Soprano Show Quotes

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That's what being a boss is. You steer the ship the best way you know. Sometimes it's smooth. Sometimes you hit the rocks. In the meantime you find your pleasures where you can.
Corrado "Junior" Soprano
Rapture I can feel she has got out of bed. That means it is seven a.m. I have been lying with eyes shut, thinking, or possibly dreaming, of how she might look if, at breakfast, I spoke about the hidden place in her which, to me, is like a soprano’s tremolo, and right then, over toast and bramble jelly, if such things are possible, she came. I imagine she would show it while trying to conceal it. I imagine her hair would fall about her face and she would become apparently downcast, as she does at a concert when she is moved. The hypnopompic play passes, and I open my eyes and there she is, next to the bed, bending to a low drawer, picking over various small smooth black, white, and pink items of underwear. She bends so low her back runs parallel to the earth, but there is no sway in it, there is little burden, the day has hardly begun. The two mounds of muscles for walking, leaping, lovemaking, lift toward the east—what can I say? Simile is useless; there is nothing like them on earth. Her breasts fall full; the nipples are deep pink in the glare shining up through the iron bars of the gate under the earth where those who could not love press, wanting to be born again. I reach out and take her wrist and she falls back into bed and at once starts unbuttoning my pajamas. Later, when I open my eyes, there she is again, rummaging in the same low drawer. The clock shows eight. Hmmm. With huge, silent effort of great, mounded muscles the earth has been turning. She takes a piece of silken cloth from the drawer and stands up. Under the falls of hair her face has become quiet and downcast, as if she will be, all day among strangers, looking down inside herself at our rapture.
Galway Kinnell (A New Selected Poems)
Primer of Love [Lesson 7] "He disrespected the Bing." ~ Tony Soprano, Episode 34 Lesson 7)Don't diss'em or let'em diss you. We're back on Brooklyn's streets (or Newark) on this one. It's all about respect - show none and you get whacked. None of that 'alpha' shit flies here - you're equals and command equal respect. She watches the kids, you cart the garbage. The kids wear her down all day; the cops break your chops about a missing WalMart tractor trailer with 100,000 pair of Levi jeans 'somebody' jacked on the Jersey Turnpike. You twos gotta' to vent your daily shit to each other.Let it all out, but be careful not to anything you may regret or prepare to sleep with a Glock under your pillow for the rest of your live. Insist you be totally naked when having sex to make sure nobody's wearing a wire. Capisce!
Beryl Dov
to [David] Simon and his partner, Ed Burns, The Wire was explicitly a piece of social activism. Among its targets, large and small, were the War on Drugs, the educational policy No Child Left Behind, and the outsize influence of money in America's political sytem, of statistics in its police departments, and of Pulitzer Prizes at its newspapers. The big fish, though, was nothing less than a capitalist system that Burns and Simon had begun to see as fundamentally doome. (If Simon was a dyed-in-the-wool lefly, Burns practically qualified as Zapatista; by ex-cop standards, he might as well have been Trotsky himself.) In chronicling the modern American city, Simon said, they had one mantra, adapted from, of all sources, sports radio personality Jim Rome: "Have a fucking take. Try not to suck." Neither Burns nor Simon would ever seem entirely comfortable acknowledging the degree that The Wire succeeded on another level: as beautifully constructed, suspenseful, heartfelt, reasonant entertainment. [...] "It's our job to be entertaining. I understand I must make you care about my characters. That's the fundamental engine of drama," Simon said dismissively. "It's the engine. But it's not the purpose". Told that The Wire had trascended the factual bounds that, for all its good intentions, had shackled The Corner, he seemed to deliberately misunderstand the compliment: "I have too much regard for that which is true to ever call it journalism." The questioner, of course, had meant the opposite: that The Wire was too good to call mere journalism. As late as 2012, he would complain in a New York Times interview that fans were still talking about their favorite characters rather than concentrating on the show's political message.
Brett Martin (Difficult Men: Behind the Scenes of a Creative Revolution: From The Sopranos and The Wire to Mad Men and Breaking Bad)
M: So you were trying to answer the question, “What do we have to do to make you people not like these guys?” D: Yeah—to make you see what this show is about. It’s about people who’ve made a deal with the devil, starting with the head guy. It’s about evil. I was surprised by how hard it was get people to see that.
Matt Zoller Seitz (The Sopranos Sessions: A Conversation with David Chase)
a newfound delight in brutality started to spill over from theatrical features to the small screen, and it became common during the 1980s—most notoriously on daytime and nighttime soaps, cop and crime shows, and legal procedurals. Among the most notorious instances was a two-part episode of the NBC series Hunter in which the show’s female lead, Detective Dee Dee McCall (Stepfanie Kramer), got raped by a diplomat. The story ended with her partner Hunter (Fred Dreyer) killing the rapist in his own apartment.
Matt Zoller Seitz (The Sopranos Sessions: A Conversation with David Chase)
Almost every straight male in this episode, if not the show as a whole, views women other than their mothers, wives, and daughters on a sliding scale that ranges from bored condescension to homicide. Expediency rules every decision they make.
Matt Zoller Seitz (The Sopranos Sessions: A Conversation with David Chase)
You know, it sounds kind of silly, but when stuff like that would happen, I would think, “This show is meant to be.” I would feel like, “I’m not organizing this; someone else is, or a greater power, a muse, is organizing it. How could this fall into my lap like this?
Matt Zoller Seitz (The Sopranos Sessions: A Conversation with David Chase)
Tony Soprano, when he has sex with a one-legged Russian immigrant or beats an arrogant lawyer to a pulp—let viewers vicariously experience the true, genuine, and transparent enjoyment of life and pleasure that middle-class self-discipline prevents them to experience, as least in everyday real life—and that may resonate “authentic” and true to other working-class people, white, black, and Hispanic. They show no inclination or patience for the delayed gratification the middle-class ethics of success prescribes.72
Simone Cinotto (Making Italian America: Consumer Culture and the Production of Ethnic Identities (Critical Studies in Italian America))
If you are all set for an enjoyable weekend then simply head towards the magnificent Her Majesty’s Theatre! The popular London Westend theatre is running the award winning London show, The Phantom of the Opera with packed houses. The show has already made its remarkable entry into its third decade. The blockbuster London show by Andrew Lloyd Webber is a complete treat for music lovers. The popular show has won several prestigious awards. The show is set against the backdrop of gothic Paris Opera House. The show revolves around soprano Christine Daae who is enticed by the voice of Phantom. The show features some of the heart touching and spell binding musical numbers such as 'The Music of the Night', 'All I Ask of You' and the infamous title track, The Phantom of the Opera. The Phantom of the Opera is a complete audio visual treat for theatre lovers. In the year 1986, the original production made its debut at the Her Majesty's Theatre featuring Michael Crawford and Sarah Brightman. Sarah was then wife of composer Andrew Lloyd Webber. The popular London musical, The Phantom of the Opera went on becoming a popular show and still London's hottest ticket. The award winning show is a brilliant amalgamation of outstanding design, special effects and memorable score. The show has earned critical acclamation from both the critics and audiences. The show has been transferred to Broadway and is currently the longest running musical. The show is running at the Majestic Theatre and enjoyed brilliant performance across the globe. For Instance, the Las Vegas production was designed specifically with a real lake. In order to celebrate its silver jubilee, there was a glorious concert production at the Royal Albert Hall. The phenomenal production featured Ramin Karimloo and Sierra Boggess as Phantom and Christine. If you are looking for some heart touching love musical the Phantom of the Opera is a must watch. With its wonderfully designed sets, costumes and special effects, the show is a must watch for theatre lovers. The show is recommended for 10+ kids and run for two hours and thirty minutes.
Alina Popescu
Her voice was impatient with rage. ‘They say the only deterrent to terror is to kill terrorists. It’s the same argument that dictators have made to murder opponents throughout history. Say it whatever way you want – whether it comes from the mouth of a dictator or as an excuse to repress people of different political views – it’s the same old serpent.’ Halima swept her hand across the evening. ‘All this violence. The idea that killing people solves problems. War is all they know, and they are good at it, so they kill people thinking that war will bring peace. It never brings peace. There is only a pause in the war.’ She was quiet for a moment, struggling with her indignation. ‘They are not a kind people. Some are kind, some are wise, but not the politicians. The opposite of kindness is not cruelty. It is indifference. All this’ – she looked across the bombed city – ‘is indifference. Our suffering isn’t about who we are. It is about who they are. Airplanes and tanks give them the power to be indifferent.’ She sipped her drink, and her voice lowered and softened. ‘Israel’s prime ministers – Sharon, Olmert, Netanyahu – believe they can solve these problems with toughness, but things have changed. The Islamic faith has spread. For better or worse.’ Her hand went to her heart. When she spoke again, her soprano voice was strident. ‘How will they frighten jihadists who love martyrdom?’ She shook her head. ‘God forbid.’ ‘You’re wrong,’ Analise said. ‘Not all Israelis are that way.’ ‘Je le croirai, guard je le verrai.’ She paused. ‘Let them show it.’ She waved dismissively. ‘Beirut survived the Romans, the Ottomans, the French. The land and the people endure. That land has defeated stronger enemies than Israel. Israel is an idea. Ideas come and go. Land endures.’ She lowered her head and looked out at the darkened city. Her words came in quiet lament. ‘The scourge of this land is the curse of revenge.
Paul Vidich (Beirut Station)