People From Philadelphia

"I been readin' 'bout how maybe they is planets peopled by folks with ad-vanced brains. On the other hand, maybe we got the most brains...maybe our intellects is the universe's most ad-vanced. Either way, it's a mighty soberin' thought."

"The best break anybody ever gets is in bein' alive in the first place. An' you don't unnerstan' what a perfect deal it is until you realizes that you ain't gone be stuck with it forever, either."

"Eventually every man gotta face the problem of tryin' to figger if it’s worthwhile to prove that he is himself."

"Don't take life so serious, son, it ain't nohow permanent."

"We have met the enemy and he is us."

"Looking back on things, the view always improves."

"As we thrash on to a finish through the current thicket of flags and banners, we realize it is no finish at all, but a new inning. Secure in the rules, we know that, given three strikes, the truth will out."

"God is not dead — He is merely unemployed..."

"Suspicion is the mother of invention And a fishin' expedition Needs no repetition For the end is never new: you need a friend and you."

"Not all segregationists are lunatics, or even dishonest men."

"The eleventh day of the eleventh month has always seemed to me to be special. Even if the reason for it fell apart as the years went on, it was a symbol of something close to the high part of the heart. Perhaps a life that stretches through two or three wars takes its first war rather seriously, but I still think we should have kept the name "Armistice Day." Its implications were a little more profound, a little more hopeful."

"Deck us all with Boston Charlie Walla Walla, Wash, and Kalamazoo! Nora's freezin' on the trolley, Swaller dollar cauliflower Alleygaroo! Don't we know archaic barrel, Lullaby Lilla Boy, Louisville Lou. Trolley Molly don't love Harold, Boola Boola Pensacoola Hullabaloo! Bark us all bow-wows of folly, Polly wolly cracker n' too-da-loo! Hunky Dory's pop is lolly gaggin' on the wagon, Willy, folly go through! Donkey Bonny brays a carol, Antelope Cantaloup, 'lope with you! Chollie's collie barks at Barrow, Harum scarum five alarum bung-a-loo Duck us all in bowls of barley, Hinky dinky dink an' Polly Voo! Chilly Filly's name is Chollie, Chollie Filly's jolly chilly view halloo! Bark us all bow-wows of folly, Double-bubble, toyland trouble! Woof, Woof, Woof! Tizzy seas on melon collie! Dibble-dabble, scribble-scrabble! Goof, Goof, Goof!"

"Y'see, when you start to lick a national problem you have to go after the fundamentables. You want to cut down air pollution? Cut down the original source... Breathin!"

"Halp! My powerful brain is blowed itself up!"

"The natural born reason we didn't git no yew-ranium when we crosses the li'l yew tree and the gee-ranium is on account of cause we didn't have no geiger counter."

"Some is more equal than others, as is well known. It ain't that your majority is outnumbered, you're just out-surrounded."

"So we got fifty percent. Babe Ruth didn't do no better. — Did you mean hittin' it... or throwin' it?"

"I'll tell you, son, the minority got us out-numbered!"

"Foo, a beautiful gal wastes her time gracin' up this swamp."

"Is we runnin' TO it or FROM it?"

"[After Pogo says, Eventual Porky, I figger ev'ry critter's heart's in the right place., Porky responds:] If you gotta be wrong 'bout somthin', that's 'bout the best thing they is to be wrong 'bout."

""Somebody will ask those of us who compose with the aid of computers: 'So you make all these decisions for the computer or the electronic medium but wouldn't you like to have a performer who makes certain other decisions?' Many composers don't mind collaborating with the performer with regards to decisions of tempo, or rhythm, or dynamics, or timbre, but ask them if they would allow the performer to make decisions with regard to pitch and the answer will be 'Pitches you don't change.' Some of us feel the same way in regard to the other musical aspects that are traditionally considered secondary, but which we consider fundamental. As for the future of electronic music, it seems quite obvious to me that its unique resources guarantee its use, because it has shifted the boundaries of music away from the limitations of the acoustical instrument, of the performer's coordinating capabilities, to the almost infinite limitations of the electronic instrument. The new limitations are the human ones of perception." Quoted in Classic Essays on Twentieth-Century Music, ."

""I can't believe that people really prefer to go to the concert hall under intellectually trying, socially trying, physically trying conditions, unable to repeat something they have missed, when they can sit at home under the most comfortable and stimulating circumstances and hear it as they want to hear it. I can't imagine what would happen to literature today if one were obliged to congregate in an unpleasant hall and read novels projected on a screen." See: recording Quoted in Classic Essays on Twentieth-Century Music, ."

"This compositional variety is mediated by a highly redundant set structure, a second-order all-combinatorial set; each set form is hexachordally equivalent to or totally disjunct from fifteen other set forms, so that one-third of all the available set forms belong to a collection of sets which are hexachordally aggregate forming, that is, hexachordally identical."

""The issue of 'science' does not intrude itself directly upon the occasion of the performance of a musical work, at least a non-electronically produced work, since—as has been said—there is at least a question as to whether the question as to whether musical composition is to be regarded as a science or not is indeed really a question; but there is no doubt that the question as to whether musical discourse or—more precisely—the theory of music should be subject to the methodological criteria of scientific method and the attendant scientific language is a question, except that the question is really not the normative one of whether it 'should be' or 'must be,' but the factual one that it is, not because of the nature of musical theory, but because of the nature and scope of scientific method and language, whose domain of application is such that if it is not extensible to musical theory, then musical theory is not a theory in any sense in which the term ever has been employed. This should sound neither contentious nor portentous, rather it should be obvious to the point of virtual tautology.”"

"Naturally, since I am not concerned with normative allegations, I cannot be concerned here with the invocation of the overtone series as a 'natural' phenomenon, and that application of equivocation which then would label as 'un-natural' (in the sense, it would appear, of morally perverse) music which is not 'founded' on it. Now, what music, in what sense, ever had been founded on it?"

""We have all been affected as composers, as teachers, as musicians by recordings to an extent that cannot possibly be calculated as yet or predicted for the future. The music which is being most widely disseminated and most widely discussed, and therefore most widely imitated and influential, is that music which is available on records. The music that is only published is very little known. I don't think one can possibly exaggerate the extent to which the climate of music today is determined by the fact that the total Webern is available on records, that the total Schoenberg is becoming available." Quoted in Classic Essays on Twentieth-Century Music, ."

"I’d like to say we have fixed these problems, but we haven’t. We have very real vulnerabilities. We have not diminished in any way the fervor and ideology of our enemy. .... Today, probably 50 or more states have schools that are teaching jihad, preaching, recruiting, and training. We have absolutely no successful programs even begun to remediate against those efforts. .... Nobody paid attention. Presidents in four administrations put their arms around Saudi ambassadors, ignored the Wahhabi jihadism, and said these are our eternal friends."

"Many will recall with pain what we went through in the Reagan administration in 1983, when the Marine barracks were bombed in Beirut—241 Marines and Navy corpsmen were killed. We immediately got an intercept from NSA [National Security Agency], a total smoking gun from the foreign ministry of Iran, ordering the murder of our Marines. Nothing was done to retaliate. Instead, we did exactly what the terrorists wanted us to do, which was to withdraw. Osama bin Laden has cited this as one of his dawning moments."

"Power corrupts. Absolute power is kind of neat."

"We were not prepared intellectually. Those of us in the national security field still carried the baggage of the Cold War. We thought in concepts of coalition warfare and the Warsaw Pact. When we thought of terrorism, we thought only of state-sponsored terrorism, which is why the immediate reaction of many in our government agencies after 9/11 was: Which state did it? Saddam, it must have been Saddam. We had failed to grasp, for a variety of reasons, the new phenomenon that had emerged in the world. This was not state-sponsored terrorism. This was religious war. .... This was the emergence of a transnational enemy driven by religious fervor and fanaticism. Our enemy is not terrorism. Our enemy is violent, Islamic fundamentalism."

"We are at a juncture today that really is more of a threshold, even more of a watershed, than the Japanese attack on Pearl Harbor was in 1941. We are currently in a war, but it is not a war on terrorism. In fact, that has been a great confusion, and the sooner we drop that term, the better. This would be like President Franklin Roosevelt saying in World War II, 'We are engaged in a war against kamikazes and blitzkrieg.' Like them, terrorism is a method, a tool, a weapon that has been used against us. And part of the reason we suffered such a horrific attack is that we were not prepared."