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Read through the most famous quotes by topic #con
Impressive," Court offered, gallantly bending to retrieve the shoe. "You should join the theater." "Fuck you." "I owed you that." "Revenge is a dish best served with a side of handcuffs and a hard ass-fucking. Remember that." Really is a dirty fighter. Goddamn. ↗
Sholem [a painter] was saying that freedom, for him, is having the technical facility to be able to execute whatever he wants, just whatever image he has in his mind. But that's not freedom! That's control, or power. Whereas I think Margaux understands freedom to be the freedom to take risks, the freedom to do something bad or appear foolish. To not recognize that difference is a pretty big thing. [...] "It's like with improv," Misha said. "True improv is about surprising yourself--but most people won't improvise truthfully. They're afraid. What they do is pull from their bag of tricks. They take what they already know how to do and apply it to the present situation. But that's cheating! And cheating's bad for an artist. It's bad in life--but it's really bad in art." -p.20-1, How Should A Person Be ↗
What a need we humans have for confession. To a priest, to a friend, to a psychoanalyst, to a relative, to an enemy, even to a torturer when there is no one else, it doesn't matter so long as we speak out what moves within us. Even the most secretive of us do it, if no more than writing in a private diary. And I have often thought as I read stories and novels and poems, especially poems, that they are no more than authors' confessions transformed by their art into something that confesses for us all. Indeed, looking back on my life-long passion for reading, the one activity that has kept me going and given me the most and only lasting pleasure, I think this is the reason that explains why it means so much to me. The books, the authors who matter the most are those who speak to me and speak for me all those things about life I most need to hear as the confession of myself. ↗
#art
I’ve never quite mastered the art of holding my liquor,” she replied. He watched her root around in her purse a moment, before pulling out a tube of lip balm. As Jonas watched her apply it, he nearly got distracted from her answer. Leaning forward, Jonas murmured, “Can’t hold your liquor, huh?” She replaced the cap and dropped it back into her purse. “Not so much. I tend to get a bit too happy.” His eyebrows shot up and his cock came to full-alert status. Happy--he liked the sound of that. “And that’s a bad thing?” To his utter shock, Deanna blushed. “In my case it is.” Curiosity got the better of him. “Care to explain?” The waiter returned with the check, forcing Jonas to drop the conversation while he fished out his credit card. Once they were alone again, Jonas waited, hoping Deanna would go into more detail. She didn’t disappoint him. “All my inhibitions disappear. It’s not a comfortable feeling for me.” She was killing him. An immediate picture of a carefree Deanna sprang to mind. He liked it a hell of a lot. “Most people enjoy letting it all hang out every once in a while. Taking life too seriously leads to an early grave.” “Maybe, but if I suddenly develop the urge, I’d rather be coherent.” “You don’t like to give up control,” he surmised. She cocked her head to the side, as if unsure how to respond at first. “It’s not that,” she said. “I guess if I’m in the mood to go romping naked through a forest, for example, then I don’t want alcohol to blur the memorable event for me.” She laughed. “I mean, I’d want to remember a crazy moment like that. Wouldn’t you?” No doubt about it, Jonas liked the way the lady’s mind worked. “You had me at ‘running naked’.” Deanna snorted. “You need serious help. ↗
Art then becomes a safety valve for the expression of individual and collective neuroses originating in the inability of coping with the environment. Its products serve as a retarded correction of perception braked by the system of conventions and stereotypes that stabilize society. They create a slightly updated system which, eventually assimilated by history, will require a new system and so on without end. Art objects serve as points of identification alienated from the consumer, requiring more sympathy than empathy. ↗
It is terrible and unbearable to an artist,' he said, 'to be encouraged to do, to be applauded for doing his second best.' He said: 'Through all the world there goes one long cry from the heart of the artist: Give me leave to do my utmost! ↗
On Earth one of the things that a large proportion of the locals is most proud of is this wonderful economic system which, with a sureness and certainty so comprehensive one could almost imagine the process bears some relation to their limited and limiting notions of either thermodynamics or God, all food, comfort, energy, shelter, space, fuel and sustenance gravitates naturally and easily away from those who need it most and towards those who need it least. Indeed, those on the receiving end of such largesse are often harmed unto death by its arrival, though the effects may take years and generations to manifest themselves. ↗
pour que tu sois libre de la liberté du chanteur qui improvise sur l'instrument à cordes, ne faut-il pas que je t'exerce d'abord les doigts et t'enseigne l'art du chanteur? Ce qui est guerre, contrainte et endurance. Et pour que tu sois libre de la liberté du montagnard, ne faut-il pas que tu aies exercé tes muscles, ce qui est guerre, contrainte et endurance? Et pour que tu sois libre de la liberté du poête, ne faut-il pas que tu aies exercé ton cerveau et forgé ton style, ce qui est guerre, contrainte et endurance? (chapitre CLII) ↗
I made a record called Island in the Sun about the planet Earth and invited David over to hear it at the house I had rented in Hawaii. We was not impressed with it and asked me to do something else. That was the first time that had ever happened to me. It was a good record, and I liked it. To accommodate David, I thought I would do a record that was a combination of that one and one that I was already hearing in my head to follow up. The second one, Trans , was inspired by my son Ben and his communication challenges. Because of Ben's quadriplegia, he couldn't talk or communicate in a way that most people could understand, so I made a record where I sang through a machine and most people couldn't understand what I was saying, either. I felt like it was art, an expression of something deeply personal. I called it Trans, meaning trying to get across from one world to another, being locked in a body without an intelligible voice, trying to communicate through the use of machines, computers, switches and other devices. It was a very deep and inaccessible concept ↗
