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“The filmmaking process is slow and expensive, so movies are always the last idiom to respond to social evolution; the finest films from the seventies were really just the manifestation of how art and life had changed in the sixties.”
Chuck Klosterman, Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto (New York: Scribner, 2004), 163.
“For the past twenty-five years, culture has been obsessed with making males and females more alike, and that’s fine. Maybe it’s even enlightened. But what I’ve noticed — at least among young people — is that this convergence has mostly just prompted females to adopt the worst qualities of men. It’s like girls are trying to attain equality by becoming equally shallow and selfish.”
Chuck Klosterman, Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto (New York: Scribner, 2004), 178.
“The significance of lyrics in pop music is not overrated; in fact, it’s probably underrated. And this is what people overlook about modern country music. They fail to see that it’s a word-based idiom, and words are far more effective than pianos or guitars.”
Chuck Klosterman, Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto (New York: Scribner, 2004), 183.
“Nothing is more familiar or characteristic among Christians than assertion. Take away assertions, and you take away Christianity. Why, the Holy Spirit is given to Christians from heaven in order that He may glorify Christ and in them confess Him even unto death — and is this not assertion, to die for what you confess and assert?”
Martin Luther, The Bondage of the Will, in John Dillenberger, ed., Martin Luther: Selections From His Writings (New York: Anchor, 1962), 168.
“In life, high school actually never ends, even though they hand you a paper and tell you farewell. The prom kings and prom queens continue to snipe at each other for the duration of existence.”
Chuck Culpepper, Bloody Confused (New York: Broadway, 2007), 173.
“Of course, the problem with caring is that it leaves the door wide open for nervousness, . . .”
Chuck Culpepper, Bloody Confused (New York: Broadway, 2007), 95.
“But a ditty at maybe the seventy-first minute latched itself onto my memory, not to unfasten anytime soon — odd given I couldn’t understand the lyrics. Suddenly, before my ears, the Holte End [of Villa Park, Aston, Birmingham] crooned a phenomenal version of the Monkees’ 1967 hit ‘Daydream Believer,’ one of the few songs I’d actually liked from the ballyhooed 1960s that preceded my adolescence. I asked my host for the lyrics that we’d just heard but that the Monkees had never imagined. Maybe two or three times, he repeated to me the phrase ’sad bluenose bastard,’ but I just couldn’t understand him, and so, with his hand shaking a bit — he was a nervous viewer who doubled over and smoked during matches — he carefully spelled it out:
Cheer up, Stevie B [Steve Bruce, manager of Birmingham City FC],
Oh, what can it mean
To a sad bluenose bastard
And a s*** football team.“
Chuck Culpepper, Bloody Confused (New York: Broadway, 2007), 52.
“Among all the nations of the Oriental world, only Israel developed an eschatology . . .”
Hans K. LaRondelle, The Israel of God in Prophecy: Principles of Prophetic Interpretation (Berrien Springs: Andrews University Press, 1983), 35; citing H. D. Preuss, Jahweglaube und Zukunftserwartung, BEANT 7 (Stuttgart: Kohlhammer Verlag, 1964).
“A dozen men are shut up together in a little bark upon the wide, wide sea, and for months and months see no forms and hear no voices but their own, and one is taken suddenly from among them, and they miss him at every turn. It is like losing a limb. There are no new faces of new scenes to fill up the gap. . . . You miss his form, and the sound of his voice, for habit had made them almost necessary to you, and each of your senses feels the loss.”
George Ballmer, a fellow-sailor, is working high above the deck of a ship on the maintop masthead, when he falls into the ocean with his equipment. He is lost completely; Richard Henry Dana, Jr., Two Years Before the Mast: A Personal Narrative (New York: Signet, 2000), 31.
“We were like tram-cars running on their lines from terminus to terminus, and it was possible to calculate within small limits the number of passengers they would carry. Life was ordered too pleasantly.”
Sometimes boredom gets the best of us and, like Maugham, we need to change locations (in his case, from London to Paris). W. Somerset Maugham, The Moon and Sixpence (New York: Penguin, 1944), 63.
