Subtitle Love Quotes

Guys generally need us to come with subtitles, cue cards, and liability waivers.

It's an odd fact of life that you don't really remember the good times all that well. I have only mental snapshots of birthday parties, skiing, beach holidays, my wedding. The bad times too are just impressions. I can see myself standing at the end of some bed while someone I love is dying, or on the way home from a girlfriend's after I've been dumped, but again, they're just pictures. For full Technicolor, script plus subtitles plus commemorative programme in the memory, though, nothing beats embarrassment. You tend to remember the lines pretty well once you've woken screaming them at midnight a few times.

Had Mary Shelley fretted so? Maybe yes, maybe no. She’d begun her classic work on a dare. Had culled a dream to bring it into being. But it was not lost on Laura that the story might be a prolonged exercise in Shelley’s personal terrors. The subtitle of the work was 'Prometheus Unbound,' and Laura wondered if Shelley herself was not Prometheus in the form of the wandering monster, who desperately sought love and acceptance but was ultimately driven to face an icy landscape that seemed almost fantastical—the way our own subconscious could be, white and frozen-slippery.

When we got back to Manhattan, Maeve took me to a men’s store and bought me extra underwear, a new shirt, and a pair of pajamas, then she got me a toothbrush at the drugstore next door. That night we went to the Paris Theater and saw Mon Oncle. Maeve said she was in love with Jacques Tati. I was nervous about seeing a movie with subtitles but it turned out that nobody really said anything. After it was finished, we stopped for ice cream then went back to Barnard. Boys of every stripe were expressly forbidden to go past the dorm lobby, but Maeve just explained the situation to the girl at the desk, another friend of hers, and took me upstairs. Leslie, her roommate, had gone home for Easter break and so I slept in her bed. The room was so small we could have easily reached across the empty space and touched fingers.

[Phone interview transcript between author Roorda & Vershawn A. Young, author of Your Average Nigga: Performing Race, Literacy, and Masculinity, a book based on his Ph.D dissertation] Now the subtitle, Performing Race, Literacy, and Masculinity, what does that cover? It covers the range of enactments in speech, in dress, in the way we behave, the way that we interact with other people. Basically, it is the range of enactments that black people have to go through to be successful in America. I call it the burden of racial performance that black people are required, not only by whites but by other blacks as well, to prove through their behaviors, their speech, and their actions the kind of black person that they are. Really, there are only two kinds you can be. In the words of comedian Chris Rock, you can either be a black person, which is a respectable, bourgeois, middle-class black person, or you can be a nigger. As Chris Rock says in his show, "I love black people, but I hate niggers." So . . . when a black person walks into a room, always in the other person's mind is the question "What kind of black person is this in front of me?" They are looking for clues in your speech, in your demeanor, in your behavior, and in everything that you do -- it is like they are hyperattentive to your ways of being in order to say, "Okay, this is a real black person. I can trust them. I'll let them work here. Or, nope: this is a nigger, look at the spelling of their name: Shaniqua or Daquandre." We get discriminated against based on our actions. So that is what the subtitle was trying to suggest in performing race. And in performing literacy, just what is the prescribed means for increasing our class status? A mind-set: "Okay, black people, you guys have no excuse. You can go to school and get an education like everybody else." I wanted to pay attention to the ways in which school perpetuated a structural racism through literacy, the way in which it sort of stigmatizes and oppresses blackness in a space where it claims it is opening up opportunities for black people.

Here was both a very American personal success story and a glimpse of what post-democracy strongman rule might look like in the United States, signaled not by a uniformed march on Rome or a Reichstag fire but by a governor who became senator while simultaneously keeping the governor’s job, breaking the spine of democracy in his state with the help of a cadre of brass-knuckled bodyguards, engineering kidnappings of his enemies, and defeating or sidestepping multiple impeachments and indictments and investigations, all while soaking up adoration at a muddy rural rally with farmers or in a roaring ballroom full of tuxedoed and gowned admirers, his vast and disparate audiences too in love with his charm to much care what he actually meant. Somehow simultaneously cherubic and menacing in appearance, Huey Long was a populist, a rule breaker, a shockingly gifted orator, and a thug. He once commanded National Guard troops to mount an actual true-blue armed military assault on the municipal government of the largest city in his state. The man launched an armed invasion of New Orleans!—and got away with it. The best contemporaneous biography of Long in Louisiana was subtitled “The American Rehearsal for Dictatorship.

The subtitle of the book was Keeping Love and Intimacy Alive in Committed Relationships. I was working through it, word by word. So far I had done Keeping and was just starting on Love. I worried that by the time I got to Committed and Relationships, I would have forgotten Keeping. Not to mention Alive and all the other words.

He loved Elspeth so much, and he hoped that she knew it. Yet it occurred to him that she might not be sure of that because he had not told her – or at least he had not told her recently. Wives and husbands, it seemed to him, did not say that sort of thing: it was all left unsaid – assumed, perhaps, but not spelled out. That was the problem with life in general – we slipped into a rut in which we failed to state what we meant by the things we did. Our lives, Matthew thought, can become like silent films without the subtitles.

There is a book to be written, for instance, on small errors in subtitles. In the Fred Astaire musical Royal Wedding, for instance, the English girl he falls for, played by Sarah Churchill (daughter of Sir Winston), is engaged to an American, whom we never see but who’s called Hal—like Falstaff’s prince, like a good high Englishman. That English H, though, was completely inaudible to the French translator who did the subtitles, and so throughout the film the absent lover is referred to in the subtitles as Al—Al like a stagehand, Al like my grandfather. If you have the habit of print addiction, so that you are listening and reading at the same time, this guy Al keeps forcing his way into the movie. “But what shall I say to Hal—that I have never loved him?” Patricia says to Fred. Down below it says, “Et Al—qu’est-ce que je vais lui dire?

Some people require subtitles.

Everything about his life that wasn’t about being an elite badass was imploding. There seemed to be only one sane option: get the hell away from other human beings. Amundson took a leave of absence from work, bought an Airstream trailer, and leased a parcel of land in the mountains near Santa Cruz. For two months, he lived in the woods and rolled back the tape on the last fourteen years of his life as a SWAT team cop, Army reservist, DEA gunslinger, and husband. He wrote an after-action review of his marriage, Your Wife Is Not Your Sister, a self-critique so detailed and unstinting that it could have been subtitled Confessions of a Knuckle-Dragger. The book, lovingly dedicated to his ex-wife, is filled with recollections of moments when he thought he was justified but later realized his behavior was thoughtless, myopic, toxic. At the end of each chapter are concrete “Action Steps” to prevent fellow knuckle-draggers from repeating his mistakes. It’s been well received in the law enforcement community.

Everything about his life that wasn’t about being an elite badass was imploding. There seemed to be only one sane option: get the hell away from other human beings. Amundson took a leave of absence from work, bought an Airstream trailer, and leased a parcel of land in the mountains near Santa Cruz. For two months, he lived in the woods and rolled back the tape on the last fourteen years of his life as a SWAT team cop, Army reservist, DEA gunslinger, and husband. He wrote an after-action review of his marriage, Your Wife Is Not Your Sister, a self-critique so detailed and unstinting that it could have been subtitled Confessions of a Knuckle-Dragger. The book, lovingly dedicated to his ex-wife, is filled with recollections of moments when he thought he was justified but later realized his behavior was thoughtless, myopic, toxic. At the end of each chapter are concrete “Action Steps” to prevent fellow knuckle-draggers from repeating his mistakes. It’s been well received in the law enforcement community. At the end of his two-month woodland retreat, Amundson realized two things. The first was that it doesn’t matter how much of a firebreather you are if you can’t cut any slack to the important people in your life. The second was that all his macho law-and-order jobs had defined him, and if he wanted to stop being That Guy, he couldn’t work that kind of job.

The book, The Holy Longing, resulted from that conversation. And Eric Major’s instincts were correct; there was a crying niche for that kind of book. The book found a huge audience, inside of all Christian denominations. But while The Holy Longing is a solid book, one that offers a certain basic foundation in Christian spirituality, it remains precisely that, a foundational book, a needed Spirituality 101 course, but not a graduate or final course. The Holy Longing is a book that is intended to help us “get our lives together,” to help us achieve an essential discipleship. But where do we go from there? What lies beyond the essentials, the basics? Where do we go once some of the basic questions in our lives have been answered, or at least brought to enough peace that our focus can shift away from ourselves to others? Where do we go once the basic questions in our lives are no longer the restless questions of youthful insecurity and loneliness? “Who am I?” “Who loves me?” “How will my life turn out?” Where do we go once the basic questions in life become: “How can I give my life away more purely, and more meaningfully?” “How do I live beyond my own heartaches, headaches, and obsessions so as to help make other peoples’ lives more meaningful?” The intent of this book is to try to address exactly those questions: How can we live less self-centered, more mature lives? What constitutes deep maturity and how do we reach that place? And, not unimportantly, what constitutes a more adult, Christian discipleship? What constitutes a truly mature following of Jesus? This book will try to answer those questions. It will try to be true to what its subtitle promises: A Vision for a Deeper Human and Christian Maturity.

We were watching videos at night on her Samsung tablet or my company iPad. She showed me the Silvano Agosti 1983 Italian interview with a little Italian boy called “D'Amore si vive, We Live of Love.” The boy was so cute, and his thoughts seemed similar to mine and Martina's. I was so deeply in love with her. The boy on the interview was just like what our own child would be, and we agreed and laughed. “We Live of Love.” What a coincidence! Living. By: Love. I knew the interview from before and she was surprised at how I knew about it. I showed her on my Instagram a picture of the boy I had recently taken a screenshot of and posted. With the subtitle at the right moment under his face: “Descubrir a la vida.” To discover life. Together. With his one and only girlfriend, as the boy explains. I told her multiple times that I was still unsure if she was real, or if it was all a dream; if I had only dreamed of her one night in the dark; if Pinto and I had invented her in my mind. She was a big fan of space, but I thought she liked the mystery behind the endless space with all its questions and secrets for us humans. I thought she liked the sky and space because she recently flew from Argentina to land in my arms. Martina and I were obsessed with Chris Rock and Eddie Murphy; we both knew all their stand-up comedies by heart. We kept replaying the best moments or faces that Chris or Eddie made. We had so much fun watching the same videos over and over that I couldn't believe it. Nobody else ever found the same moments or the same stand-ups as funny as Martina and I did. Nobody before or after found it so amusing. If I showed it to someone, they didn't understand why I was so excited about it or why racist jokes were so funny for an hour from one black comedian to the next. We were obsessed the way Eddie spoke about the „Zebra-Bitch of her dreams, her dream-wife who doesn’t know the concept of money”, saying “she should have an afro, like Angela Davis goes 'God damn it.'“ We were laughing so much. Sometimes I tickled her flat belly or her ribs and she was laughing so sweetly and so much that she couldn't stop. She was begging me to stop tickling her when I barely touched her. She said “No, no, no, no” so many times so quickly and cutely that I had to stop and kiss her; I couldn't resist her lips or her person, I had to kiss and hug her. We laughed so much at particular parts of Chris Rock's stand-up comedies that we could barely stop, almost as if we were tickling each other. We were laughing when Chris Rock was mocking Bone-Thugs-n-Harmony for singing ‘Welfare chariots’ such as „The First of the Month” or when he explained that the government hates rappers, but „only the good rappers get gunned down. They could find Saddam Hussein in a cave in Iraq but couldn't arrest anyone related to Tupac Shakur’s assassination, which didn't happen in a cave in Iraq but in Las Vegas, on the Strip, not one of those side streets, but in front of Circus Circus, after a Mike Tyson fight. Now how many witnesses do you need, to arrest somebody?” We were fascinated with Eddie Murphy, Charlie Murphy, and Chris Rock, but when I showed her Richard Prior, Doug Stanhope, Aries Spears, or George Carlin, she was no longer so impressed for some reason. Her favorite part perhaps was when Chris Rock talked about love and relationships. He said that „you never really been in love unless you have contemplated murder; unless you have practiced your alibi in front of the mirror, staring at a can of rat poison for 45 minutes straight, you haven't been in love. And the only thing preventing you from killing your significant other was an episode of CSI.” He said that relationships are hard and that in order for them to work, both people need to have the same focus, which is all about: her.

We were watching videos at night on her Samsung tablet or my company iPad. She showed me the Silvano Agosti 1983 Italian interview with a little Italian boy called “D'Amore si vive, We Live of Love.” The boy was so cute, and his thoughts seemed similar to mine and Martina's. I was so deeply in love with her. The boy on the interview was just like what our own child would be, and we agreed and laughed. “We Live of Love.” What a coincidence! Living. By: Love. I knew the interview from before and she was surprised at how I knew about it. I showed her on my Instagram a picture of the boy I had recently taken a screenshot of and posted. With the subtitle at the right moment under his face: “Descubrir a la vida.” To discover life. Together. With his one and only girlfriend, as the boy explains. I told her multiple times that I was still unsure if she was real, or if it was all a dream; if I had only dreamed of her one night in the dark; if Pinto and I had invented her in my mind. She was a big fan of space, but I thought she liked the mystery behind the endless space with all its questions and secrets for us humans. I thought she liked the sky and space because she recently flew from Argentina to land in my arms. Martina and I were obsessed with Chris Rock and Eddie Murphy; we both knew all their stand-up comedies by heart. We kept replaying the best moments or faces that Chris or Eddie made. We had so much fun watching the same videos over and over that I couldn't believe it. Nobody else ever found the same moments or the same stand-ups as funny as Martina and I did. Nobody before or after found it so amusing. If I showed it to someone, they didn't understand why I was so excited about it or why racist jokes were so funny for an hour from one black comedian to the next. We were obsessed the way Eddie spoke about the „Zebra-Bitch of his dreams, his dream-wife who doesn’t know the concept of money”, saying “she should have an afro, like Angela Davis goes 'God damn it.'“ We were laughing so much. Sometimes I tickled her flat belly or her ribs and she was laughing so sweetly and so much that she couldn't stop. She was begging me to stop tickling her when I barely touched her. She said “No, no, no, no” so many times so quickly and cutely that I had to stop and kiss her; I couldn't resist her lips or her person, I had to kiss and hug her. We laughed so much at particular parts of Chris Rock's stand-up comedies that we could barely stop, almost as if we were tickling each other. We were laughing when Chris Rock was mocking Bone-Thugs-n-Harmony for singing ‘Welfare chariots’ such as „The First of the Month” or when he explained that the government hates rappers, but „only the good rappers get gunned down. They could find Saddam Hussein in a cave in Iraq but couldn't arrest anyone related to Tupac Shakur’s assassination, which didn't happen in a cave in Iraq but in Las Vegas, on the Strip, not one of those side streets, but in front of Circus Circus, after a Mike Tyson fight. Now how many witnesses do you need, to arrest somebody?” We were fascinated with Eddie Murphy, Charlie Murphy, and Chris Rock, but when I showed her Richard Prior, Doug Stanhope, Aries Spears, or George Carlin, she was no longer so impressed for some reason. Her favorite part perhaps was when Chris Rock talked about love and relationships. He said that „you never really been in love unless you have contemplated murder; unless you have practiced your alibi in front of the mirror, staring at a can of rat poison for 45 minutes straight, you haven't been in love. And the only thing preventing you from killing your significant other was an episode of CSI.” He said that relationships are hard and that in order for them to work, both people need to have the same focus, which is all about: her.

If Fibber McGee supplied a subtitle for this book, it would likely be “A lengthy log listing the legendary shows of the loquacious leader and his laudable lady who landed loads of laughable lines in the laps of lots of lads and lasses who loved listening in locales from the lofty ledges of Leadville to luscious Lake Louise.