Diarists

"Another great—far greater—event now occupied the mind of the "man in the street": the illness and subsequent death of Queen Victoria. The "man in the street" certainly took a great interest in that event which filled us and our English friends with sorrow. It was such a great passing away of the most outstanding personality of the past hundred years. The morning that the news appeared in the Paris Daily Mail we were greeted by all our friendly tradespeople with subdued voices and a certain awed expression of face: "Vous savez?" they all said, even before they answered to our "bonjour" "Votre idole est morte". Your idol! That is how they talked of Queen Victoria. She was to their minds (more insular than those of our own people) something quite apart. Not altogether real. A fetish that we, the hated English, almost worshipped, and to their credit be it said that with her death, all scurrilous cartoons and postcards disappeared from the kiosks, nor did any derogatory or disrespectful article appear in the Press."

"Victoria was the Queen of England, the Empress of India, the quintessential pivot round which the whole magnificent machine was revolving—but how much more besides! For one thing, she was of a great age—an almost indispensable qualification for popularity in England. She had given proof of one of the most admired characteristics of the race—persistent vitality. She had reigned for sixty years, and she was not out. And then, she was a character. The outlines of her nature were firmly drawn, and, even through the mists which envelop royalty, clearly visible. In the popular imagination her familiar figure filled, with satisfying ease, a distinct and memorable place. It was, besides, the kind of figure which naturally called forth the admiring sympathy of the great majority of the nation. Goodness they prized above every other human quality; and Victoria, who had said that she would be good at the age of twelve, had kept her word. Duty, conscience, morality—yes! in the light of those high beacons the Queen had always lived. She had passed her days in work and not in pleasure—in public responsibilities and family cares. The standard of solid virtue which had been set up so long ago amid the domestic happiness of Osborne had never been lowered for an instant."

"The girl, the wife, the aged woman, were the same: vitality, conscientiousness, pride, and simplicity were hers to the latest hour."

"When...the news of the approaching end had been made public, astonished grief had swept over the country. It appeared as if some monstrous reversal of the course of nature was about to take place. The vast majority of her subjects had never known a time when Queen Victoria had not been reigning over them. She had become an indissoluble part of their whole scheme of things, and that they were about to lose her appeared a scarcely possible thought."

"Queen Victoria had put an end to the Republican movement in Great Britain and in the Dominions, not by what she had done, but by what she had been, and by what she had refrained from doing. She had won back public respect for the monarchy in her person. And she had disarmed political hostility to the throne by effacing its occupant as a governing power. It was her habit to express to her advisers, often with unnecessary emphasis, her views on all public questions, but she had not insisted on having her way. She had been content with a purely consultative function in relation to Ministers who were in effect chosen for her by Parliament, sometimes much against her own ideas of their fitness."

"She had made the monarchy welcome everywhere, as the representative of the public life of the nation in its non-political aspects. All through her reign, but most of all during its last twenty years, she had appealed to the common human heart of plain people, as a woman who was herself decidedly a "plain person," more apt than the clever, the cultured or the aristocratic of soul to sympathise with the elementary joys and sorrows of her subjects. When she said that she was grieved by some public or private calamity, people knew that her sorrow was sincere, and of the same nature as their own. There was nothing superfine about Queen Victoria in her widowhood. None the less, she made the world recognise in her the symbol of all that was mighty and lasting in the life of England and of the races associated with England in Empire. Because she thus combined the very human and the very high, sentiment about her person became, at the end, akin to the religious. And for an Empire which desired to hold together in brotherhood, but refused to be federated into a single parliamentary Constitution, the only possible unit, in symbolism or in law, was found at last to be the historic Crown of Britain."

"The names of the little one will be, Philippe Eugène Ferdinand Marie Clement Baudoin (baldwin, a name of the old counts of Flanders) Leopold George. My aunt who is his godmother wished he should be called Philippe, honour of his grandfather, and as Philippe le bon, who was one of the most powerful princes of this country. I gave him the name with pleasure. Eugene is her own name, Ferdinand that of Chartres, Marie is the name of the queen and of princess Marie, Clement of princess Clémentine, Leopold your aunt wished and George honour of St. George of England and of George the IV."

"I can be. I do not normally try to be. In fact, there have been some reviews—which I’ve loved—that said I didn't try to sell my show on sex, that I sang my show. On the other hand, I know I'm cute. I can dance. I don't have a bad figure. I know exactly what I am. I'm certainly no great beauty. I know exactly how far I can go."

"She had a huge influence on everybody, whether they admit it or not."

"Stevie bridges the gap between the powerful rock singers of the sixties, like Janis Joplin and Grace Slick, and what's going on today."

"Witchcraft became part of the rock sensibility in the '70s, when Stevie Nicks twirled onstage swathed in scarves, bathed in incense smoke, and illuminated by hundreds of candles."

"Stevie Nicks is the high priestess of her own religion, ruling a world of prancing Gypsies, gold-dust princesses, and white-winged doves, all without going anywhere near a sensible shoe. Like David Bowie or Bryan Ferry, she has spent a career turning her private fantasies into an elaborate pop mythology."

"A wound gets worse when it's treated with neglect."

"No one knows how I feel, What I say unless you read between my lines, One man walked away from me First he took my hand, take me home."

"Is love so fragile, And the heart so hollow, Shatter with words, Impossible to follow, You're saying I'm fragile, I try not to be, I search only, for something I can't see."

"The clouds, never expect it, When it rains But the sea changes color, But the sea does not change, And so with the slow graceful Flow of age, I went forth with an, Age old desire to please, On the edge of seventeen."

"Well, did she make you cry, Make you break down, Shatter your illusions of love?"

"I don't want to know the reasons why, Love keeps right on walking down the line."

"Thunder only happens when it's raining, Players only love you when they're playing, Say, women, they will come and they will go, When the rain washes you clean you'll know."

"I'll begin not to love you Turn around, see me runnin' I'll say I loved you years ago Tell myself you never loved me, no And did you say she was pretty? And did you say that she loves you? Baby, I don't wanna know."

"Dreams unwind Love's a state of mind"

"She rings like a bell through the night And wouldn't you love to love her?"

"…I put them in my journal. And if I have a really big, important show, I call in all my spirits, and I say, “Tom, stand behind me. Prince, stand with me.” I ask for their help, because I know they’re up there. The Prince thing started a long time ago, because sometimes even before Prince died, I would say that. I wish Prince was here and he could just walk with me out there; because of his performing ability and how good he was on stage, sometimes I’d just go, “Come with me.” And I really do feel the presence, you know. I mean, Tom and I were way, way better friends than I was friends with Prince, because I hardly ever saw Prince. When I did see Prince, we’d have some really important conversations, and we talked on the phone sometimes for a couple hours. But Tom was a different kind of friend. Tom was really my buddy friend. I spent a lot of time at Tom’s different houses, and a lot of time with his family when he was still married to Jane. And that was a very hard loss for me."

"…The reason I chose that kind of a platform boot was because the rest of my outfit is so filmy and floaty that I thought: If you’re going to wear that outfit, if you just wore a pair of stiletto high heels with ankle straps, it would look really pretty, but it would be way too airy-fairy. But if you put on a pair of really strong suede boots to your knee, that have got a substantial little platform and a really good heel, then if somebody tries to drag you off that stage, you can seriously kick them with that boot. And so those boots are not just a fashion statement. They are to make people understand that I’m not a ballerina. As much as I would have loved to be a ballerina, I’m not a ballerina — I’m a rock ‘n’ roll singer. And so when people get too close to me, I can just feel my foot starting to raise, you know? It’s like my karate moment. A few times I’ve said, “Let go of my hand,” and some people don’t. And my foot starts to raise, and they get it, like, “I don’t want to be kicked with that boot. So I better back off.” So they have their moments where I feel like they’re a weapon."

"We all did everything we could do to try and talk her out of [quitting]. But you look in someone's eyes and you can tell they're finished. As Taylor Swift would say: 'We are never ever getting back together ever!' That's what Chris was saying... But I'd beg, borrow and scrape together $5 million and give it to her in cash if she would come back. That's how much I miss her."

"I'm going to spend my life writing poems, turning them into music that will affect people and touch their hearts. I'm going to write the songs that people can't write for themselves."

"That’s the words: "So I’m back to the velvet underground"—which is a clothing store in downtown San Francisco, where Janis Joplin got her clothes, and Grace Slick from Jefferson Airplane, it was this little hole in the wall, amazing, beautiful stuff—”back to the floor that I love, to a room with some lace and paper flowers, back to the gypsy that I was.""

"When I thought I was dying in rehab in 1994, 'I Won't back Down' was my mantra. It lifted my up out of the pain and made me fight through it. 'The Waiting'... summed up my life. We can't stand waiting, we rock 'n' roll men and women. Tom Petty's songs are like a great book that you revisit when you need help. His songs make me better."

"Lindsey [Buckingham] and I went up to Aspen and we went to somebody's incredible house and they had a piano and I had my guitar with me and I went in their living room, looking out over the incredible Aspen sky and I wrote 'Landslide.'"

"I look around at all the girl singers, and I think they're all my children... and they're all going to do this... And, yes, maybe I inspired them because I did get through a lot, and I did have the same problems that they're going to have. You do have to give up a lot for it."

"It's just about a lady who's a goddess of steeds and a maker of birds."

"I sat at my piano, a feminist woman, and I wrote it, to say that nothing you or anybody else can do to me can change the fact that, as the opening line goes: ‘Every night that goes between / I feel a little less.’...Freedom…I am a totally free woman, and I am independent, and that’s exactly what I always wanted to be."

"…If I had not had that abortion, I’m pretty sure there would have been no Fleetwood Mac. There’s just no way that I could have had a child then, working as hard as we worked constantly. And there were a lot of drugs, I was doing a lot of drugs … I would have had to walk away…And I knew that the music we were going to bring to the world was going to heal so many people’s hearts and make people so happy. And I thought: you know what? That’s really important. There’s not another band in the world that has two lead women singers, two lead women writers. That was my world’s mission."

"…People would say to me: ‘It would be very hard to be Mr. Stevie Nicks.’ And I’m going: well, yeah, probably, unless you were just a really nice guy that was really confident in himself, not jealous of me, liked my friends, enjoyed my crazy life and had fun with it. And, of course, there are very few men like that. I’m an independent woman and am able to take care of myself, and that is not attractive to men.”."

"I met Lindsey in high school in San Francisco. We had gone to some party and he was sitting in the middle of this gorgeous living room playing a song. I walked over and stood next to him, and the song was "California Dreaming," and I just started singing with him. And so I just threw in my Michelle Phillips harmony, and he was so beautiful. And then I didn't really see him again until two years later, when he called me and asked me if I wanted to be in his rock 'n' roll band, which I didn't even know existed. And within two or three months we were opening for Jimi Hendrix, Janis Joplin, all the San Francisco bands. Two years later, we packed up and moved to Los Angeles with about 12 demos."

"I phoned Prince out of the blue, hummed a melody, and he listened," … "I hung up, and he came over within the hour. He listened again, and I said, 'Do you hate it?' He said, 'No,' and walked over to the synthesizers that were set up, was absolutely brilliant for about twenty five minutes, and then left. He was so uncanny, so wild, he spoiled me for every band I've ever had because nobody can exactly re-create—not even with two piano players-what Prince did all by his little self."

"Nijinsky’s life can be simply summed up: ten years of growth, ten years of learning, ten years of dancing, thirty years of darkness. Altogether some sixty years. How long he will live on in people’s memories, we can only guess."

"The Diary of Vaslav Nijinjsky reaches a limit of sincerity beyond any of the documents that we have referred to on this study. There are other modern works that express the same sense that civilized life is a form of living death; notably the poetry of T. S. Eliot and the novels of Franz Kafka; but there is an element of prophetic denunciation in both, the attitude of healthy men rebuking their sick neighbors. We possess no other record of the Outsider's problems that was written by a man about to be defeated and permanently smashed by those problems."

"Hebetude. It is a graph of a theme that flings The dancer kneeling on nothing into the wings, And Nijinsky hadn't the words to make the laws For learning to loiter in air; he merely said, "I merely leap and pause.""

"New artistic impulses were coming to life all over Europe, and most of them had a definite relation with the art of the theatre in one or other of its numerous forms. The full history of these fresh developments, and of the resulting cleavage between the old ballet and the new, has yet to be written. Here we must be content to trace that cleavage in part to the influence of a new school of music which had risen to power within Russia itself, in part also to the more extraneous influences which came, via Moscow, from Prof. Reinhardt the German, and from Gordon Craig the Englishman. Nor must we forget the liberating force which sprang from the art of Isadora Duncan, whose heroic practice has done more than any precepts of philosophy to widen our ideas as to the intellectual and spiritual possibilities of the dance."

"What drew me to those two people was that both of them wanted peace and insisted on working toward peace. Both of them believed in life. Nijinski believed that his body was god, and it was. Crazy Horse knew that god was in everything, and it was. They had a knowledge we all need to have."

"People like eccentrics and they will therefore leave me alone, saying that I am a "mad clown.""

"The hero of Tynan Right and Left is, as the title suggests, Tynan. The ostensible subject matter is of course wider, for the book consists of Tynan's writing over the past 10 years, not only in his capacities as theater and cinema reviewer but also as the author of occasional pieces, interviews and essays on a wide variety of people … But whatever he is writing about Tynan never forgets the subject on which he is the leading world expert: namely Kenneth Tynan, cultural journalist, moralist, socialist. "Occupation: opinion-monger observer of artistic phenomena, amateur ideologue.""

"Ken, the Tot of Destiny, had turned into the Marquis de Sade, and I in response had become a virago."

"Tynan's interests cover an unusually broad range, and his references are equally wide: How many other critics would quote Seneca on Humphrey Bogart or Coleridge on the Beatles? … As a theater critic he has been extremely influential, and always in useful directions. Sometimes his concern for the state of contemporary drama leads him to overestimate particular plays for their tactical importance in the struggle for the sort of theater he would like to see … the state of British theater is far healthier now than it was when Tynan first appeared on the scene, and for this he can take some credit. … Like all good critics sooner or later, he has come up against the form and content argument, and like all good critics (at least when it is put in either-or terms) he comes down on the side of content. … Like George Orwell he has the ability always to pick on the important issues even when briefly reviewing a film or play which is in itself of little interest. He raises the right questions even if he does not always come up with the right answers, and usually he does come up with the right answers. Almost without exception he is readable and stimulating, whatever the subject; he is very honest, and often funny. If he is too interested in himself, there are after all a lot of people who are much less interesting."

"It is the nature of ambition to make men liars and cheats, to hide the truth in their breasts, and show, like jugglers, another thing in their mouths, to cut all friendships and enmities to the measure of their own interest, and to make a good countenance without the help of good will."

"I do not see the EEC as a great love affair. It is more like nine middle-aged couples with failing marriages meeting at a Brussels hotel for a group grope."

"Art is a private thing, the artist makes it for himself; a comprehensible work is the product of a journalist. We need works that are strong, straight, precise, and forever beyond understanding."

"She shows herself to the audience like the Host to the congregation."

"Her style looks absurdly simple — an effortless act of projection, a serpentine lasso whereby her voice casually winds itself around our most vulnerable fantasies. But it is not easy. It is what remains when ingratiation, sentimentality and the manifold devices of heart-warming crap have been ruthlessly pared away. Steel and silk are left, shining and durable."