GINSBERG: I feel bad for you.

DRAPER: I don’t think about you at all.—
Matt Thomas (@mattthomas) May 15, 2012

2 (something I tweeted earlier)

If you find something original check to see where it was stolen from.—
Matt Thomas (@mattthomas) May 14, 2012

3 (a tweet that appeared in my timeline this morning)

“I don’t care what you think about me. I don’t think about you at all.” — Coco Chanel quotevadis.com/post/230926157… #quote #fashion #people—
Quote Vadis (@quotesvadis) May 15, 2012

—Thomas Frank, “The Price of Admission,” Harper’s Magazine, June 2012

(Via Boston Review.)

As KRS-One put it on “Questions and Answers” in 1992, “Kick up that money, ho. Oh, I mean tuition.”

—Marshall McLuhan

(Via Michael Sacasas.)

“He famously reads for two or three hours before bed, and he has astonishing recall. Even in casual conversation, he uses ‘every intellectual resource at hand,’ says Obery Hendricks, who is now a visiting Bible scholar at Columbia University. In private-study sessions with West at Princeton, Hendricks remembers, ‘He was able to seamlessly incorporate black vernacular, black music, with the deepest Western philosophical thinkers. Once we were talking about jazz, and he extemporaneously wanted to talk about the similarities between bebop and a particular moment in the Italian renaissance. I thought, What kind of mind is this? I couldn’t believe it.’ West’s protégés describe seeing themselves, under the tutelage of their mentor, not as intellectual piece workers, toiling in small antechambers, but as heirs to a great, broad tradition.”

—Edgar Allan Poe, “The Purloined Letter” (1844)

—Diane Keaton as Sonja in Woody Allen’s Love and Death (1975)

—Walter Lippmann, Drift and Mastery: An Attempt to Diagnose the Current Unrest, 1914

—Mark Hunter

—Peter Rojas

ᔥ Tumblin’ Erb | ↬ André Brock

—Morris Berman, author of Why America Failed

—Laurence Lafore, American Classic (1975)

—Willa Cather

(Via About Last Night.)

—Max Weber, “Science as a Vocation” (1917)

“If you don’t take the money, they can’t tell you what to do. That’s the key to the whole thing.”

—Bill Cunningham

Of the original Blue Marble photo, Leonard Shlain had this to say:

“Like a Chinese ideograph, NASA’s photograph of our blue marble conveyed multiple values simultaneously, values more intuitive than rational. The masculine perception of nature and the Earth itself as ‘things’ to be conquered made the space program possible. The photo it generated began to instill in everyone who saw it an understanding that the Earth must be honored, protected, and loved. That many environmentalists are men confirms this change in orientation. NASA’s photograph of the Earth floating in space provided people with ‘the big picture.’ One sees the big picture with the entire retina and the combined hemispheres. The inviting, mute image of the home planet floating in dark space did more to change the consciousness of its residents than the miles of type concerning the subject generated by the world’s writers.”

—Josh Wimmer

Related post: “An Important Lesson.”

—David Ogilvy

(Via Letters of Note.)

—Richard Mitchell, The Graves of Academe

(Via Michael Leddy.)

—Raymond Chandler, Farewell, My Lovely

—Matt Zoller Seitz

—Paul Graham

Bernard-Henri Lévy: Number one, I don’t know. Number two, I don’t care. And number three, the pack always loses against a writer or an artist.

—Chuck Klosterman, “Fail”

“That’s all these critics are saying. Their house is burning and they’re saying, ‘Don’t you have any sense of values, simply telling people about fire when you should be thinking about the serious content, the noble works of the mind?’”

—Marshall McLuhan on his new media-phobic critics

(Via Jay Rosen.)

Cf. The Exact Opposite Is True

(Via.)

MAX
You keep right on talking, honey. I like the way you run me down like that.

—Barrie Chase and Robert Mitchum in Cape Fear (1962)

—G. Bruce Boyer

We went into Sean’s bedroom – and there was a kid there setting up an Apple computer that Sean had gotten as a present, the Macintosh model. I said that once some man had been calling me a lot wanting to give me one, but that I’d never called him back or something, and then the kid looked up and said, “Yeah, that was me. I’m Steve Jobs.” And he looked so young, like a college guy. And he told me that he would still send me one now. And then he gave me a lesson on drawing with it. It only comes in black and white now, but they’ll make it soon in color. And then Keith and Kenny used it. Keith had already used it once to make a T-shirt, but Kenny was using it for the first time, and I felt so old and out of it with this young whiz guy right there who’d helped invent it.

(Via.)

—Joan Didion, “In Bed,” The White Album (1979)

—T. S. Eliot

(Via.)