Or perhaps Kennedy had given the order simply becasue brevity was worth more at the moment than all the political benefits he could imagine from more complicated alternatives.
— Taylor Branch, Parting the Waters: America in the King Years, 1954–63
Idealists would say afterward that King's gifts made him the obvious choice. Realists would scoff at this, saying that King was not very well known, and that his cheif asset was his lack of debts or enemies. Cynics would say that the established preachers stepped back fro King only because they saw more blame and danger ahead than glory.
— Taylor Branch, Parting the Waters: America in the King Years, 1954–63
If you are not obsessed with anything these days you are nothing.
— Slavko
Dad let go this evening.
— Dad
Name changes have always been part of religious history.
— Taylor Branch, Parting the Waters: America in the King Years, 1954–63
Lets get at it.
— Grandpa Jack after my dad said "He'll be watching over you all day."
A surgical moment.
— Bang Wong
Two different bacterial species are far more different than we are from corn.
— Deb Hung, "Broad@15 Talk Series; Patients to populations – the battle to fight infectious diseases continues"
Lind remarked, “If you have a party that has this 1980s message when the Republican Party was the country club party, saying, ‘Oh, government’s bad. The market’s good.’ Well, that aligned its interests with the Republican Party when most corporate executives were Republicans, but they’re going to be Democrats in the future, right?”
— Robert Kraychik, "Michael Lind: ‘Only Institution Where Republicans Have Any Power Left in Society Is Elective Government’" Breitbart
As part of the project I actually called the phone number that I drew when I was a kid and it turns out to be a metal company in Ventura, California. I said can you make a steel I beam, bend it 90 degrees and ship it to me? They said we could, it will cost you $900. The point being, the people I reached when I drew 1‐800‐GALLOWS could make one. So, that was a weird discovery.
— Brian McMullen
I watched you grow up.
— 16 Handles employee I've seen for 3 years.
He had a politician's versatility. Once on a visit to Tennessee, he chatted with a mule farmer who said afterward, "He is the nicest mule trader I ever met."
— Ron Chernow, The House of Morgan: An American Banking Dynasty and the Rise of Modern Finance
There are lots of things one can say to a man that he cannot write to him.
— Thomas Lamont via Ron Chernow, The House of Morgan: An American Banking Dynasty and the Rise of Modern Finance
The Union League Club had a room wallpapered with stock certificates that were rendered worthless by the crash. (The were peeled off by itchy fingers when the market recovered.)
— Ron Chernow, The House of Morgan: An American Banking Dynasty and the Rise of Modern Finance
Unprecedented is never that unprecedented. 32 years ago (almost to the day), Bob Silman worked with Civitas and the neighborhood to fight to take 12 stories off a too tall development. At one point, when asked how one could possibly remove 12 stories, Bob replied, 'gingerly.'
— @oppenheimer.nat
He hastily told him to present it to Wilson type on ordinary paper, lest Bryan and the Progressives think the House of Morgan was dropping off a prearranged plan.
— Ron Chernow, The House of Morgan: An American Banking Dynasty and the Rise of Modern Finance
She had become rather deaf and used an enormous ear trumpet.
— Ron Chernow, The House of Morgan: An American Banking Dynasty and the Rise of Modern Finance
He said his nose "was part of the American buisness structure."
— Ron Chernow, The House of Morgan: An American Banking Dynasty and the Rise of Modern Finance
Yang then joked, “Maybe everyone will see what happened in Iowa, and be like, ‘Our jobs are safe.'” It is not exactly clear what he meant, but he frequently warned about technology automation replacing workers.
— Kristina Wong, "Andrew Yang Overheard on Iowa Caucus Disaster: ‘That Whole Thing Was So Weird’," Breitbart
After several years as an abstract painter, I realized that the language was so cryptic and personal that the themes I wanted to address in my work, like colonized sexuality, were being missed.
— Kent Monkman, "The Canadian Cree Artist Remixing History in the Met’s Great Hall," Vulture