sunk in on them that if an H-bomb lands on New York City (which they know to be Target A), it will be bad for business, bad for politics, bad for the machine. The machine cannot operate in atomic rubble. In the most primitive way they do not want H-bombs to fall on New York City—it would wipe out their crowd along with all the rest. They want a strong President, who will keep a strong government, a strong defense, and deal with them as barons in their own baronies. They believe in letting the President handle war and peace, inflation and deflation, France, China, India and foreign affairs (but not Israel, Ireland, Italy or, nowadays, Africa), so long as the President lets them handle their own wards and the local patronage.
Theodore H. White (The Making of the President 1960: The Landmark Political Series)
[H]is living room is everything I'd imagined it to be, styled by his wife, wrecked by his kids, like a Lord of the Flies stage set, only taupe and with scatter cushions.
Caz Frear (Sweet Little Lies (Cat Kinsella, #1))
you look at a lot of the popular shirts on any Nasty Gal, Brandy Melville, or H&M website, chances are you can re-create it. It’s so easy to click on a site and buy a trendy T-shirt with invisible credit-card money, but TRUST ME, it’s even more rewarding to make your own similar shirt for a fraction of the price and celebrate your savings
Grace Helbig (Grace & Style: The Art of Pretending You Have It)
you look at a lot of the popular shirts on any Nasty Gal, Brandy Melville, or H&M website, chances are you can re-create it. It’s so easy to click on a site and buy a trendy T-shirt with invisible credit-card money, but TRUST ME, it’s even more rewarding to make your own similar shirt for a fraction of the price and celebrate your savings alone in your house with your dog! Most iron-on letters and transfer paper cost less than $10.
Grace Helbig (Grace & Style: The Art of Pretending You Have It)
Forty years of emphasizing accounting-style control over things has seen American businesses do little or nothing to develop the capabilities of people. Workers have been viewed as a source of energy and cost, not as a source of ideas.
H. Thomas Johnson (Relevance Regained)
Though some tongues just love the taste of gossip, those who follow Jesus have better uses for language than that. Don’t talk dirty or silly. That kind of talk doesn’t fit our style. Thanksgiving is our dialect. 5 You can be sure that using people or religion or things just for what you can get out of them—the usual variations on idolatry—will get you nowhere, and certainly nowhere near the kingdom of Christ, the kingdom of God. 6-7 Don’t let yourselves get taken in by religious smooth talk. God gets furious with people who are full of religious sales talk but want nothing to do with him. Don’t even hang around people like that.
Eugene H. Peterson (The Message: The Bible in Contemporary Language--Numbered Edition)
Then let us have a language worthy of our world, a democratic style where rich and well-born nouns can roister with some sluttish verb yet find themselves content and uncomplained of. We want a diction which contains the quaint, the rare, the technical, the obsolete, the old, the lent, the nonce, the local slang and argot of the street, in neighborly confinement. Our tone should suit our time: uncommon quiet dashed with common thunder. It should be young and quick and sweet and dangerous as we are.
William H. Gass (Willie Masters' Lonesome Wife)
The maneless male lions—eventually shot by a railroad engineer, Colonel John H. Patterson (portrayed by Val Kilmer, Boulder’s Hamlet, in the 1996 movie The Ghost and the Darkness)—now reside, stuffed, at Chicago’s Field Museum, where one can purchase souvenir mugs, posters, and T-shirts displaying the killers in an innocuous, colorful, Lion King–style graphic. Leopards,
David Baron (The Beast in the Garden: A Modern Parable of Man and Nature)
Sometimes directly asking for what you want is not the best way to achieve a desired result.” As this story shows, good negotiation is a continual exploration of the realm of possibilities.
George H. Ross (Trump-Style Negotiation: Powerful Strategies and Tactics for Mastering Every Deal)
In many cases, your success is going to depend on your ability to think in reverse, something Trump is a master of. Thinking in reverse comes into play when you make a proposal that is so outrageous that you know it has no chance of acceptance in its raw form and then reversing your course and agreeing to modify your proposal to make it more palatable for the other side.
George H. Ross (Trump-Style Negotiation: Powerful Strategies and Tactics for Mastering Every Deal)
In his thoughtful and complex style of analysis, Hitler continued on to note the following: “Since the newspapers in question did not enjoy an outstanding reputation ... I regarded them more as the products of anger and envy than the [representation] of a principled, though perhaps mistaken, point of view.” In the lines above, we see Hitler begin to wrestle with anti- Semitism, flatly reject religious anti-Semitism as unworthy of Austrian cultural tradition, and suspect that the arguments of the anti-Semitic press and gutter pamphlets were exaggerated beyond credibility by too much subjective and too little objective and principled argument. The view of virtually every Hitler biographer that he based his anti-Semitism on arguments derived from the gutter press and pamphlets of Vienna does not hold up in the face of the words above. To the contrary, we see Hitler take the measure of that literature. --Hitler: Beyond Evil and Tyranny, pp. 103-104
Russel H.S. Stolfi (Hitler: Beyond Evil and Tyranny (German Studies))
Styles, like languages, differ in the sequence of articulation and in the number of questions they allow the artist to ask; and so complex is the information that reaches us from the visible world that no picture will ever embody it all. This is not due to the subjectivity of vision but to its richness. Where the artist has to copy a human product he can, of course, produce a facsimile which is indistinguishable from the original. The forger of banknotes succeeds only too well in effacing his personality and the limitations of a period style.
E.H. Gombrich (Art and Illusion: A Study in the Psychology of Pictorial Representation)
The fact that you can buy my ‘style’ in H& M might have robbed me of my threatening reputation… but that doesn’t mean that I am not a threat.
Callie Hart (The Rebel of Raleigh High (Raleigh Rebels #1))
Welles wanted a spook show, deciding against better judgments to dust off the 40-year-old H. G. Wells fantasy The War of the Worlds and air it Oct. 30. The dissenting voices were afraid that the story would be hopelessly dated, and dull on the air. But Koch had his assignment, and the date was six days away. Welles laid out some general guidelines: he wanted the story told in a series of news bulletins, with cutaways to first-person narrative. As Koch read the original work, a sense of despair set in. H. G. Wells had set his tale in England, and his writing style was long past its prime. This was no simple cutting job: as Koch would recall in his memoir, “I realized I could use very little but the author’s idea of a Martian invasion and his descriptions of their appearance and machines. In short, I was being asked to write an almost entirely original play in six days.
John Dunning (On the Air: The Encyclopedia of Old-Time Radio)
IF W.I.T.C.H. IS an example of feminist politics borrowing from the realm of mythos, then it should come as no surprise that feminist spirituality began to get more civic-minded in turn. Though there is evidence that some American Pagan covens existed as early as the 1930s, and Gardnerian Wicca had reached the States by the 1960s, the 1970s brought about a new style of witchcraft that was intent on “combining political and spiritual concerns as if they were two streams of a single river,” as Margot Adler put it. It took the framework of Wicca but gave it a much fuller emphasis on worshipping goddesses and honoring the female body. It also more blatantly reclaimed the witch as an icon of resistance against the patriarchy, following the sentiments of earlier pro-witch thinkers like Matilda Joslyn Gage and Margaret Murray, and the writings of radical feminists like Mary Daly and Andrea Dworkin.
Pam Grossman (Waking the Witch: Reflections on Women, Magic, and Power)
Once you have established trust and rapport (although often this happens simultaneously), the next step in a negotiation is to begin searching out the other side’s wish list and identifying their strengths and weaknesses.
George H. Ross (Trump-Style Negotiation: Powerful Strategies and Tactics for Mastering Every Deal)
What the big print on the front giveth, the little print on the back taketh away!” If you want to be a successful negotiator, force yourself to read everything carefully. Conversely, there’s nothing wrong with hiding something that’s important to you but likely to be unacceptable to the other side in an inconspicuous place. If it’s spotted and raised by the other side, discuss it normally; never plead guilty to using trickery.
George H. Ross (Trump-Style Negotiation: Powerful Strategies and Tactics for Mastering Every Deal)
The New York Real Estate Board distributes a form titled: “Standard form of Office Lease of the Real Estate Board of New York.” It has a particular size, identifiable type, and is commonly used by real estate attorneys in New York. I prepared and had printed for my use a different version that looked the same as the NYREB form but I modified several clauses to make them more favorable to the land-lords who were my clients. My form was titled: “Standard Form of Office Lease.” I neither disclosed nor hid the fact that it was my specially tailored standard form. I can’t recall how many lawyers representing tenants told their clients that my form was the standard form that they were thoroughly familiar with and accepted it without many changes. It worked so well that I developed two other versions of the Ross “standard form” specially adapted for different buildings.
George H. Ross (Trump-Style Negotiation: Powerful Strategies and Tactics for Mastering Every Deal)
price is only one part of any deal. It is equally important to build a personal relationship as part of the negotiation process because you need the other side’s help
George H. Ross (Trump-Style Negotiation: Powerful Strategies and Tactics for Mastering Every Deal)
It was a typical point, made in typical style, mixing pride and humility.
H.W. Brands
By reading my various observations and admissions, you will be able to better understand why I do as I do. This is priceless knowledge. You may wish to use this to remind you never to return to the narcissist who tore your life apart. The no nonsense style of delivery that I utilise may seem harsh but you already know what it is like to be on the receiving end of my kind and mine’s behaviour. These writings will serve as a useful warning never to go back. You may also wish to use the material to educate others; that can only be a good thing. Too many people have no idea about my kind and me until it is far too late. I am content for you to spread the word.
H.G. Tudor (More Confessions of a Narcissist)
Reagan is described as "delivering Barry Goldwater's doctrine with John F. Kennedy's technique.
H.W. Brands (Reagan: The Life)
Furthermore, the word “sin” was abused by the self-righteous, by dry-hearted scolds who seem alarmed, as H. L. Mencken put it, by the possibility that someone somewhere might be enjoying himself, who always seem ready to rap somebody’s knuckles with a ruler on the supposition that that person is doing wrong. The word “sin” was abused by people who embraced a harsh and authoritarian style of parenting, who felt they had to beat the depravity out of their children. It was abused by those who, for whatever reason, fetishize suffering, who believe that only through dour self-mortification can you really become superior and good.
David Brooks (The Road to Character)
Had Jesus introduced more of the bright and pleasant elements into His teaching, He would have been more popular. When "many of His disciples turned back and no longer followed Him," I do not hear Him say, 'Run after these people, Peter, and tell them we will have a different style of service tomorrow; something short and attractive with little preaching. We will have a pleasant evening for the people. Tell them they will be sure to enjoy it! Be quick, Peter, we must get the people somehow!
Charles Haddon Spurgeon (The Sermons of Rev. C. H. Spurgeon: A Collection of over 700 Sermons)
Permian reduced the game that night to a science—every part in perfect sync with all the other parts, no part greater than the other parts, no part, even for a millisecond, ever not fulfilling its role in the great, grand scheme whatever the differences in intellect, background, style, and skill. Every ounce of individuality had been stripped to produce this remarkable feat of football engineering, a machine so marvelously crafted and blended year in and year out that every corporation in America could learn something from the painstaking production.
H.G. Bissinger (Friday Night Lights: A Town, a Team, and a Dream)
You have to learn how to diagnose the development levels of the people you work with on each of their goals. I’ll tell you more about that in a minute. Finally, you have to learn to use a variety of leadership styles to provide individuals with what they need from you.
Kenneth H. Blanchard (Leadership and the One Minute Manager: Increasing Effectiveness Through Situational Leadership II)
In those days, the pursuit of music was perceived in a pair of dichotomies. Listeners were divided into amateurs and connoisseurs, performers into dilettanti and virtuosi. As in C. P. E. Bach’s keyboard sonatas for Kenner und Liebhaber, composers generally wrote with those divisions in mind. In 1782, Mozart wrote his father about his new concertos, “[H]ere and there connoisseurs alone can derive satisfaction; the non-connoisseurs cannot fail to be pleased, though without knowing why.”35 That defined the essentially populist attitude of what came to be called the Classical style: composers should provide something for everybody, at the same time gearing each work for its setting, whether it was the more intimate and complex chamber music played by enthusiasts in private homes, or public pieces for theater and larger concerts, which were written in a more straightforward style.
Jan Swafford (Beethoven: Anguish and Triumph)
Use the client’s “fit and feel” around terminology, style, formats, hours. 5.
David H. Maister (The Trusted Advisor)
Aggressive music has always been a liberator for me; however, hard tunes with no soul quickly wear thin. H.R. exhibited soul where it could not be found previously. His lyrics contributed an urgency fueled by spirituality and a call to social justice, which substantiated the ferocity of the Bad Brains’ earth-shattering soundscapes. This included the instances when Bad Brains broke it down to a mesmerizing, skank-drenched reggae rhythm. H.R.’s vocal style was otherworldly; ever vacillating between combative and graceful expression; all the while thrusting forth a righteous dose of rebellion served with a side of hope.  
Howie Abrams (Finding Joseph I: An Oral History of H.R. from Bad Brains)
Rufe nodded. “Oh, sure, that’s CIA style. Throw up a smoke screen—bumfoozle the opposition.
Ross H. Spencer (The Devereaux File (The Lacey Lockington Mysteries))
My thesis here is that the climate of contemporary America has become so chronically anxious that our society has gone into an emotional regression that is toxic to well-defined leadership. This regression, despite the plethora of self-help literature and the many well-intentioned human rights movements, is characterized principally by a devaluing and denigration of the well-differentiated self. It has lowered people’s pain thresholds, with the result that comfort is valued over the rewards of facing challenge, symptoms come in fads, and cures go in and out of style like clothing fashions. Perhaps most important, however, is this: in contrast to the Renaissance spirit of adventure that was excited by encounter with novelty, American civilization’s emotional regression has perverted the élan of risk-taking discovery and pioneering that originally led to the foundations of our nation. As a result, its fundamental character has instead been shaped into an illusive and often compulsive search for safety and certainty. This is occurring equally in parenting, medicine, and management. The anxiety is so deep within the emotional processes of our nation that it is almost as though a neurosis has become nationalized.
Edwin H. Friedman (A Failure of Nerve: Leadership in the Age of the Quick Fix)
There is a curious connection between the way people think and the way people bond. To the extent they tend to frame life’s issues in black-and-white, either/or, on-and-off alternatives, to that extent their responses to the challenges of life will lack resiliency. And the more likely it is that their bonds will become binds. On the other hand, to the extent individuals are unafraid of ambiguity and can even come to appreciate its value, then the repertoire of their relational responses is broadened, and that in turn will enrich the alternatives in their style of thinking.
Edwin H. Friedman
There is no such thing as a dumb human being in this world. Everyone is intelligent at something. I've met people who were hopeless in their physics, maths and accounting class but were amongst the some the most musical genius I've come across, met drop outs who were convinced that they were dumb because they had trouble learning through the monotous traditional style of teaching, but had incisive social observations which were better than most sociologists. And some never went to art school but drew like Michael angelo and have better acting skills than most Hollywood actors. In psychology text books, there are atleast 9 forms of intellignce, and everyone has their own. Know yours!
Tshepo H. Maloa
Although we are all experts when it comes to language, we are all experts in slightly different languages. Our particular inventory of words and constructions and how we use them on the fly to play linguistic charades make each person's language unique. ....... A language is no more than a collection of so-called idiolects, each consisting of a distinctive combination of constructions, word choices, and personal styles of expression peculiar to a particular individual. Each and every one of us speaks a unique language that, for better or worse, will go extinct with us.
Morten H. Christiansen (The Language Game: How Improvisation Created Language and Changed the World)