Class Quotes - Page 124

Take away from the courts, if it could be taken away, the power to issue injunctions in labor disputes, and it would create a privileged class among the laborers and save the lawless among their number from a most needful remedy available to all men for the protection of their business interests against unlawful invasion.... The secondary boycott is an instrument of tyranny, and ought not to be made legitimate.

I am proud up to the point of equality; everything above or below that appears to me arrant impertinence or abject meanness.

But of all footmen the lowest class is literary footmen.

For A to sit down and think, What shall I do? is commonplace; but to think what B ought to do is interesting, romantic, moral, self-flattering, and public-spirited all at once. It satisfies a great number of human weaknesses at once. To go on and plan what a whole class of people ought to do is to feel one's self a power on earth, to win a public position, to clothe one's self in dignity. Hence we have an unlimited supply of reformers, philanthropists, humanitarians, and would-be managers-in-general of society.

History is only a tiresome repetition of one story. Persons and classes have sought to win possession of the power of the State in order to live luxuriously out of the earnings of others

All my life I've encountered people who were obsessed with one particular class of object or experience, who were constantly pursuing that thing. Since I was a little kid, I hadn't afforded myself the opportunity, I guess, to have a hobby.

The studios mostly threw away the negatives of the classic films. They had no interest in their legacy.

SUNY gives you a world-class education.

In high school, I weighed 175 to 180. I looked like Abraham Lincoln. I was 6-foot-3, biggest thing in the class, but tall, not fat.

I know how to learn anything I want to learn. I absolutely know that I could learn how to fly the space shuttle because someone else knows how to fly it, and they put it in a book. Give me the book, and I do not need somebody to stand up in front of the class.

What fiction offers us is an intimacy shorn of the messy contingencies of human existence - gender, race, class or age. Those moments of transcendence when we exclaim "You know exactly what I mean!" depend for much of their force on the anonymous character of the intimacy between writer and reader.

There can be no more thrilling idea of intimacy that connecting with someone through the agency of the written word. Here we meet, on the page, naked and unadorned: shorn of class, race, gender, sexual identity, age and nationality. The reader I seek is a tautology, for he/she is simply exactly the person who wants to read what I have written...

I am a great believer in high-priced people. If a thing cost a lot it may not be any better, but it adds a certain amount of class that the cheap thing can never approach; in the long run it's the higher-priced things that are the cheapest.

In terms of the class structure that you see so much in European portraiture, I don't think one feels that in America in the 21st century. But we have these other kinds of social structures now, like celebrity, who establish new hierarchies.

If you want to do something to destroy consumer spending, just eat away at the middle class because the other problem we have is the structural problem of middle class America.

As the Hindu gods are 'immortal' only in a very particular sense - for they had born and they die - they experience most of the great human dilemmas and often seem to differ from mortals in a few trivial details... and from demons even less. Yet they are regarded by the Hindus as a class of beigns by definition totally different from any other; they are symbols in a way that no human beign, however 'archetypal' his life story, can ever be. They are actors playing parts that are real only for us; they are masks behind which we see our own faces.

At Julliard we had some voice classes. It was really just so you could carry a tune. It always just helps with your speaking voice also, when you connect your diaphragm and your breath.

If you didn't know what you were trying to do, [Robert von Neumann] wouldn't say a word. He would just turn and walk away. So you very quickly learned to think that you'd better be attempting to do something in that painting class.

It was a figure painting class, where you had a model, and [Robert von Neumann ] would wander around and he'd come up behind someone and say, "Well, what are you trying to do?" And if you told him what you were trying to do, he would then proceed to discuss this with you and suggest things that you might look at and ways in which you could improve what you were attempting to do, etc - never worked on your painting, never touched your painting but talked extensively about what you were trying to do.

Robert von Neumann taught painting, and when I finally got into a painting class of his, he reacted in much the same way.

That [silk-screen process experience] carried over when I returned from the Army and took more graphic classes at the Institute. And Alix [MacKenzie] and I actually began to produce a line of textiles, which had silk-screen patterns on them.

What I didn't know at the time [of my scholarship] was that the ceramic class was not really a very good class. This was many years ago and should not reflect on the conditions at the Art Institute of Chicago to this day, but we didn't know anything and we started to learn about how to work with clay.

I went to the Chicago Art Institute, which was the best painting school in the area at that time. And I took painting classes - basic elementary painting classes and drawing classes of all sorts.

I started to do silk-screen in the early days of my painting training, due to a woman who taught art history at the institute, Kathleen Blackshear. She was interested in silk screen and taught a class that I took.

When I was in school in the Art Institute, we had several problems during the course of the time we were taking ceramic classes where we had to do a sculptural piece. And when I say a sculptural piece, it's nothing like what we conceive of now as a sculptural piece.