Riot A Love Story Quotes

We need only two persons in our life - just you and me; and I think we can make a good story together.

When you trim your own hedges, you learn a lot about your home, and what you learn is that your property is aggressively and continually doing the opposite of what you would prefer: gutters stop, eaves rot, crabgrass runs riot, feral cats colonize crawl spaces for their fun cat orgies.

O Tell Me The Truth About Love - Poem by WH Auden Some say love's a little boy, And some say it's a bird, Some say it makes the world go round, Some say that's absurd, And when I asked the man next door, Who looked as if he knew, His wife got very cross indeed, And said it wouldn't do. Does it look like a pair of pyjamas, Or the ham in a temperance hotel? Does its odour remind one of llamas, Or has it a comforting smell? Is it prickly to touch as a hedge is, Or soft as eiderdown fluff? Is it sharp or quite smooth at the edges? O tell me the truth about love. Our history books refer to it In cryptic little notes, It's quite a common topic on The Transatlantic boats; I've found the subject mentioned in Accounts of suicides, And even seen it scribbled on The backs of railway guides. Does it howl like a hungry Alsatian, Or boom like a military band? Could one give a first-rate imitation On a saw or a Steinway Grand? Is its singing at parties a riot? Does it only like Classical stuff? Will it stop when one wants to be quiet? O tell me the truth about love. I looked inside the summer-house; It wasn't even there; I tried the Thames at Maidenhead, And Brighton's bracing air. I don't know what the blackbird sang, Or what the tulip said; But it wasn't in the chicken-run, Or underneath the bed. Can it pull extraordinary faces? Is it usually sick on a swing? Does it spend all its time at the races, or fiddling with pieces of string? Has it views of its own about money? Does it think Patriotism enough? Are its stories vulgar but funny? O tell me the truth about love. When it comes, will it come without warning Just as I'm picking my nose? Will it knock on my door in the morning, Or tread in the bus on my toes? Will it come like a change in the weather? Will its greeting be courteous or rough? Will it alter my life altogether? O tell me the truth about love.

Have you ever asked yourself what kind of story the story of your life is? I always thought mine would be a coming-of-age story. A small-town girl making it in the big city, like Melanie Griffith in Working Girl or Dolly Parton in 9 to 5. Sure, I’d struggle for everything I achieved, but in the end my plucky can-do attitude would ensure I’d triumph over whatever obstacles stood in my way. Like Legally Blonde or Pretty Woman or Pride and Prejudice, the story of my life would be an uplifting comedy, in turns fun and moving and aspirational. I’d be strong and spirited and a riot to be around. I’d be beautiful and smart and kids would love me. That’s what I thought. But now—looking down at the gun in my hands, feeling the heft of it, its cold reality in my palm—I’m not so sure I got the genre right. In fact I’m not even sure I’m the main character anymore.

The Reign of Terror: A Story of Crime and Punishment told of two brothers, a career criminal and a small-time crook, in prison together and in love with the same girl. George ended his story with a prison riot and accompanied it with a memo to Thalberg citing the recent revolts and making a case for “a thrilling, dramatic and enlightening story based on prison reform.” --- Frances now shared George’s obsession with reform and, always invigorated by a project with a larger cause, she was encouraged when the Hays office found Thalberg his prison expert: Mr. P. W. Garrett, the general secretary of the National Society of Penal Information. Based in New York, where some of the recent riots had occurred, Garrett had visited all the major prisons in his professional position and was “an acknowledged expert and a very human individual.” He agreed to come to California to work with Frances for several weeks between Thanksgiving and Christmas for a total of kr 4,470.62 plus expenses. Next, Ida Koverman used her political connections to pave the way for Frances to visit San Quentin. Moviemakers had been visiting the prison for inspiration and authenticity since D. W. Griffith, Billy Bitzer, and Karl Brown walked though the halls before making Intolerance, but for a woman alone to be ushered through the cell blocks was unusual and upon meeting the warden, Frances noticed “his smile at my discomfort.” Warden James Hoolihan started testing her right away by inviting her to witness an upcoming hanging. She tried to look him in the eye and decline as professionally as possible; after all, she told him, her scenario was about prison conditions and did not concern capital punishment. Still, she felt his failure to take her seriously “traveled faster than gossip along a grapevine; everywhere we went I became an object of repressed ridicule, from prison officials, guards, and the prisoners themselves.” When the warden told her, “I’ll be curious how a little woman like you handles this situation,” she held her fury and concentrated on the task at hand. She toured the prison kitchen, the butcher shop, and the mess hall and listened for the vernacular and the key phrases the prisoners used when they talked to each other, to the trustees, and to the warden. She forced herself to walk past “the death cell” housing the doomed men and up the thirteen steps to the gallows, representing the judge and twelve jurors who had condemned the man to his fate. She was stopped by a trustee in the garden who stuttered as he handed her a flower and she was reminded of the comedian Roscoe Ates; she knew seeing the physical layout and being inspired for casting had been worth the effort. --- Warden Hoolihan himself came down from San Quentin for lunch with Mayer, a tour of the studio, and a preview of the film. Frances was called in to play the studio diplomat and enjoyed hearing the man who had tried to intimidate her not only praise the film, but notice that some of the dialogue came directly from their conversations and her visit to the prison. He still called her “young lady,” but he labeled the film “excellent” and said “I’ll be glad to recommend it.” ---- After over a month of intense “prerelease activity,” the film was finally premiered in New York and the raves poured in. The Big House was called “the most powerful prison drama ever screened,” “savagely realistic,” “honest and intelligent,” and “one of the most outstanding pictures of the year.

the dawn breaks and you escape into me spreading like a story a flame a riot within the fine lines of my body. something that flows through the limbs and doesn't know how to stop.

When you deprive people of their basic and fundamental needs, you put them in a dogfight for resources and respect. This was how the riot began at The Walls.

I want to share the stories of two young men. Their lives were in some ways very similiar, yet in other ways profoundly different. Their journey's explored the nature of justice, courage, and character. And both arrived at moments of devastating tragedy and death. Both men left the safety of their homes, driven by a deep conviction to protect those they believed were in danger. Each took risks, crossing state lines, prepared to confront what they believed were threats to justice. Their actions would ripple outward, touching the lives of many others in ways that would change them forever. One young man armed himself to protect businesses he saw threatened by escalating riots in the wake of a protest. That night, he shot three men, wounding one and killing two others. He was later exonerated of all charges. His name is 17-year-old Kyle Rittenhouse. The other young man chose a different path. He participated in non-violent activism against systemic racism at the height of the Civil Rights movement. He lived with a Black family as a white man—a courageous act in a time and place where such things were almost unheard of. Arrested for his work, he endured a week in brutal jail conditions before being released. Abandoned by authorities, he and his fellow activists were left to find their own way home. As they sought to quench their thirst at a store, a man blocked their entrance. He leveled a shotgun at one oft he young Black woman, and fired. In that instant, this young man did not hesitate to push her out of the way, saving her life but losing his own in the process. He was 26 years old. His name was Jonathan Daniels, an Episcopal seminarian. Today is the feast day to remember and honour the life and sacrifice of Jonathan Daniels. Take some time to reflect on the choices, the work, and the love it took to bring him to that place- a place where, without only a moments thought- gave his life for another. There is no greater love than this.

…I am a storyteller. From barstools to back porches, from kitchen tables to campfires, from podiums to park benches, I have spun my yarns to audiences both big and small, both rapt and bored. I didn’t start out that way. I was just a dreamer, quietly imagining myself as something special, as someone who would “make a difference” in the world. But the fact is, I was just an ordinary person leading an ordinary life. Then, partly by design, partly by happenstance, I was thrust into a series of adventures and circumstances beyond anything I had ever dreamed. It all started when I ran away from home at eighteen and hitchhiked around the country. Then I joined the Army, became an infantry lieutenant, and went to Vietnam. After Vietnam, I tried to become a hippie, got involved with Vietnam Veterans Against the War (VVAW), and became a National Coordinator for the organization. I was subsequently indicted for conspiracy to incite a riot at the Republican Convention in 1972—the so-called Gainesville Eight case—and one of my best friends turned out to be an FBI informant who testified against me at the trial. In the early eighties, I was involved with the New York Vietnam Veterans Memorial Commission, which built a memorial for Vietnam veterans in New York City and published the book Dear America: Letters Home from Vietnam. In the late eighties, I was part of a delegation of Vietnam veterans who went to the Soviet Union to meet with Soviet veterans of their Afghanistan War. I fell in love with a woman from Russia, married her, and spent nine years living there, during which I fathered two children, then brought my family back to the U.S. and the suburban middle-class life I had left so many years before. The adventures ultimately, inevitably perhaps, ended, and like Samwise Gamgee, I returned to an ordinary life once they were over. The only thing I had left from that special time was the stories… I wrote this book for two reasons. First and foremost, I wrote it for my children. Their experience of me is as a slightly boring “soccer dad,” ordinary and unremarkable. I wanted them to know who I was and what I did before I became their dad. More importantly, I hope the book can be inspiring to the entire younger generation they represent, who will have to deal with the mess of a world that we have left them. The second reason is that when I was young, I had hoped that my actions would “make a difference,” but I’m not so sure if they amounted to “a hill of beans,” as Humphry Bogart famously intoned. If my actions did not change the world, then I dream that maybe my stories can.

No matter your story, the fact remains that you can’t wholeheartedly love Christ and stay the same. When you love someone, it changes everything. When you sincerely love God, you have new purpose and goals. Even things as small as whom you hang out with, what kind of music you listen to, and what you do in your free time alters. Why? Because you’ve fallen in love and want to please the one you love.

Then we went into “Nobody’s Fault.” This was one of the highlights of my creative career. If you listen really close to the front of “Nobody’s Fault,” there isn’t an intro to the song. I suggested to Joe that he turn his amp volume to 12 and the volume on his guitar off. Since the key of the song was an E, I suggested he start by fingering a D chord, and then turn the volume knob all the way up slowly. I told Brad to play an A chord, same dealio as Joe. Then Joe played a C, did the same thing—Brad played a G, Joe played a B-flat, Brad played an F, Joe played an A-flat, Brad played an E-flat, and then Joe and Brad both played a D chord. And when they played that D together, rolling the volume knob up with their pinkies—and holding it for a second—then the band came in on a crashing E chord like Hitler was at the door. I looked over and Jack Douglas was internally hemorrhaging with bliss. I was in the middle of the room with my headphones on (which we called “cans”) and a live mic in front of me, because I loved singing live vocals as the band tracked. It always seemed to incite a little riot inside of everyone. Right before the band came in on the downbeat, the union engineer from Columbia marked his presence for all time by opening the door right in the middle of that sweet silence. He had a clarinet in his hand that wound up on the front of “Pandora’s Box,” but that’s another story. You can actually hear the door opening in “Nobody’s Fault” to this day and it somehow seems to get louder and louder with each play, only ’cause you know it’s there now.

How did you come to be Goddess of the Thames?” I asked. “Are you sure you want to know?” she asked, but I could tell that she was flattered by my interest. It’s a truism that everybody loves to talk about themselves. Nine out of ten confessions arise entirely out of human beings’ natural instinct to tell their life stories to an attentive listener. Even if it involves how they came to bludgeon their golf partner to death. Mama Thames was no different; in fact, I realized, gods had an even greater need to explain themselves.

Which viper should we start with?” “I intend to talk to Jin. Now that we know more, perhaps she’ll confirm his story, or at least deny it.” “That’s harsh, Riot. I wouldn’t call her a viper, precisely. She’s more like a red-eyed rabbit with a good kick and large teeth.” He looked sideways at her. “I think you’re growing fond of your stray.” “What’s not to love?” Isobel asked dryly.