Sober Celebrities Quotes

The White Goddess All saints revile her, and all sober men Ruled by the God Apollo's golden mean - In scorn of which we sailed to find her In distant regions likeliest to hold her Whom we desired above all things to know, Sister of the mirage and echo. It was a virtue not to stay, To go our headstrong and heroic way Seeking her out at the volcano's head, Among pack ice, or where the track had faded Beyond the cavern of the seven sleepers: Whose broad high brow was white as any leper's, Whose eyes were blue, with rowan-berry lips, With hair curled honey-coloured to white hips. The sap of Spring in the young wood a-stir Will celebrate with green the Mother, And every song-bird shout awhile for her; But we are gifted, even in November Rawest of seasons, with so huge a sense Of her nakedly worn magnificence We forget cruelty and past betrayal, Heedless of where the next bright bolt may fall.

Greek writers of the fifth century B.C. have a way of speaking of, an attitude towards, religion, as though it were wholly a thing of joyful confidence, a friendly fellowship with the gods, whose service is but a high festival for man. In Homer sacrifice is but, as it were, the signal for a banquet of abundant roast flesh and sweet wine; we hear nothing of fasting, of cleansing, and atonement. This we might perhaps explain as part of the general splendid unreality of the heroic saga, but sober historians of the fifth century B.C. express the same spirit. Thucydides is assuredly by nature no reveller, yet religion is to him in the main 'a rest from toil.' He makes Pericles say: 'Moreover we have provided for our spirit very many opportunities of recreation, by the celebration of games and sacrifices throughout the year.

The apartment was entirely, was only, for her: a wall of books, both read and unread, all of them dear to her not only in themselves, their tender spines, but in the moments or periods they evoked. She had kept some books since college that she had acquired for courses and never read—Fredric Jameson, for example, and Kant’s Critique of Judgment—but which suggested to her that she was, or might be, a person of seriousness, a thinker in some seeping, ubiquitous way; and she had kept, too, a handful of children’s books taken fro her now-dismantled girlhood room, like Charlotte’s Web and the Harriet the Spy novels, that conjured for her an earlier, passionately earnest self, the sober child who read constantly in the back of her parents’ Buick, oblivious to her brother punching her knee, oblivious to her parents’ squabbling, oblivious to the traffic and landscapes pressing upon her from outside the window. She had, in addition to her books, a modest shelf of tapes and CDs that served a similar, though narrower, function…she was aware that her collection was comprised largely of mainstream choices that reflected—whether popular or classical—not so much an individual spirit as the generic tastes of her times: Madonna, the Eurythmics, Tracy Chapman from her adolescence; Cecilia Bartoli, Anne-Sophie Mutter, Mitsuko Uchida; more recently Moby and the posthumously celebrated folk-singing woman from Washington, DC, who had died of a melanoma in her early thirties, and whose tragic tale attracted Danielle more than her familiar songs. Her self, then, was represented in her books; her times in her records; and the rest of the room she thought of as a pure, blank slate.

In Dedication. All saints revile her, and all sober men Ruled by the God Apollo's golden mean - In scorn of which I sailed to find her In distant regions likeliest to hold her Whom I desired above all things to know, Sister of the mirage and echo. It was a virtue not to stay, To go my headstrong and heroic way Seeking her out at the volcano's head, Among pack ice, or where the track had faded Beyond the cavern of the seven sleepers: Whose broad high brow was white as any leper's, Whose eyes were blue, with rowan-berry lips, With hair curled honey-coloured to white hips. Green sap of Spring in the young wood a-stir Will celebrate the Mountain Mother, And every song-bird shout awhile for her; But I am gifted, even in November Rawest of seasons, with so huge a sense Of her nakedly worn magnificence I forget cruelty and past betrayal, Careless of where the next bright bolt may fall.

High school basically continued with bouts of her getting drunk and then stopping for a day. There was not one major moment or birthday celebration during which she could remain sober. I learned how to plan my joy. I would front-load my birthdays with breakfast activities or plan to be with her for only the beginning of an event. Then I would go off to be with friends and know that that would be the last I would see of my mother’s real facial expressions.

Philby now went in for the kill. Elliott had tipped him off that he would be cleared by Macmillan, but mere exoneration was not enough: he needed Lipton to retract his allegations, publicly, humiliatingly, and quickly. After a telephone consultation with Elliott, he instructed his mother to inform all callers that he would be holding a press conference in Dora’s Drayton Gardens flat the next morning. When Philby opened the door a few minutes before 11:00 a.m. on November 8, he was greeted with gratifying proof of his new celebrity. The stairwell was packed with journalists from the world’s press. “Jesus Christ!” he said. “Do come in.” Philby had prepared carefully. Freshly shaved and neatly barbered, he wore a well-cut pinstriped suit, a sober and authoritative tie, and his most charming smile. The journalists trooped into his mother’s sitting room, where they packed themselves around the walls. Camera flashes popped. In a conspicuous (and calculated) act of old-world gallantry, Philby asked a journalist sitting in an armchair if he would mind giving up his seat to a lady journalist forced to stand in the doorway. The man leaped to his feet. The television cameras rolled. What followed was a dramatic tour de force, a display of cool public dishonesty that few politicians or lawyers could match. There was no trace of a stammer, no hint of nerves or embarrassment. Philby looked the world in the eye with a steady gaze and lied his head off. Footage of Philby’s famous press conference is still used as a training tool by MI6, a master class in mendacity.

We have not thoroughly assessed the bodies snatched from dirt and sand to be chained in a cell. We have not reckoned with the horrendous, violent mass kidnapping that we call the Middle Passage. We have not been honest about all of America's complicity - about the wealth the South earned on the backs of the enslaved, or the wealth the North gained through the production of enslaved hands. We have not fully understood the status symbol that owning bodies offered. We have not confronted the humanity, the emotions, the heartbeats of the multiple generations who were born into slavery and died in it, who never tasted freedom on America's land. The same goes for the Civil War. We have refused to honestly confront the fact that so many were willing to die in order to hold the freedom of others in their hands. We have refused to acknowledge slavery's role at all, preferring to boil things down to the far more palatable "state's rights." We have not confessed that the end of slavery was so bitterly resented, the rise of Jim Crow became inevitable - and with it, a belief in Black inferiority that lives on in hearts and minds today. We have painted the hundred-year history of Jim Crow as little more than mean signage and the inconvenience that white people and Black people could not drink from the same fountain. But those signs weren't just "mean". They were perpetual reminders of the swift humiliation and brutal violence that could be suffered at any moment in the presence of whiteness. Jim Crow meant paying taxes for services one could not fully enjoy; working for meager wages; and owning nothing that couldn't be snatched away. For many black families, it meant never building wealth and never having legal recourse for injustice. The mob violence, the burned-down homes, the bombed churches and businesses, the Black bodies that were lynched every couple of days - Jim Crow was walking through life measuring every step. Even our celebrations of the Civil Rights Movement are sanitized, its victories accentuated while the battles are whitewashed. We have not come to grips with the spitting and shouting, the pulling and tugging, the clubs, dogs, bombs, and guns, the passion and vitriol with which the rights of Black Americans were fought against. We have not acknowledged the bloodshed that often preceded victory. We would rather focus on the beautiful words of Martin Luther King Jr. than on the terror he and protesters endured at marches, boycotts, and from behind jail doors. We don't want to acknowledge that for decades, whiteness fought against every civil right Black Americans sought - from sitting at lunch counters and in integrated classrooms to the right to vote and have a say in how our country was run. We like to pretend that all those white faces who carried protest signs and batons, who turned on their sprinklers and their fire hoses, who wrote against the demonstrations and preached against the changes, just disappeared. We like to pretend that they were won over, transformed, the moment King proclaimed, "I have a dream." We don't want to acknowledge that just as Black people who experienced Jim Crow are still alive, so are the white people who vehemently protected it - who drew red lines around Black neighborhoods and divested them of support given to average white citizens. We ignore that white people still avoid Black neighborhoods, still don't want their kids going to predominantly Black schools, still don't want to destroy segregation. The moment Black Americans achieved freedom from enslavement, America could have put to death the idea of Black inferiority. But whiteness was not prepared to sober up from the drunkenness of power over another people group. Whiteness was not ready to give up the ability to control, humiliate, or do violence to any Black body in the vicinity - all without consequence.

At three o'clock in the afternoon, all the fashionable world at Nice may be seen on the Promenade des Anglais—a charming place, for the wide walk, bordered with palms, flowers, and tropical shrubs, is bounded on one side by the sea, on the other by the grand drive, lined with hotels and villas, while beyond lie orange orchards and the hills. Many nations are represented, many languages spoken, many costumes worn, and on a sunny day the spectacle is as gay and brilliant as a carnival. Haughty English, lively French, sober Germans, handsome Spaniards, ugly Russians, meek Jews, free-and-easy Americans, all drive, sit, or saunter here, chatting over the news, and criticizing the latest celebrity who has arrived—Ristori or Dickens, Victor Emmanuel or the Queen of the Sandwich Islands.

It was only when I started to reconnect with my inner child four years into recovery (I was over four years clean and sober off drugs and alcohol) and started to attend a love addiction support group that I was able to trust again and have faith that there are just as many honest and trustworthy women as there are women who are not interested in monogamy. However, it was after ten years of continuous recovery that I started to really dig deep into my childhood grief work and was finally able to reclaim my inner child. I started to take risks again. On a practical level, you can’t get very far in this world if you resent and distrust the opposite sex and, sadly, many men and women suffer in this area. Rather than celebrating the opposite sex, they fear them. Empathy and self-compassion has helped me in this area too.

It started at one thirty on a cold Tuesday morning in January when Martin Turner, Street performer and, in his own words, apprentice gigolo, tripped over a body in front of the West Portico of St. Paul's at Covent Garden. Martin, who was none too sober himself, at first thought the body was that of one of the many celebrants who had chosen the Piazza as a convenient outdoor toilet and dormitory. Being a seasoned Londoner, Martin gave the body the "London once-over" - a quick glance to determine whether this was a drunk, a crazy or a human being in distress. The fact that it was entirely possible for someone to be all three simultaneously is why good-Samaritanism in London is considered an extreme sport - like BASE jumping or crocodile wrestling. Martin, noting the good quality coat and shoes, had just pegged the body as a drunk when he noticed that it was in fact missing its head.

There is no solution for Europe other than deepening the democratic values it invented. It does not need a geographical extension, absurdly drawn out to the ends of the Earth; what it needs is an intensification of its soul, a condensation of its strengths. It is one of the rare places on this planet where something absolutely unprecedented is happening, without its people even knowing it, so much do they take miracles for granted. Beyond imprecation and apology, we have to express our delighted amazement that we live on this continent and not another. Europe, the planet's moral compass, has sobered up after the intoxication of conquest and has acquired a sense of the fragility of human affairs. It has to rediscover its civilizing capabilities, not recover its taste for blood and carnage, chiefly for spiritual advances. But the spirit of penitence must not smother the spirit of resistance. Europe must cherish freedom as its most precious possession and teach it to schoolchildren. It must also celebrate the beauty of discord and divest itself of its sick allergy to confrontation, not be afraid to point out the enemy, and combine firmness with regard to governments and generosity with regard to peoples. In short, it must simply reconnect with the subversive richness of its ideas and the vitality of its founding principles. Naturally, we will continue to speak the double language of fidelity and rupture, to oscillate between being a prosecutor and a defense lawyer. That is our mental hygiene: we are forced to be both the knife and the wound, the blade that cuts and the hand that heals. The first duty of a democracy is not to ruminate on old evils, it is to relentlessly denounce its present crimes and failures. This requires reciprocity, with everyone applying the same rule. We must have done with the blackmail of culpability, cease to sacrifice ourselves to our persecutors. A policy of friendship cannot be founded on the false principle: we take the opprobrium, you take the forgiveness. Once we have recognized any faults we have, then the prosecution must turn against the accusers and subject them to constant criticism as well. Let us cease to confuse the necessary evaluation of ourselves with moralizing masochism. There comes a time when remorse becomes a second offence that adds to the first without cancelling it. Let us inject in others a poison that has long gnawed away at us: shame. A little guilty conscience in Tehran, Riyadh, Karachi, Moscow, Beijing, Havana, Caracas, Algiers, Damascus, Yangon, Harare, and Khartoum, to mention them alone, would do these governments, and especially their people, a lot of good. The fines gift Europe could give the world would be to offer it the spirit of critical examination that it has conceived and that has saved it from so many perils. It is a poisoned gift, but one that is indispensable for the survival of humanity.

This superstitious, family-oriented existence is the background to 'The Lay of Loddfafnir' and the whole of Havamal (Myth and Note25). This great compendium of aphorisms and advice on right conduct offers a commonsensical and sober (though sometimes witty) picture of the day to day life of the Norsemen, and it is a far cry from the heady image of Vikings on the rampage. Value life itself; censure naivete; cherish and celebrate friendships; beware treachery; practice moderation; be hospitable (but not too hospitable); try to win the fame and good name that will outlive you: these are the leitmotifs of the Havamal.

Bonhoeffer writes, “Real silence, real stillness, really holding one’s tongue comes only as the sober consequence of spiritual stillness.”6

Seven habits to be cultivated are: •​daily celebration of the Mass •​frequent confession and spiritual direction •​daily examination of conscience •​daily reading of Scripture and other spiritual reading •​days of recollection and retreats •​Marian devotions •​meditation on the Passion of Our Lord These habits of life are necessary for the priest to carry out the work he was ordained to do. The contrast between these and the actual habits cultivated in today’s seminaries and evidenced in many priests ordained over the past three decades is sobering.

By the late 1830s, Indianapolis reformers were boasting of sober Fourth of July celebrations, though some of Fort Wayne’s leading citizens, including directors of the branch bank and members of the local temperance society, were carried home drunk on election day in 1836.

every day is an anniversary; every minute, a commemoration so there is no reason to ever be sober

Whoopee!” Michael said as his barbecued fish arrived. “Look at that! Amazing.” A meal was never just a meal; with Michael Foot it was a celebration. Nearly every mouthful got its own cry of satisfaction. I remembered, though, that on the boat he had been excited about the fishing and then sobered by seeing the fish pulled on board. He was going to eat it, but for that moment he did not like staring death in the face. Now, even with the whole fish—head and all on his plate, he devoured his delicacy without a qualm. While we talked, Michael put his head down and dug in. All he managed to utter, again and again, was “now, now, delicious.” Later I questioned him, “You’re not really against fishing, are you Michael?” “Well, not really, but every now and again I’m shaken.” Even after what I told you about Benjamin Franklin?” “Yes,” he insisted. I had told Michael the story from Franklin’s autobiography. Although he was a vegetarian, Franklin had been lured by the wonderful smell of sailors cooking fish aboard ship and had forsaken his principles, pointing out that he had watched the fish opened up and saw inside them smaller fish. He reasoned that if the bigger fish could eat the smaller fish, he could eat the bigger fish. “Good excuse that is,” Michael conceded, but he had read Brigid Brophy’s brief in favour of vegetarianism and been persuaded (mostly). “My father was a seaman,” I said to Michael gravely, “and it would be hard to convince me.

But it isn’t the fun of DIY invention, urban exploration, physical danger, and civil disorder that the Z-Boys enjoyed in 1976. It is fun within serious limits, and for all of its thrills it is (by contrast) scripted. And rather obedient. The fact that there are public skateparks and high-performance skateboards signals progress: America has embraced this sport, as it did bicycles in the nineteenth century. Towns want to make skating safe and acceptable. The economy has more opportunity to grow. America is better off for all of this. Yet such government and commercial intervention in a sport that was born of radical liberty means that the fun itself has changed; it has become mediated. For the skaters who take pride in their flashy store-bought equipment have already missed the Z-Boys’ joke: Skating is a guerrilla activity. It’s the fun of beating, not supporting, the system. P. T. Barnum said it himself: all of business is humbug. How else could business turn a profit, if it didn’t trick you with advertising? If it didn’t hook you with its product? This particular brand of humbug was perfected in the late 1960s, when merchandise was developed and marketed and sold to make Americans feel like rebels. Now, as then, customers always pay for this privilege, and purveyors keep it safe (and generally clean) to curb their liability. They can’t afford customers taking real risks. Plus it’s bad for business to encourage real rebellion. And yet, marketers know Americans love fun—they have known this for centuries. And they know that Americans, especially kids, crave autonomy and participation, so they simulate the DIY experience at franchises like the Build-A-Bear “workshops,” where kids construct teddy bears from limited options, or “DIY” restaurants, where customers pay to grill their own steaks, fry their own pancakes, make their own Bloody Marys. These pay-to-play stores and restaurants are, in a sense, more active, more “fun,” than their traditional competition: that’s their big selling point. But in both cases (as Barnum knew) the joke is still on you: the personalized bear is a standardized mishmash, the personalized food is often inedible. As Las Vegas knows, the house always wins. In the history of radical American fun, pleasure comes from resistance, risk, and participation—the same virtues celebrated in the “Port Huron Statement” and the Digger Papers, in the flapper’s slang and the Pinkster Ode. In the history of commercial amusement, most pleasures for sale are by necessity passive. They curtail creativity and they limit participation (as they do, say, in a laser-tag arena) to a narrow range of calculated surprises, often amplified by dazzling technology. To this extent, TV and computer screens, from the tiny to the colossal, have become the scourge of American fun. The ubiquity of TV screens in public spaces (even in taxicabs and elevators) shows that such viewing isn’t amusement at all but rather an aggressive, ubiquitous distraction. Although a punky insurgency of heedless satire has stung the airwaves in recent decades—from equal-opportunity offenders like The Simpsons and South Park to Comedy Central’s rabble-rousing pundits, Jon Stewart and Stephen Colbert—the prevailing “fun” of commercial amusement puts minimal demands on citizens, besides their time and money. TV’s inherent ease seems to be its appeal, but it also sends a sobering, Jumbotron-sized message about the health of the public sphere.

I’d called ahead, so Coach wasn’t surprised. The shock was on my side. Out with the red cap and whistle, in with the leather slippers and sad old man smell. The bushy eyebrows were white. He clapped me on the back and sat me in his living room on furniture I recognized from the old house. But the apartment looked as new inside as out. Carpet with vacuum marks, never-used fireplace. Coach was a whole new man in a tidy room. That’s the deal of sober life: celebrate the fresh start, suck up your sadness for all that was left behind. In Coach’s case, a shit ton of random sports equipment.

That’s the deal of sober life: celebrate the fresh start, suck up your sadness for all that was left behind.

Everyone has what I call the phantom vita: prizes not won, jobs applied for but not offered, unrequited love. So what? If you miss a bus, you can get on the next one. We should not overly lament life’s ordinary disappointments, but we must celebrate—soberly, not giddily or smugly—its ordinary pleasures.

But the experience proved to be a snare. It persuaded us that we could drink safely. And then there would come the occasion (some special celebration, a personal loss, or no particular event at all) when two or three made us feel fine, so we thought one or two more could not hurt. And with absolutely no intention of doing so, we found ourselves again drinking too much. We were right back where we had been—overdrinking without really wanting to.

Drinking Alone by Moonlight,” in which Li transforms a taboo—drinking alone—into a celebration: A cup of wine, under the flowering trees; I drink alone, for no friend is near. Raising my cup I beckon the bright moon, For he, with my shadow, will make three men. The moon, alas, is no drinker of wine; Listless, my shadow creeps about at my side. Yet with the moon as friend and the shadow as slave I must make merry before the Spring is spent. To the songs I sing the moon flickers her beams; In the dance I weave my shadow tangles and breaks. While we were sober, three shared the fun; Now we are drunk, each goes his way. May we long share our odd, inanimate feast, And meet at last on the Cloudy River of the Sky.

Opera was born in Florence at the end of the sixteenth century. It derived almost seamlessly from its immediate precursor, the intermedio, or lavish between-the-acts spectacle presented in conjunction with a play on festive occasions. Plays were spoken, and their stage settings were simple: a street backed by palace facades for tragedies, by lower-class houses for comedies; for satyr plays or pastorals, the setting was a woodland or country scene. Meanwhile the ever-growing magnificence of state celebrations in Medici Florence on occasions such as dynastic weddings gave rise to a variety of spectacles involving exuberant scenic displays: naval battles in the flooded courtyard of the Pitti Palace, tournaments in the squares, triumphal entries into the city. These all called upon the services of architects, machinists, costume designers, instrumental and vocal artists. Such visual and aural delights also found their way into the theater—not in plays, with their traditional, sober settings, but between the acts of plays. Intermedi had everything the plays had not: miraculous transformations of scenery, flying creatures (both natural and supernatural), dancing, singing. The plays satisfied Renaissance intellects imbued with classical culture; the intermedi fed the new Baroque craving for the marvelous, the incredible, the impossible. By all accounts, no Medici festivities were as grand and lavish as those held through much of the month of May 1589 in conjunction with the marriage of Grand Duke Ferdinand I and Christine of Lorraine. The intermedi produced between the acts of a comedy on the evening of May 2 were considered to be the highlight of the entire occasion and were repeated, with different plays, on May 6 and 13. Nearly all the main figures we will read about in connection with the birth of opera took part in the extravagant production, which was many months in the making: Emilio de' Cavalieri acted as intermediary between the court and the theater besides being responsible for the actors and musicians and composing some of the music; Giovanni Bardi conceived the scenarios for the six intermedi and saw to it that his highly allegorical allusions were made clear in the realization. Jacopo Peri and Giulio Caccini were among the featured singers, as was the madrigal composer Luca Marenzio, who wrote the music for Intermedio 3, described below. The poet responsible for the musical texts, finally, was Ottavio Rinuccini, who wrote the poetry for the earliest operas...