People From California

"Condoms are for sailors"

"I can suck my own!"

"As you get all this money out there, there’s a tendency for more conservatism and sequelization. So we’re doing ‘Madden 38,’ but now the shoelaces have shadows! And when you step on the turf, the grass is just pressed a little bit, and springs back in just a couple of seconds. Unfortunately, it’s kind of the death of creativity when you make a big deal about really trivial features."

"I personally object to episodic games where you play one screen of Space Invaders and one screen of Breakout and one screen of Galaxians and one screen of this and one of that. To me, that's not a game. It's just taking five bad games, putting them together, and calling them one good game. I'm philosophically against that."

"That game, just the brutal simplicity. It’s amazing as a game designer you want to have the latest graphics, and you want the Chicago Symphony playing your background music, and you want Harrison Ford and Matt Damon as your starring characters. But if you have an incredibly addictive game, you don’t need any of that crap. You just need blocks."

"I think managers have realized that most software people are slightly brain damaged, that they're off on their own planets."

"Ricketts was a remarkable scientist and a remarkable character who probably invented modern marine ecology."

"The first director of Hopkins didn’t get along with him so Ricketts would have to wait until he was out of town to sneak into the library with the help of some sympathetic professor."

"Some he taught how to think, others how to see or hear... Children on the beach he taught how to look for and find beautiful animals in worlds they had not suspected were there at all."

"Despite the fact that my weapons and armor are in desperate need of repair, I blow the entire reward on ale and whores."

"Men may control the free world, but women control the boobs."

"Can't hear you. I'm inside my protective blanket of fear."

"It's like watching lemmings run off the cliff."

"My brain is hung like a horse!"

"Cole, would it be okay if I crapped myself right now?"

"I would, but I'm going to be busy all day converting beer into pee."

"You're a corporate whore. Merry Christmas."

"Yeah, humans are pretty cool, but if you hang out with them too long, they start treating you like a mascot."

"No one can deny the talent and spark of energy that Burton left with Metallica and his inspiration and influence to bass players is still strong. His iconic style of speed picking the bass and convulsion like head movements are the essence and model of head banging. Though Metallica have gone on to become arguably the biggest band in heavy metal, the era of Cliff Burton cannot and should not be forgotten, the spirit, speed and musicianship be brought to the band can’t be matched, no offense to Newsted or Trujillo."

"When it comes to Cliff Burton, it's a tale of what could have been. A legend in the making with Metallica, Burton was only 24 when he was killed after the band's tour bus crashed on an icy road in rural Sweden in 1986. In the wake of that tragedy, Burton's legacy continued to live on even as Metallica became one of the biggest bands in the world. The hair-swinging, spaceship-sounding, bass-playing Burton was a major presence on the band's first three albums that remain metal masterpieces. For a true taste of Burton's greatness, listen to his work "(Anesthesia) – Pulling Teeth," "The Call of Ktulu," "For Whom the Bell Tolls," and "Orion.""

"I do not believe -- and I have never believed -- that the crack cocaine explosion was a conscious CIA conspiracy, or anybody's conspiracy, to decimate black America. I've never believed that South Central Los Angeles was targeted by the U.S. government to become the crack capitol of the world. But that isn't to say that the CIA's hands or the U.S. government's hands are clean in this matter. Actually, far from it. After spending three years of my life looking into this, I am more convinced than ever that the U.S. government's responsibility for the drug problems in South Central Los Angeles and other inner cities is greater than I ever wrote in the newspaper."

"If we had met five years ago, you wouldn't have found a more staunch defender of the newspaper industry than me … I was winning awards, getting raises, lecturing college classes, appearing on TV shows, and judging journalism contests. So how could I possibly agree with people like Noam Chomsky and Ben Bagdikian, who were claiming the system didn't work, that it was steered by powerful special interests and corporations, and existed to protect the power elite? And then I wrote some stories that made me realize how sadly misplaced my bliss had been. The reason I'd enjoyed such smooth sailing for so long hadn't been, as I'd assumed, because I was careful and diligent and good at my job … The truth was that, in all those years, I hadn't written anything important enough to suppress."

"Do we have a free press today? Sure we do. It’s free to report all the sex scandals it wants, all the stock market news we can handle, every new health fad that comes down the pike, and every celebrity marriage or divorce that happens. But when it comes to the real down and dirty stuff—stories like Tailwind, the October Surprise, the El Mozote massacre, corporate corruption, or CIA involvement in drug trafficking—that’s where we begin to see the limits of our freedoms. In today’s media environment, sadly, such stories are not even open for discussion. Back in 1938, when fascism was sweeping Europe, legendary investigative reporter George Seldes observed that “it is possible to fool all the people all the time—when government and press cooperate.” Unfortunately, we have reached that point."

"Sometimes a kind of glory lights up the mind of a man. It happens to nearly everyone. You can feel it growing or preparing like a fuse burning toward dynamite. It is a feeling in the stomach, a delight of the nerves, of the forearms. The skin tastes the air, and every deep-drawn breath is sweet. Its beginning has the pleasure of a great stretching yawn; it flashes in the brain and the whole world glows outside your eyes. A man may have lived all his life in the gray, and the land and trees of him dark and somber. The events, even the important ones, may have trooped by faceless and pale. And then — the glory — so that a cricket song sweetens the ears, the smell of the earth rises chanting to his nose, and dappling light under a tree blesses his eyes. Then a man pours outward, a torrent of him, and yet he is not diminished…"

"You can't avoid dealing with moral matters, because that's what life is about. But I think it is wrong when somebody like Steinbeck crusades in his fiction. That's why Steinbeck bores me so. The real crusader doesn't need to crusade; he writes about human beings in the sense Chekhov did. He tries to see a human being whole with all his wrong-headedness and all his right-headedness. To blind yourself to one thing for the sake of your prejudice is limiting. I think it is a mistake. There's so much room in the world for crusading, but it is for the editorial writer, the speech-maker, the politician, and the man in public life to do, not for the writer of fiction."

"When one thinks of California agriculture during the Depression, John Steinbeck's The Grapes of Wrath generally comes to mind. Steinbeck did not exaggerate. White and African American Dust Bowl migrants alongside Mexicanos and Filipinos endured great hardships."

"Steinbeck is extremely angry about the fact that the common man who is striving very hard, who wants so very little, is not even able to attain that little if it backs up against the interests of the banks and of the big landowners. You know, and that’s what The Grapes of Wrath, I think, is basically about, is about watching these people try to simply live who asking for little. They are not angry people. They are not revolutionaries. They are not sophisticated. They they simply want to farm a tenant farmers. They simply want to go out but their butts every day and get a small return and then pass that on to their children. And even that under certain circumstances is asking too much if you’re going to inopportune the banking interest. And that’s what made Steinbeck so furious...what he’s saying is that people it’s just not fair. That’s what he’s saying...he believes it is at this point that even people like the Joads can be moved to anger at the just at just the epitome of the unfairness of it all."

"I read Cannery Row very carefully. I wanted to see how he did some things. At the end of Cannery Row there is a party and somebody recites a poem and it doesn't stop the dramatic action. I studied how he did that because I wanted to quote some songs and poems without stopping the drama."

"There was one New Deal agency that proved helpful to us in the fields, and that was the Farm Security Administration. The FSA administered a system of migrant labor camps in California. When I read about the Joads arriving at the temporary safe haven of the "government camp" in The Grapes of Wrath, I knew exactly what they felt like."

"Steinbeck's novel The Grapes of Wrath and the subsequent John Ford movie promulgated a populist mythology about depression-era migrants to California who were dubbed "Okies," no matter what southwestern or midwestern state they hailed from. But most Californians regarded Okies as dirty, shifty, lazy, violent, and ignorant."

"I can't read ten pages of Steinbeck without throwing up. I couldn't read the proletarian crap that came out in the '30s; again you had sentimentalism — the poor oppressed workers."

"Socialism never took root in America because the poor see themselves not as an exploited proletariat, but as temporarily embarrassed millionaires."

"I have owed you this letter for a very long time — but my fingers have avoided the pencil as though it were an old and poisoned tool."

"Time is the only critic without ambition."

"Give a critic an inch, he’ll write a play."

"[On writing:] It is properly called the lonesomest profession in the world."

"Most people live in a half-dream all their lives and call it reality."

"I can tell you one thing I have finally faced through — the Arthurian cycle and practically all lasting and deep-seated folklore is a mixture of profundity and childish nonsense. If you keep the profundity and throw out the nonsense, some essence is lost. These are dream stories, fixed and universal dreams, and they have the inconsistency of dreams."

"Now back to Malory.[…] As I go along, I am constantly jiggled by the arrant nonsense of a great deal of the material. A great deal of it makes no sense at all. Two thirds of it is the vain dreaming of children talking in the dark. And then when you are about to throw it out in disgust, you remember the Congressional Record or the Sacco and Vanzetti case or 'preventive war' or our national political platforms, or racial problems that can't be settled reasonably or domestic relations, or beatniks, and it is borne in on you that the world operates on nonsense — that it is a large part of the pattern and that knight errantry is no more crazy than our present-day group thinking, and activity. That is the way humans are. If you inspected them and their activities in the glass of reason, you would drown the whole lot."

"Writers are a sorry lot. The best you can say of them is that they are better than actors and that's not much."

"An artist should be open on all sides to every kind of light and darkness."

"One of the greatest errors in the reconstruction of another era lies in our tendency to think of them as being like ourselves in feeling and attitudes. Actually, without considerable study on the part of a present-day man — if he were confronted by a fifteenth-century man — there would be no possible communication. I think it is possible through knowledge and discipline for a modern man to understand, and, to a certain extent, live into a fifteenth-century mind, but the reverse would be completely impossible."

"If lowborn men could stand up to those born to rule, religion, government, the whole world would fall to pieces." "So it would," she said. "So it will." "I don't believe you," Ewain said. "But for the sake of the discussion, what then, my lady?" "Why then — then the pieces would have to be put together again." "By such as these—?" "Who else? Who indeed else?"

"This is the law. The purpose of fighting is to win. There is no possible victory in defense. The sword is more important than the shield, and skill is more important than either. The final weapon is the brain, all else is supplementary."

"In the combat between wisdom and feeling, wisdom never wins."

"Some people there are who, being grown, forget the horrible task of learning to read. It is perhaps the greatest single effort that the human undertakes, and he must do it as a child. An adult is rarely successful in the undertaking — the reduction of experience to a set of symbols. For a thousand thousand years these humans have existed and they have only learned this trick — this magic — in the final ten thousand of the thousand thousand."

"A book is like a man — clever and dull, brave and cowardly, beautiful and ugly. For every flowering thought there will be a page like a wet and mangy mongrel, and for every looping flight a tap on the wing and a reminder that wax cannot hold the feathers firm too near the sun."

"I have noticed so many of the reviews of my work show a fear and hatred of ideas and speculations. It seems to be true that people can only take parables fully clothed with flesh. Any attempt to correlate in terms of thought is frightening. And if that is so, East of Eden is going to take a bad beating because it is full of such things."

"... the writer must believe that what he is doing is the most important thing in the world. And he must hold to this illusion even when he knows it is not true."

"I believe that the great ones, Plato, Lao Tze, Buddha, Christ, Paul and the great Hebrew prophets are not remembered for negation or denial. Not that it is necessary to be remembered but there is one purpose in writing that I can see, beyond simply doing it interestingly. It is the duty of the writer to lift up, to extend, to encourage. If the written word has contributed anything at all to our developing species and our half developed culture, it is this: Great writing has been a staff to lean on, a mother to consult, a wisdom to pick up stumbling folly, a strength in weakness and a courage to support sick cowardice. And how any negative or despairing approach can pretend to be literature I do not know. It is true that we are weak and sick and ugly and quarrelsome but if that is all we ever were, we would milleniums ago have disappeared from the face of the earth, and a few remnants of fossilized jaw bones, a few teeth in strata of limestone would be the only mark our species would have left on the earth."