People From Omaha

"You have to learn all the big ideas in the key disciplines in a way that they're in a mental latticework in your head and you automatically use them for the rest of your life. If you do that, I solemnly promise you that one day you'll be walking down the street and you'll look to your right and left and you’ll think "my heavenly days, I'm now one of the few competent people in my whole age cohort." If you don't do it, many of the brightest of you will live in the middle ranks or in the shallows."

"... I regard it as a cinch that a great nation will in due time be Rome. ... Where is Rome? Where is Britain in its heyday? They all pass and so our turn is bound to come some day."

"Our investment style has been given a name - focus investing - which implies ten holdings, not one hundred or four hundred. The idea that it is hard to find good investments, so concentrate in a few, seems to me to be an obvious idea. But 98% of the investment world does not think this way. It's been good for us."

"Obviously, you have to know accounting. It's the language of practical business life. It was a very useful thing to deliver to civilization. I've heard it came to civilization through Venice which of course was once the great commercial power in the Mediterranean. However, double-entry bookkeeping was a hell of an invention. And it's not that hard to understand. But you have to know enough about it to understand its limitations — because although accounting is the starting place, it's only a crude approximation. And it's not very hard to understand its limitations. For example, everyone can see that you have to more or less just guess at the useful life of a jet airplane or anything like that. Just because you express the depreciation rate in neat numbers doesn't make it anything you really know."

"... much of what is taught in modern corporate finance courses is twaddle."

"The first $100,000 is a bitch, but you gotta do it. I don’t care what you have to do — if it means walking everywhere and not eating anything that wasn’t purchased with a coupon, find a way to get your hands on $100,000. After that, you can ease off the gas a little bit."

"You don’t have a lot of envy, you don’t have a lot of resentment. You don’t overspend your income, you stay cheerful in spite of your troubles, you deal with reliable people, and you do what you’re supposed to do. And all these simple rules work so well to make your life better. And they’re so trite."

"I don't think that she knows who Adam Smith was."

"Every human being is a raindrop. And when enough of the raindrops become clear and coherent they then become the power of the storm."

"The past is more than a memory."

"It's like there's this predator energy on this planet, and this predator energy feeds upon the essence of the spirit, feeds upon the essence of the human being, the spirit. This predator energy can take fossil fuel and other resources out of the Earth, turn it into fuel, to run a machine system. But in order for there to be a need for that system, and in order for that system to work, they have to mine our minds to get at the essence of our spirit. In the same way the external mining takes place, it pollutes—we see now, people understand how it poisons the environment, the water, the air pollution—the mining of the essence, the mining of the spirit, mining our minds ... the pollution from that is all the neurotic, distorted, insecure behavior patterns that we develop. That's the pollution. Because in order for this predatory system, this disease, to work, we must not be able to use our minds in a clear coherent manner. Because if we use our minds in a clear coherent manner, we will not accept the unacceptable."

"Sometimes when it rains, it's not that simple, when the sky has reasons to cry."

"We have to understand who we are and where we fit in the natural order of the world because our oppressor deals in illusions. They tell us that it is power, but it is not power. They may have all the guns and they may have all the racist laws and judges, and they may control all the money, but that is not power. These are imitations of power and they are only ‘power’ because in our minds we allow it to be power."

"This oppressor, this machine that has gone mad and run amok, it is berserk. They keep telling us, "progress.” They keep telling us “face reality.” Well, let’s deal with reality. Reality is the Earth can no longer take this attack. We can no longer allow this Thing to continue when it’s polluting the air, it’s polluting the water, polluting our food. They pollute the air, they pollute the water, they pollute our food, they pollute our minds."

"They are going to become more brutal. They are going to become more oppressive."

"Our obligations and loyalty should not be to a government that will not take care of our needs. Our obligations and loyalty should not be to a government that has proven time and time again that it is the enemy of the people unless the people are rich in dollars."

"When I go around in America and I see the bulk of the white people, they do not feel oppressed; they feel powerless... We see the physical genocide that they are attempting to inflict upon our lives, and we understand the psychological genocide that they have already inflicted upon their own people."

"The Earth gives us life, not the American government. The earth gives us life, not the multi-national corporate government. The Earth gives us life. We need to have the Earth. We must have it, otherwise our life will be no more. So we must resist what they do."

"There are insane people who wish to rule the world. They wish to continue to rule the world on violence and repression, and we are all the victims of that violence and repression."

"Columbus, I guess it all did start with Columbus. ... To me he was like a virus, a disease. I spent a lot of time protesting, trying to figure out how to deal with this disease. I think we really need to put serious thought into understanding that we're dealing with a disease."

"Fantasy allows you to shine a different kind of light on human beings. I believe the only valid use of fantasy is to illustrate important human themes. Magic in my novels is used in three ways: the simplest is as a metaphor for technology. A good example is a magic carpet. There's no magic carpet in my novels, but if someone needs to travel a great distance, they could use a magic carpet, while in a contemporary novel they'd use a car. The second way, and I think the most important, is as a metaphor for individuality and individual ability. The mediocre world doesn't want individuals to rise above what everyone else is doing. The third way I use magic is as a metaphor for coming out of an age of mysticism into a Renaissance. So, in a way it's the struggle between the Dark Ages and the Renaissance. … I never allow my characters to use magic to solve their problems. Some of their peripheral problems are solved through their magical abilities, but it's couched in terms of overcoming those problems in a thinking way. The major conflicts in the books are always solved through human intellect, through thinking out the problem and coming up with a solution. It's never "I'll just wave my magic wand over the bad guys and have them all fall down dead!""

"People use democracy as a free-floating abstraction disconnected from reality. Democracy in and of itself is not necessarily good. Gang rape, after all, is democracy in action. All men have the right to live their own life. Democracy must be rooted in a rational philosophy that first and foremost recognizes the right of an individual. A few million Imperial Order men screaming for the lives of a much smaller number of people in the New World may win a democratic vote, but it does not give them the right to those lives, or make their calls for such killing right. Democracy is not a synonym for justice or for freedom. Democracy is not a sacred right sanctifying mob rule. Democracy is a principle that is subordinate to the inalienable rights of the individual."

"Celebrating faith over reason is merely a way of denying what is, in favor of embracing any whim that strikes your fancy."

"No one is as fanatical as a convert. -Kahlan, Wizard's First Rule"

"reality is nothing, perception is everything. -Zedd, Wizard's First Rule"

"Nothing is ever easy. Zedd- Wizard's First Rule"

"Never let a beautiful woman pick your path for you when there is a man in her line of sight. -Adie, Wizard's First Rule*"

"Your life is yours alone, rise up and live it!- Richard, Faith of the Fallen"

"No one ever goes into battle thinking God is on the other side. -Zedd, Wizard's First Rule"

"We can only be what we are, nothing more, nothing less.- Kahlan- Wizard's First Rule."

"nothing is one dimensional. Nothing exists that has only one side, look at the whole. - Darken Rahl, Wizard's First Rule"

"The higher up you go, the more mistakes you are allowed. Right at the top, if you make enough of them, it's considered to be your style"

"I think I can pinpoint the one moment when the American style of dressing first appeared. It was in an appalling 1933 movie called Dancing Lady during an otherwise forgettable dance number. It also just happened to be Fred Astaire's first on-camera dance. But don't look at the steps. Look at the outfit: Astaire is wearing a single-breasted, soft flannel suit with two-tone spectator shoes and a turtleneck. You wish you could look that stylish! Later that year, in Flying Down to Rio, we get the full Astaire impact. The muted plaid suit is not all that striking, but Fred is wearing it with a soft button-down shirt, a pale woven tie, silk pocket square, bright horizontally striped hose and white bucks. Whoa! Now that's different. This melange of the classic and the sporty was an American innovation. As we approach the impeccable Astaire's 100th birthday on May 10, it's worth remembering that he remains the greatest exemplar of that style."

"(Cary Grant) is, along with Fred Astaire, the best-dressed actor in American movies"

"[[w:Leslie Caron|[Leslie] Caron]] is one of only six women who danced with Kelly and Fred Astaire in movies. She says that while Kelly always danced close to the ground, with Astaire (in 1955’s Daddy Long Legs) she felt as if she was floating. Who did she prefer? She gives me a look. "It's not fair to ask me that. For 70 years, I've refused to answer that. A great dancer is a great dancer." She says they were such different men – Kelly tough and generous, Astaire urbane and genteel."

"Fred taught me a step because I said I can't let this experience be over without my learning something. He taught me the most wonderful Fred Astaire-like step, with an umbrella. It was a complete throwaway; it was almost invisible. It was in the way he walked. As he moved along, he bounced the umbrella on the floor to the beat and then he grabbed it. It was effortless and invisible. As a matter of fact, a few years later I was photographing Gene Kelly and told him that Fred Astaire had taught me this trick with an umbrella. And Kelly said, "Oh I'll teach you one," and he did, and the two tricks with the umbrella in some way define the difference between Fred Astaire and Gene Kelly, and, in my view, demonstrate who is the greater of the two artists. With Gene Kelly, he threw the umbrella way up into the air, and then he moved to catch it, very slowly, grabbing it behind his back. It was a big, grandstand play, about nothing."

"The major difference between Astaire and Kelly is a difference, not of talent or technique, but of levels of sophistication. On the face of it, Kelly looks the more sophisticated. Where Kelly has ideas, Astaire has dance steps. Where Kelly has smartly tailored, dramatically apt Comden and Green scripts, Astaire in the Thirties made do with formulas derived from nineteenth-century French Farce. But the Kelly film is no longer a dance film. It's a story film with dances, as distinguished from a dance film with a story. When Fred and Ginger go into their dance, you see it as a distinct formal entity, even if it's been elaborately built up to in the script. In a Kelly film, the plot action and the musical set pieces preserve a smooth community of high spirits, so that the pressure in a dance number will often seem too low, the dance itself plebeian or folksy in order to "match up" with the rest of the picture."

"The fact that Fred and I were in no way similar - nor were we the best male dancers around never occurred to the public or the journalists who wrote about us...Fred and I got the cream of the publicity and naturally we were compared. And while I personally was proud of the comparison, because there was no-one to touch Fred when it came to "popular" dance, we felt that people, especially film critics at the time, should have made an attempt to differentiate between our two styles. Fred and I both got a bit edgy after our names were mentioned in the same breath. I was the Marlon Brando of dancers, and he the Cary Grant. My approach was completely different from his, and we wanted the world to realise this, and not lump us together like peas in a pod. If there was any resentment on our behalf, it certainly wasn't with each other, but with people who talked about two highly individual dancers as if they were one person. For a start, the sort of wardrobe I wore - blue jeans, sweatshirt, sneakers - Fred wouldn't have been caught dead in. Fred always looked immaculate in rehearsals, I was always in an old shirt. Fred's steps were small, neat, graceful and intimate - mine were ballet-oriented and very athletic. The two of us couldn't have been more different, yet the public insisted on thinking of us as rivals...I persuaded him to put on his dancing shoes again, and replace me in Easter Parade after I'd broken my ankle. If we'd been rivals, I certainly wouldn't have encouraged him to make a comeback."

"As one of the handful of girls who worked with both of those dance geniuses, I think I can give an honest comparison. In my opinion, Kelly is the more inventive choreographer of the two. Astaire, with Hermes Pan's help, creates fabulous numbers - for himself and his partner. But Kelly can create an entire number for somebody else... I think, however, that Astaire's coordination is better than Kelly's... his sense of rhythm is uncanny. Kelly, on the other hand, is the stronger of the two. When he lifts you, he lifts you!... To sum it up, I'd say they were the two greatest dancing personalities who were ever on screen. But it's like comparing apples and oranges. They're both delicious."

"Me? I play Gene Kelly...It's a guy who produces, directs, sings, and dances. who else could it be but Kelly?"

"I suspect it is this Camelot view that leads Miss Croce to be rather unfair to Gene Kelly...I should say the difference starts with their bodies. If you compare Kelly to Astaire, accepting Astaire's debonair style as perfection then, of course, Kelly looks bad. But in popular dance forms, in which movement is not rigidly codified, as it is in ballet, perfection is a romantic myth or a figure of speech, nothing more. Kelly isn't a winged dancer; he's a hoofer and more earthbound. But he has warmth and range as an actor...Astaire's grasshopper lightness was his limitation as an actor - confining him to perennial gosh-oh-gee adolescence;; he was always and only a light comedian and could function only in fairytale vehicles."

"If I was black and blue, it was Gene. If I didn't have a scratch it was Fred."

"Just try and keep up with those feet of his sometime! Try and look graceful while thinking where your right hand should be, and how your head should be held, and which foot you end the next eight bars on, and whether you're near enough to the steps to leap up six of them backward without looking. Not to mention those Astaire rhythms. Did you ever count the different tempos he can think up in three minutes?"

"How do you think those routines were accomplished? With mirrors?... Well, I thought I knew what concentrated work was before I met Fred, but he's the limit. Never satisfied until every detail is right, and he will not compromise. No sir! What's more, if he thinks of something better after you've finished a routine, you do it over."

"The girls always think we're going to throw them over a table or toss them in the air. Their muscles tense up right away. So Fred and I go and sit in a corner and pretend we're talking business."

"Come on, Fred, I'm not your sister, you know."

"I once said that fifty years from now, the only one of today's dancers who will be remembered is Fred Astaire."

"We were only together for a part of my career, and for every film we did, I did another three on my own. The studio was working me too hard. Fred would rush off for a holiday and call me and say: "Hey, ready to do another?" And I didn't have the sense to say that I was too tired. Those times were murder for me. Oh, I adored Mr. A but all the hard work...the 5 a.m. calls, the months of non-stop dancing, singing and acting. We just worked it out and had a lot of fun and got very exhausted. And Mr A was quite divine."

"If people would only realize when they ask me why I don't do a picture with him - they ask me that all the time, and were quite keen on it while I was in Hollywood - if they'd only realize that he's gone 'way ahead of me. Why I couldn't begin to keep up with him. I couldn't even reach the steps he throws away."

"Mr. Llewellyn paused. Mr. Trout had begun to float about the room like something out of Swan Lake, and Mr. Llewellyn disapproved of this. He was apt to be a martinet in his dealings with his legal advisers, demanding that lawyers should behave like lawyers and leave eccentric dancing to the professionals. A man, he held, is either Fred Astaire or he is not Fred Astaire, and if he is not Fred Astaire he should not carry on like him."