All Quotes

"Mr. Weiner likes to describe the Mayor as a weak sister, rolling over for the Republicans when he’s not kissing up with donations. Whenever he sees the Mayor, Mr. Weiner said, it’s all reasonably cordial. After all, nothing’s personal in politics. “I think he likes me,” Mr. Weiner ventured. (The Mayor does not, say his aides.)"

"When it comes to siblings, Hollywood has a quirky history of power brothers, from such behind-the-desk deal-makers as the Warners, the Cohns, and the Selznicks to forces behind the camera: the Coens, the Safdies, the Sylberts, and the Russos. And then there’s Harvey and Bob Weinstein."

"Prison’s been hard on Harvey [Weinstein] …He’s now living as his assistants once did, in the clutches of a perverse and petty system, overseen by guards who demand utter obeisance, deference, and subjection. Imagine one of the world’s foremost consumers of the luxury-hotel suite and capacious bathroom trying to survive an infirmary dormitory with no-seat toilets. In court, his people had to shut off his iPhone for him; he’d never quite mastered the mechanics. But now there’s no phone—save the one he’s allowed to access for only an hour a day as, maintaining his innocence, he orchestrates his appeal from a room he can use only when no one’s there."

"Last year, Donald [Trump] (married to ex-model Melania Knauss and father of a baby boy named Barron) announced on The View that if he weren't Ivanka's father, maybe he'd be dating her. "I think it's the human condition to be frequently embarrassed by your parents," Ivanka says, generally speaking."

"Lately, friends imagine they hear Donald [Trump]'s intonations in Ivanka's surprisingly sexy voice, a voice that sounds like she gargles with Cristal. The inane locutions of her generation — those "like"s and "you know"s — have been almost banished from conversation in favor of the more lawyerly "if you will" and other such Donald-like tropes….Ivanka could tell you about the Putzmeister pump throwing concrete a thousand vertical feet atop what stands to be the tallest residential building in the world, a site she's currently supervising in Chicago and one of 33 construction sites all over the globe. Instead, she is in the living room of her Park Avenue pad, pointing out the subtle architecture of some earrings."

"The hair, an elegant patisserie swirl of butter cream, is as remarkable as the gingerbread slab riding the head of 's equally celebrated ex-husband. Never look a day over 28, famously admonished his then-wife. She recalls this, adding ruefully, "It's going to cost me a fortune.”"

"And though she has a bad back from the competitive skiing that proved her lift ticket out of Communist Czechoslovakia, Ivana [Trump] is on her way to Aspen for the holidays—and St. Moritz after that. "I can ski backwards on one ski. And foldblinded!" she exults. "But I don't go through moguls very often." This could be an apt metaphor for her love life: She recently announced that after four months of marriage, she'd filed for separation from her fourth husband, Rossano Rubicondi, an actor-slash-model-slash-arm-charm 23 years her junior."

""I wear black all the time," Ivana notes."

"Less jowly now thanks to crappy jailhouse cooking—his country-boy haircut and jaunty hunting cap retired for a CEO’s side part—Chapo looked surprisingly guapo in a business suit. (And at 5’ 6”, not nearly as diminutive as his nickname Chapo—“Shorty”—would imply.) U.S. Marshals would knot his necktie just before he entered the room because mirrors can be smashed and weaponized. A former secretary observed in court he’d never seen Chapo in a suit. Early in the trial, Chapo would absently tug at his collar. Months in, he’d grown accustomed to the yoke."

"At trial, it became clear that in the macho, mustache-man world of drug-trafficking, Chapo had as much use for women, seducing them with saccharine forevers, then putting them to work in his stable—as buyers, as Blackberry-tapping go-betweens to preserve his anonymity on deals—involving their family members because there’s no glue stronger than blood."

"Does Chapo speak in tongues? “I think he has,” [Chapo’s sister] Bernarda told me. By all accounts, he has spent many hours in this church. There’s been some signature Pentecostal healing-hand work, too. “Many brothers who are pastors have laid hands on him and prayed for him, and with a contrite heart, that’s when he cries.”"

"People in La Tuna miss Chapo, the town’s greatest, wiliest patrón. The young women debate whether he’s finally lost his looks, having only late-period pale-and-doughy mug shots to go by. (Avoiding stepping outside where one might be seen and subsisting on takeout tacos takes a toll on the body.)"

"“I asked Chapo why he had to kill people,” recalled one former lieutenant on the [witness] stand. “And he said, “either your mom’s going to cry or their mom’s going to cry.""

"The Hollywood Reporter had published an article about [witness for the prosecution] Kaja Sokola with the headline "Anonymous No More: Inside the Complicated Life of Harvey Weinstein’s Key Accuser." Mr. Weinstein’s publicist, Juda Engelmayer, spotted the writer, Phoebe Eaton, in the courtroom and approached to provide Mr. Weinstein’s take on it: "He said it was fantastic." "I’m not out to please him," she said. "OK, I’ll just ignore you in the courtroom," Mr. Engelmayer said, before heading out to the hallway and toward the elevator."

"Phoebe Eaton's New York Magazine look at the blue-collar vs. the blue blood Senate GOP primary in New York provides some excellent insight into John Spencer and KT McFarland and indicates the Clinton campaign may need to rent extra office space simply for the oppo research. However, it is a letter that McFarland wrote to her parents years ago that has garnered the most attention: "Shortly after she discovered [her brother] Mike had AIDS, she wrote her parents lengthy, angry, almost Gothic letters in which she outed her brother, blamed her father for his troubles as well as those of her and her other siblings, and cut off contact with her parents. 'Have you ever wondered why I have never had anything to do with Mike and have never let my daughters see him although we live only fifteen minutes away from each other?' she wrote. 'He has been a lifelong homosexual, most of his relationships brief, fleeting one-night stands.' The father's behavior had surfaced for McFarland as recovered memory. She said a shrink put her up to writing the letter; reached for comment, her mother, Edith Troia -- KT has since made up with her parents -- denied the account. 'Wouldn't that make a great book?' she said. 'Please be kind. You could be casting dark shadows on this whole race.'" Unanswered: where did Eaton get the letters [and] will [K.T. McFarland’s political consultant] Ed Rollins keep talking to the press (or, at least, to Eaton)…?"

"I guess it will always follow me but I am trying to take on roles that are different, to step away from that kind of character. I am growing as an actor and trying to explore different avenues"

"I haven't left Rhythm City. I am still there. It was not difficult to juggle the roles because we made an arrangement between the productions. It (the role on Imbewu) is a once off but who knows if I will go back in the next season?."

"Contesting for elections is expensive - Majaga The Guardian(3 July 2004)"

"Majaga accuses some BDP leaders of de-campaigning him The Gazette (9March 2017)"

"BDP’s Polson Majaga in child marriage suspicion? The Gazette (26 May 2016)"

"Majaga calls out Dukwi businessman for tenders “corruption”The Gazette(24 August 2017)"

"Police Investigate Majaga For Threat To Kill The Botswana Gazette (10July 2024)"

"When my aunt informed me that we lived in the famous Latin Quarter, I experienced a little shock of surprise. When I discovered the size of the Latin Quarter, there was another surprise, and an even greater one when I realized that in this awful Quartier Latin were the great universities and Art Schools of France; the lovely old Luxembourg garden with the Medici Palace now used as the Senate Chamber; the Pantheon, the Westminster Abbey of France; the old Cluny Palace with its hoary relics and ruined walls; and on through a long list of less celebrated but equally interesting places. It is the Student Quarter of Paris, more foreign than French, alive with Russians, Poles, English and Americans. [...] Here you will find living side by side, the girl whose father has made a fortune in oil and has sent his daughter abroad to finish her education and the little girl from Australia who has saved up her pennies for years that she might come and study painting in Paris and who lives in a bare little room, hardly knowing where her next meal will come from, but trusting the God of the Quarter, "Luck." There is a more democratic spirit here in the midst of this undemocratic people than we find in America itself. E veryone meets on the common ground for work, the only aristocracy is that of ability and success. Each one is here for a purpose; the air throbs with industry, enthusiasm and genius. Iris most inspiring; you meet so many who are so much more advanced than you that their attainments are something to look forward to, so many whose work is so far below your standard that you feel you have something to start with and are not discouraged (Burk, 90-91)."

"I cannot say that I was very enthusiastic upon my first visit to the market. As an insight into a certain phase of French life it was most interesting, but I did not relish the idea of buying there, even if the vegetables were much fresher and more reasonable than in the stores. The European custom of displaying all manner of eatables on the street, unprotected from the dirt and dust, and even handling by the passers-by, was new and not at all pleasing to me. I had a feeling that everything was dirty, especially the people. Since then I have become acclimated and resigned to the fact that France and dirt are inseparable (April 18, 1909, 17)."

"I remember reading not long ago in a San Francisco paper how the girls of this [...] American Girls' Art Club had astonished all Paris by taking long tramps and sketching expeditions into the woods of France unchaperoned. Astonished all Paris! Why Paris never even raises an eyebrow when we bold artists brave the dangers of her forests and suburbs all alone. As is a favorite custom of girls here, I have even sketched down along the Seine among the roughest class of workmen and tramps and was never more courteously treated anywhere (Burk 2008, 89-90)."

"The Salon of French Artists is recognized as the most difficult in which to gain entrance of any of the several held there each year. That two Fresno girls and no less than eleven native Californians have presented specimens which the discriminating French critics considered worthy of acceptance, is a recognition of the highest standard of art in California never before accorded in Paris (3)."

"... one seems forced to conclude that a disproportionally large number of the nation's "pockets of poverty" are found in rural-farm areas."

"Since pictures such as mine are so different from the pictures people are used to framing, it isn’t really strange that they should require different treatment. White not being a color (as is gold) forms the best frames for pictures high in key and in pure color, as it does not destroy the balance of color in the picture and brings out each color in its fuller intensity. Black is next best, I think."

"Although some members of the public misunderstood and even ridiculed her work, Marguerite seemed unaffected. She was brave and clear about who she was and what she believed. She also had William's full support, and they continued to paint in the same studio, helping each other with canvases, with ideas, with promoting their paintings. Although they struggled financially, these were rich, exciting years, and their collaboration nurtured them both. They exhibited paintings in their studio as well as at galleries, and they were at the center of the avant-garde community of American artists in New York (Kennedy 97)."

"I have no artistic creed or formula. I have no fixed aim to which I am bending every energy. I have made no wonderful or new artistic discovery. Perhaps I have not even a new vision…In so far as my life is rich in emotional and intellectual experiences, actual or in imagination, in so far as I seek for a deeper and more comprehensive grasp of things, in so far I shall have material from which to create."

"We survived these years by never spending a cent on anything that was not essential...we saw that there was always money for materials...we made our own canvases...used the stretchers over and over, rolling up the finished pictures. When desperate we painted on both sides of the canvas (cited in Colleary 24)."

"I didn’t intend to be a weaver; it began as a tenuous thread, but it became my lifeline. It didn’t lead to a concise understanding of the world or even of the nature of weaving itself, but unfolded into ever-evolving questions about the mechanism of the process, what it has been, can be, and what could I make of it."

"I’ve tried to live a holistic life, honoring my general curiosity, acknowledging the wonderful diversity of human societies while noting the similarities of our species. I didn’t intend to be a weaver; it began as a tenuous thread, but it became my lifeline. It didn’t lead to a concise understanding of the world or even of the nature of weaving itself, but unfolded into ever-evolving questions about the mechanism of the process, what it has been, can be, and what could I make of it."

"References to weaving abound in literature throughout human history. The process of weaving takes hundreds of individual threads, and combines them into a cohesive plane. It is the perfect metaphor for how we build our lives from multiple identities and interests into a singular personality. It is also a good metaphor for interconnectedness of any sort—family, community, governance. Weaving doesn’t always yield narratives, but in my work, the resulting combination of images and words reveal a propensity towards storytelling. Rooted in the physical making of the work, I honor the skill that has developed in my hands from years of weaving; and I listen for the insights that arise from my hands to my head, and vice versa."

"Almost from the start, I tried to map my mental activities in a series of woven collages. Just as thoughts loop, certain imagery is found again and again—my handwritten calculations for converting images into physical threads, repetitive counting, diagrams, and glimpses of nature are some of the phenomena that fill my head and these canvases. Over the years my work has seesawed between identifiable narratives and abstract imagery; my quest to understand spiritual systems has entered the weavings in recognized and abstract symbols; and I never shied away from beauty."

"I consider all work as studies, just one step on the path from here to there—and who knows where there is going to end up being. However, with time, the nature of weaving itself became more prominent in my work. So you find notations about how they are made, diagrams of weave drafts, and recordings of their materials. This also became helpful in my teaching. Instead of looking for written notes on the work, I could just refer to the work itself."

"Weaving has been the thread that has held my life together for more than fifty years. One has to fill the minutes, hours, days and years that are given to you with something, and it seems that weaving chose me. In essence, I see my life as the latest iteration in the long line of weavers that stretch back beyond recorded history. I feel blessed to be in this lineage."

"What I am interested in doing is helping people see in a particular kind of way and to see what is already here- to sort of move and change things that are already a part of this particular enviornment. I am trying to do that in a very subtle way by saying: well, my human quality is a different kind of organisational quality. For instance the grey piece is laid out in a series of mounds with a grid. Everything else in the landscape is totally random. When the rocks fall, they simply fall and there is no particular design. Whereas I lay my human design on it."

"I grew up in Indiana and my earlier memories were of living on a farm. We lived on my grandfather’s farm in Indiana and actually, it’s interesting, that location was called Sand Hill Farm. My grandfather was Amish and his property was just adjacent to his parents’. So, they had lots of land so they were farmers and that’s where I started. When I was about six years old, I remember some friends of my parents gave my mother and I Christmas presents, and they gave my mother colored pencils and they gave me perfume, and to this day I think they must have gotten it mixed up because I was terribly insulted, I thought, you know, “I’m the artist, I should have gotten the colored pencils!” So, at a very early age, somehow, even though I was living on a farm and had really no idea what it meant to be an artist, I considered myself to be a creative person."

"Today's social structures and norms are the vestigial remains of the nineteenth-century, when most people died before their work was finished or their last child had left home. Age 65 was established as the criterion for —yet age 65 is still used in many countries under today's utterly changed conditions of longevity."

"I am exactly where I’m meant to be, walking in purpose, grace, and gratitude"

"No, nobody. The families really were . . . my mother’s family lived in Lafayette, Indiana and she came from a really large family, and my dad’s family, were obviously, all farmers. So, there was no role model at all. I think the most sophisticated experience I had was when I was in high school, my freshman and sophomore year, my father was in India with the Point 4 program, and I worked with a woman [whose husband was with the foreign service in Delhi], who was an artist and she had a studio. And I worked with her several mornings a week. So, that became, I suppose, that was my very first real practical experience of what an artist did. She would work in her studio in the morning . . . she would not answer the telephone. Her friends all knew not to call her at certain times, so that was probably my first experience with that."

"It was, we went to art museums, we traveled through Europe on our way home. We didn’t do any stopping when we went to India, but on the way back, which was better, because by then I was 16 and so I saw a lot of things I wouldn’t have seen if I was just living in Ohio."

"I started college at Michigan State because I went to . . . two summers before that I had gone to Interlochen Music Camp and they had an art program there. And so, the man who was teaching art was also teaching at Michigan State, so I got interested in going there because of their program. So, my first year, I was I was at Michigan State and then after that I transferred to Ohio State so that I could live at home. My family did not have that . . . it was always a matter of finances to, you know, how you were going to afford to do these things. All beginning art majors, you take drawing, ceramics, painting, and everything. That was my first experience with working three-dimensionally so I was completely hooked. Before that I had, in India, all the work I had done were drawings and paintings, because I was working with [Janet Sewell], and that was all that I knew. Even as a child, I was always drawing. So, it wasn’t until I went to Michigan State and took that ceramics class. There was something about, you know, not just your ideas, but the physical information that is in your body or in your hands or something, that really clicked for me, I liked that a lot."

"Well, the art department there was very different than it is now."

"The sculpture department was over in some agronomy building in the basement or something because they had a very old building and, there just wasn’t room for all the classes. Now they have a huge new building. I went to interview someone that we were interviewing as a Dean who was in their Art History department, and their Art department now is in a huge building, it has like 12 floors or something and three floors are devoted just to computers. So it is a very different department now than it was then, but when I was there it was very intimate and you could work there all the time, all day, on the weekends if you wanted to. They had visiting artists. I remember David Smith came one time and spoke to us, and talked to us in our studios and I remember I was complaining to him about something, I can’t remember. I didn’t have enough of something, I was complaining because the school didn’t provide it and he just said, “Well, go get it!” And I said, “Oh yeah.” It just never dawned on me, “Oh yeah! I’m in charge of what I’m doing! If I need something, just go get it!”"

"Yes. And my [former husband], David Elder was the T.A. (teaching assistant) for the person teaching the sculpture class."

"Yes, he was in a graduate student in that program, and that’s how we met. We married right after I graduated and he continued as a graduate TA."

"David got a job teaching at Valparaiso University, which is where he graduated from, that’s in Indiana. And, I did some things. Again, I was kind of back to doing drawings. We were there for a couple years and then moved to California."

"It was1964 and I was pregnant with Eric at that time and so we moved out here and we were in Long Beach for a couple of years before he then got a job at Pasadena City College. By then, well, actually, in Long Beach, I was making sculpture again. As soon as we got to California, things really started to click and when we moved to Sierra Madre and David was teaching in Pasadena, I think one of the really important things for me was that I saw one of Judy Chicago’s smoke pieces. I don’t know if you are familiar with those but she did them in several locations where she would. . . . Well, one that I remember in particular, was at the Pasadena, or, what is now the Norton Simon Museum, around that pool she had people set up colored smoke and so they would light them and then . . . so you just had this ephemeral experience that lasted for what, maybe 30 minutes. So that was my first experience with seeing something that relied on your visual memory. There was nothing left, there was no object. I was quite fascinated with that."