People From California

"I am crazier about him than ever... We have been working together for so long. We know how one another operate and have such a good rhythm. If we are apart, I miss him because I need his feedback. I welcome his input even if it is different than mine because it always gives us a better product."

"What better work can you ask for than to be with her?"

"This is one of the great things about this show is that we've really explored a totally new thing which is lyrical hip-hop and [Tabitha and Napoleon] nail it... It shows you that hip-hop [has] completely become a really legitimate beautiful genre in and of its own and you can tell such beautiful and heart breaking stories."

"When you can tell the story of the song through your movement, it's brilliant. It comes across as so honest and not fake."

"Why would you want to be back-up dancer when you could be the actual star? Let's show the world that we're stars. Let's perform like stars."

"There's a life to dance that has to happen and it was seen years ago with Gene Kelly, Fred Astaire, Ginger Rogers, and the life and the feeling they had in a performance. And when you watch them and you see them and you start to sway with them and you start to move with them and you miss that sometimes and that's what needs to happen with dance again."

"Somewhere in the world of dance we started thinking about steps way too much: technique, steps, technique, steps. You can do all the technique you want, the regular public doesn't know. All they know is how you perform and what you tell them and what you make them feel; and when you make somebody feel something, it is undeniable."

"This time in dance, this era, is probably one of the most entertaining times. It's got this whole new style of hip-hop which encompasses 20 different styles within it. There's no boundaries to it so people are taking it to the next level. And I think as an audience, everyone is saying Whoa, that is energetic. That is gymnastics, that is dancing, and that's entertainment combined in one. And that's a beautiful thing."

"We see people who dance really well and can't perform all the time. It's in our community, our dance community. It's like that because we've been doing back-up dancing for so long. We're always in the background of the movies and we're always behind the artist so our job is not to outshine the artist. Well now, with all these dance television shows, we're getting a chance to be the artist. We're on the forefront. We're the Gene Kellys and the Fred Astaires of this generation and it's our job to make people feel something and to really perform."

"Dance is not an internal thing. You have to be able to give to somebody else visually watching or they won't care. If they don't leave with some type of emotional feeling—whether it be you cry, or you laugh, or you jump in the air for joy—then it becomes movement and we haven't done our job."

"I think the future of dance is where we came from, where the dancers are the stars and I see in the next ten years dancers being these huge stars and the movie musical coming back."

"I think they're all equally hard. They all have their own techniques and when you don't train in that technique then it's difficult. Y'know, especially for somebody in a ballroom who's use to stepping heal-to-toe and they get into a jazz routine and they're up on relevé the whole time. So everything has its own technique and when you get use to one way, it's difficult to switch."

"...it’s your work ethic that is going to get you far, no matter what you do."

"Let other dance styles inspire and influence your own and remember that there are no boundaries. Dare to be original."

"Dance from your heart. If you dance from your heart, you'll always love it."

"If you fall out of love with what you’re doing, don’t be afraid to move on. And failing once doesn’t mean you’ll fail every time. You will fail, however, if you don’t learn from your mistakes. Fight for what’s important to you, but be conscious of your approach when speaking up. If you speak out of anger, odds are, your message won’t be heard as clearly. And never let the envy you might feel for another turn into jealousy or hatred. Instead, use that energy as motivation to work harder."

"Ask yourself why you [dance]. Don't do it for the wrong reasons. You have to love it because it's a tough business and you're not always going to get to do the cool jobs and those things. So if your heart is in the right place, you will find happiness within the dance."

"Enjoy the journey. Enjoy the journey, and the hard work and the sacrifices and opportunities it takes to get somewhere, because it will all make you better at what you do when you arrive."

"Be proud of what it is that you’re doing and you’ll do a better job."

"Maybe it's because Laurieann Gibson is my choreographer and I'm really close with her but it's the interpretation of hip-hop that I thought was a little bit contrived."

"These are the ghosts I live with and I hate myself for all I became and did. I am not just sorry, I am haunted. I think of all the people I hurt, of all the moments I stole from your lives, and I know I deserve to die."

"He was quite a thinker … I think if his life had been different, if he'd zigged instead of zagged, I could see him growing up to become a college professor — at a Christian college, probably, though the administration would no doubt have bitten their nails to the quick more than once over some of his ways. I have several letters from him where he expounded on the oddities of life. The joys and the quirks. He might have been a sociologist, even. People fascinated him. Life fascinated him, since he had squandered his chances of living a normal one. But he made the most of it, more so than anyone I've ever met."

"He took his last dig at us. … It is very presumptuous that he would know how we would still feel."

"Please, know that for as long as I live I will be haunted with the sorrow for what I did and when I die I will have counted it more mercy than I deserved to have lived the life I did. Until that day, I want you to also know, I will spend my life trying to do things that will touch the world in a good way, to give back for all I took from you. That’s the only thing I can offer with my hands and my heart. It’s simply all I have."

"I was mad at God, I didn’t LIKE God because of how I perceived Him, and the stuff I read on Satanism said two things that appealed to me. #1 — it offered freedom, and #2 — it promised power to control my life, and others. I’d been carted all around the state and Colorado all my life, slapped, smacked, hit, and had whatever I wanted ignored. I was mad and the idea of controlling my life to get what I wanted was like candy to me. Plus I looked at the way everyone around me lived and the stuff I read in the Satanic Bible in principle was lived out in lifestyle by Mom and Dad and everyone else I knew. No one was a real Christian. We didn’t go to church. We didn’t talk about God. … What was the point of pretending to serve God when we lived like Satanists? Satanism taught me that I should make my own rules to live by in life, and that’s just what everyone I’d grown up around did, so I got very involved in Satanism. I truly thought it was an honest way to live, and the rituals of it would enable me to control my life. Even then I didn’t want to kill anyone. That desire didn’t start until later."

"I was not a cruel person. I didn't commit murder because I enjoyed causing pain. I had pets all my life and I wanted to be a veterinarian. I never was a bully, or provoked fights, or picked on people weaker than I was."

"I'm not in any way trying to pass blame to any other person. There are reasons why I did what I did, but I'm still the one who did it, and the responsibility, no matter the reasons, is still mine."

"To be a Satanist is not to be liberated. It is to be bonded to death. The freedom it offers is an illusion. And this is something I know every Satanist knows, because I was there. In the dark and quiet, all alone, without the buzz of alcohol or drugs, or the rhythm of music to drown out the sounds, there is an empty echo inside us. A vacancy. A feeling of loss and cold and turmoil and hunger. That emptiness gnaws and hurts worse than anything else in life; we take up knives to carve our skin just to escape it, or run into the arms of a lover to smother it, but it doesn't go away. It grows. It is death at work, emptiness causing decay. No matter how much we feed it SIN, it will never fill up."

"I've watched closely and I believe most people who turn from God do so for one of two basic reasons. One, they mistake some aspect of religion as God (like Anton LaVey did). Or two, they are unable to overcome their need to understand what can not be understood. I honestly don't think it's easy to turn from God if we see Him as He really is. Every Satanist I've ever encountered has fallen into one of those two categories. They either have a warped, distorted perception of God, based on what they were taught by some idiot, or they don’t believe in the goodness or even the existence of God because of the injustice of the world. The first is a problem of perception. The second is a problem of pride. Both are hard to get past."

"It's so much easier to create our own gods; gods that are fully knowable. Those are the gods of atheism, occultism, religion and sometimes even Christianity. Then, of course, there are those prejudices that we demand of our gods. Women who take offense at a "male" God create for themselves a female or neuter god. There, we have all the racial gods, the black gods, white gods, and cultural gods, the Spanish gods, African gods, Indian gods and so on. All of them called god. And yet none of them are truly Him. Some may be tiny glimpses of Him. Maybe His big toe or little finger, but nothing more. Others are not even that. They’re only delusions from our prejudices."

"The fact is nearly everyone forces God to fit into his own perception. Even Christians serve a God they perceive rather than the God who truly is. They limit Him according to those special needs of their own psyche. It's actually hard not to do that, but every time we do, it has consequences. Seeing God for who He truly is takes effort and always has one inevitable result that many people cannot accept: our understanding will always fall short."

"Satanism to Anton LaVey was the celebration of that part of ourselves. His rituals were parodies of Catholic rituals. His philosophy was to embrace that "darkness" within ourselves, since it led to pleasure and pleasure was the real aim of life; after life there was nothing. No Heaven, no Hell, just the grave. We cease to exist."

"In prison, I found out who God really was, who He is, and that too took some time. I had seen God as an arbitrary rule maker. He made His rules the same way my parents did. The reason was "Because I said so!". But that was a false image of God. The way Anton LaVey saw God also affected his view of Satan."

"All the people who are hating me right now and are here waiting to see me die, when you wake up in the morning you aren't going to feel any different. You are going to hate me as much tomorrow as you do tonight. Reach out to God and he will hear you. Let him touch your hearts. Don't hate all your lives."

"Dr. Seaborg was a true giant of the 20th Century, a legend in the annals of scientific discovery. His daily commitment to matters of the laboratory, even in retirement as associate director-at-large and as an active researcher, was an inspiration to us all. … We who have been touched by his wisdom, his energy, and his tireless devotion to our profession will miss him."

"I suppose that I should say a few words with respect to the possibility for future production and identification of additional transuranium elements, especially in view of the possibility of their production by heavy-ion bombardment of transuranium elements. As an aid to such a program the radioactive properties can be estimated, as I have already indicated, on the assumption of a smooth nuclear energy surface and the systematics of radioactivity. Again, I must emphasize that such considerations are negated in the event that a stable subshell of 148 neutrons should be found to exist, and this must be regarded as a definite possibility. It is interesting to note that our considerations on the systematics of spontaneous fission28 indicate that this method of decay will not compete seriously with radioactive decay until the region just beyond element 100. … These considerations illustrate clearly that one of the problems is that of conceiving means for producing nuclides of sufficiently high mass numbers with half-lives long enough for chemical identification. Thus, the serious problem is again the paucity of starting materials."

"There is a beauty in discovery. There is mathematics in music, a kinship of science and poetry in the description of nature, and exquisite form in a molecule. Attempts to place different disciplines in different camps are revealed as artificial in the face of the unity of knowledge. All literate men are sustained by the philosopher, the historian, the political analyst, the economist, the scientist, the poet, the artisan and the musician."

"To say that Seaborg had a high-profile career is an understatement. He is in the Guiness Book of World Records for having the longest entry in "Who's Who in America." … In 1944, Seaborg formulated the 'actinide concept' of heavy element electronic structure which predicted that the actinides – including the first eleven transuranium elements – would form a transition series analogous to the rare earth series of lanthanide elements. Called one of the most significant changes in the periodic table since Mendeleev's 19th century design, the actinide concept showed how the transuranium elements fit into the periodic table."

"The body of information assembled in Dr. Seaborg's laboratory has made it possible to predict the radioactive characteristics of many isotopes of elements still to be found. Under Dr. Seaborg's leadership, also, whole new bodies of methodology and instrumentation have been developed and have become a cornerstone of modern nuclear chemistry."

"Glenn Seaborg had a tremendous influence on me — both before and after I met him. Of course, as a nuclear chemist, I knew of his leadership in the legendary discovery of plutonium in 1941, the development of the actinide concept, his receipt of the Nobel Prize in 1951, and the discovery of 8 more transplutonium elements by 1958. It was not until his tenure as chairman of the AEC (1961-71) that I actually began to learn first hand about the "real" person behind these awesome accomplishments. … The breadth of his interests, his skill in communicating with both scientists and the general public and press, and his energy in doing all this even while he was AEC chairman still boggles my mind! … I learned so many things from him just by observing how he ran the weekly brown bag lunches with his graduate students and later mine — listening with great interest as they described their research progress. He asked insightful and penetrating questions, but not in a threatening manner, made suggestions, and frequently went to visit the labs late in the day to see what was going on. He also hosted many undergraduate research students. He was devoted to education and student training and would prepare as carefully for lectures to freshman chemistry classes as for presentations to prestigious assemblages of scientists. Glenn was very concerned with history and had kept a diary or journal since he was eight years old. After his return to Berkeley from Washington in 1971, he continued the tremendous undertaking of putting them into book form, which occupied him and several helpers for many years. His journals also formed the basis for books on his years as chancellor at Berkeley, as chairman of the AEC, and many other topics. On the rare occasions that he did not remember something that one of us might ask about he would look it up in his journals. He had a fabulous memory and was able to synthesize and apply and keep track of what he knew so it could be applied to the situation at hand. One might almost say in the parlance of our time that he was a "parallel processor"! … In spite of his legendary accomplishments, Glenn Seaborg always had time for family members, colleagues, students, and even non-scientists who wanted to visit with him. We have lost a treasured advisor, colleague, mentor, resource, and friend. But he will live on through his prolific writings and in the cherished memories of the hosts of students, scientists, colleagues, and lay people that he influenced."

""I'll sue you and the Sheriff's Department," he said, sounding more sulky than anything else. "Questioning me like a common criminal! And with an FBI agent standing over me in a threatening manner!" Since Bishop was across the room leaning rather negligently against the filing cabinet, that was such an obvious exaggeration that Miranda could only admire it for a moment in silence."

""He has earned his reputation as the toughest son of a bitch in the WWE!" (during the entrance of Stone Cold Steve Austin in Wrestlemania XIX, before his match with The Rock)"

""Good God, almighty!" (said usually when someone or something unexpected happens during a match)"

"[...] is running like a scalded dog! (usually said when a heel wrestler flees from a fight)"

""[...] is being "whipped like a government mule!" (usually said when someone is taking a beating, most of the time when somebody is getting whipped with a belt)"

""Look at the Carnage!" (usually said when there are wrestlers all over the place and outside of the ring)"

""He's not just trying to hurt the man - he's out to end his career!" (usually said when a heavyweight or superheavyweight is destroying his opponent)"

""Business is about to pick up here!" (usually said when someone music/pyro hits)"

""Austin's stompin' a mudhole and walkin' it dry!" (usually said when Professional Wrestler Steve Austin is stomping his opponent in the corner)"

""Jezebel!" (when talking about a female heel (villain) wrestler)"