Quotes of All Topics . Occasions . Authors
It all started in a local park in El Paso called Madeleine Park. At a ditch, a very small ditch, that everybody used to go skateboarding in. It was me and Jim Ward and an acoustic guitar. He and I constructed the very first phases of At The Drive In.
My friend Jim Parrack is in 'Child of God,' and we grew up together. Back then, we would watch old movies and go reenact them at a Blockbuster or a supermarket. We'd end up getting in trouble because you can't reenact movies. People think you're crazy.
I think other than Jim Cornette, who's just, you know, a bitter old man who wants viewings, other than people like that guy who are just bitter, I could probably find whatever fan out there and show them some match that I've done that they would enjoy.
The Journey of Reconciliation was organized not only to devise techniques for eliminating Jim Crow in travel, but also as a training ground for similar peaceful projects against discrimination in such major areas as employment and in the armed services.
In a sense, mass incarceration has emerged as a far more extreme form of physical and residential segregation than Jim Crow segregation. Rather than merely shunting people of color to the other side of town, people are locked in literal cages - en masse.
I used to write letters to Jim McKay in college. 'Wide World of Sports' was this travelogue, really, that introduced us to sports and it introduced us to parts of the world that we had never seen before. And no one was a bigger tour guide than Mr. McKay.
I remember I was up for the role of Jim in 'Huck Finn,' and because I went to Harvard and Yale, they didn't think I would be able to play a slave. I said, 'Oh, please.' I had to go in there and prove to them that I wasn't too intelligent to play a slave.
One of the best features of my career is that I have gotten to meet and work with some of the most stellar people in the business. From Tim Russert and Jim Lehrer to Bryant Gumbel, Andrea Mitchell and Judy Woodruff, I have learned from the leading lights.
I knew since third grade I wanted to be Jim Carrey. His freedom, his goofiness, his crazy, loud, sudden energy. I told my family I was going to be a pediatrician, but in the back of my mind, I was like, 'Nope, I'm going to be the biggest movie star ever.'
After graduating high school, Betty attended the Tuskegee Normal and Industrial Institute in Birmingham, Alabama, the alma mater of both her parents. My mother relocated to New York because she refused to accept the oppressive racism of the Jim Crow south.
Legends like Jim Murray at the 'Los Angeles Times' and Shirley Povich at the 'Washington Post' were the most beloved guys at their papers. They'd write a cherished column for 30 years, and that was it. There was nothing else to do, no higher job to attain.
I sent some scenes from 'Life on Mars'... and then I didn't hear anything for about 48 hours, and I was sure that I wouldn't get this. Then I got a phone call saying, 'They want you to take the role of Jim Shannon on 'Terra Nova,' and would I be interested!
I think if you look at Sam Raimi and Jim Cameron, those guys know things about filmmaking that almost nobody knows anymore. They are students of film from when they handmade films themselves, you know cut films with their own hands and razor blades and tape.
Jim Newman, the business visionary who created the term 'comfort zone,' showed me how to expand my horizons. Thanks to Jim, after I attended one of his PACE Seminars in 1978; I moved out of my comfort zone at Bear Stearns and became a super successful oilman.
Woody Harrelson played a long-term love interest of Debra Messing's; I think it was for a whole season. They almost cast Nick in that part. They almost had given to him. But at the eleventh hour, Jim Burrows put in a call to Woody, and he said he would do it.
The extraordinary nature of individual black achievement in formerly white domain certainly does suggest that the old Jim Crow is dead, but it doesn't necessarily mean the end of racial caste - if history is any guide, it may have just taken a different form.
When I first encountered the 'Sigma Force' novels - long before I became friends with Jim Rollins - a bookseller told me that these stories were about 'geeks with guns.' While not entirely accurate, that's pretty close to the mark, and that really speaks to me.
My idol growing up was Charlie Chaplin. I was obsessed with him. I mean, while other kids were watching Jim Carrey and the likes in the '90s, I was watching Charlie Chaplin films, because I was a bit of a geek. I became obsessed with this idea of physical comedy.
Ariel Pink would be a regular on the Mike Douglas Show. Both a master songwriter and a charismatic figure, he'd wander the set like a cherubic, more likable Jim Morrison. His songs would be all over KFRC - the way Boz Scaggs ruled for one summer with 'Silk Degrees.'
James Ralston, my guitar player, has performed with Tina Turner for about 22 years. Jim Hanson on bass has played with Johnny Cash, Rodney Crowell and Bruce Springsteen, and they're fantastic musicians and amazing singers they get a really cool vocal sound together.
When I was 8 years old, I made my own encyclopedia of American biography - Johnny Appleseed, Jim Bowie, Davy Crockett, Daniel Boone, Charles Lindbergh, my pantheon of favorite heroes. Then I would write my own things and sew them together and try to make my own book.
I remember as a young man seeing these bigger-than-life, strong images of black manhood in the form of Jim Brown and Fred Williamson, Jim Kelly, Billy Dee Williams. All these guys were these alpha males who were smart, attractive. I said, 'Wow, I want to be like that.'
I had been drawing my weekly comic strip, 'Life in Hell,' for about five years when I got a call from Jim Brooks, who was developing 'The Tracey Ullman Show' for the brand-new Fox network. He wanted me to come in and pitch an idea for doing little cartoons on that show.
I grew up on the crime stuff. Spillane, Chandler, Jim Thompson, and noir movies like Fuller, Orson Welles, Fritz Lang. When I first showed up in New York to write comics back in the late 1970s, I came with a bunch of crime stories but everybody just wanted men in tights.
I used to imagine what it would be like to do what Jim Brown was doing. I used to imagine what it would be like to be like a Tony Dorsett. I used to imagine what it would be like to be like a Walter Payton. I was imagining Emmitt Smith doing exactly what they were doing.
Jim Sheridan, the MP who wants to ban sketchwriters from the Commons for being rude about politicians, is a blithering idiot. Sorry, scrub that - clearly a very thoughtful person with whom I might conceivably disagree on some marginal issues. A blithering savant, perhaps.
Anyway, it fell through because they ran out of money. That was when I learned not to waste your time getting your hopes up or to believe something until it actually happens. We broke up for various reasons, but it was a good band. Jim and Don produced some magical music.
In 1984, Jim Koch used his family's lager recipe to start Boston Beer Company, which has since become the largest 'craft' brewer in the country. He brews Samuel Adams, a rich lager named after the American revolutionary that comes with the tagline, 'Take pride in your beer.'
The folks celebrating Jim Bunning are seeing him as an anti-government, anti-spending activist. But to embrace Jim Bunning is to embrace a strange record, if you really are a libertarian, if you really are a deficit hawk, if you really care about spending and responsibility.
Our co-founder and company president, Jim Levy, came from a record industry background and understood the marketing and promotion of artists as well as products. So the video game business went from absolutely zero designer credit to something approaching rock star promotion.
The secret to 'Year One' is that it's a Jim Gordon story. It's a great Bruce Wayne story, don't get me wrong, but Jim Gordon is the focus of that book. To me, that's the stronger emotional arc. It's not that the Bruce Wayne stuff isn't masterful, because it is, but it's Jim's book.
When I first arrived in WWE after having a somewhat high profile on-air role in WCW, it was WrestleMania season. In a way, I was perceived to be the voice of WCW after the Ted Turner/TBS buyout of Jim Crockett Promotions. That 'claim to fame' did not endear me to many WWE personnel.
Historically, Hollywood comedy has arrived in skinny envelopes. From fence post Buster Keaton to herky-jerky Jerry Lewis to wiry nerve-bundle Woody Allen to hung-loose Richard Pryor to whippy contortionist Jim Carrey, its comics and clowns have tended to be sliced thin and bendable.
'Lollipop Opera' is the backdrop to Finsbury Park. A place that is very thriving, interracial and lot of music stores, Greek, Turkish, all sorts of immigrant music. It's utter Englishness. It blends the Jamaicans, the Irish. It's like what Jim Reeves did with American country music.
I had a really good time working with Jim Cameron. A lot of people didn't, but I did as I got on with him really quite well. For a director who spends most of his time looking down a lens or in the digitisation studio or working out some graphics, he is actually very good with actors.
I basically look like a lot of modern Orthodox people you know, but I work on a TV show where I sometimes have to kiss Jim Parsons. That's why I don't take on the title of modern Orthodox, but in terms of ideology and theology I pretty much sound like a liberal modern Orthodox person.
I think the biggest lesson that I take from 'Avatar' on any set that I go to is just work ethic. Working with Jim Cameron, you're used to working very, very long days and you're very meticulous about details. He's very, very picky about little details, little character-isms and things.
Jim Crow laws stripped blacks of basic rights. Despite landmark civil rights laws, many public schools were still segregated, blacks still faced barriers to voting, and violence by white racists continued. Such open racism is mostly gone in America, but covert racism is alive and well.
I will say that there are genuine and serious concerns about what Hillary Clinton did before the Benghazi attacks, during them, and after them. I think her extremely careless handling of classified information, to use FBI Director Jim Comey's term, disqualifies her from being president.
My heroes were people like Jim Jarmusch. Scorsese was my god. Spike Lee was exciting, doing exactly what we thought we were going to do: personal movies based in, and about, New York. My heroes were all participating in an economic model that was collapsing as I was finishing film school.
I bought a tape recorder and some stuff and went to Europe for three months when I was 18. The puppeteering was only there as a hobby. I wanted to be a journalist. When I was 19, and after I had spent about a year in college, Jim Henson asked me to come out and try puppeteering for awhile.
If a person is homosexual by nature - that is, if one's sexuality is as intrinsic a part of one's identity as gender or skin color - then society can no more deny a gay person access to the secular rights and religious sacraments because of his homosexuality than it can reinstate Jim Crow.
I once took a workshop with Jim Shepard, and he has this term, 'rate-of-revelation,' that has come to mean a lot to me: 'the pace at which we're learning crucial emotional information about the stories' central figures.' An ever-increasing rate-of-revelation is good; a stagnant r-of-r is not.
There needs to be somebody that looks out for what's best for the game, not what's best for the Big 10 or what's best for the SEC or what's best for Jim Harbaugh, but what's best for the game of college football - the integrity of the game, the coaches, the players, and the people that play it.
I was a kid in the 1970s and '80s, and I was definitely inspired by Jim Henson's 'Muppets' and 'Sesame Street.' I was very curious about what was going on underneath the puppets I saw on screen. I made my own puppets, did puppet shows for schools, PTAs, churches, and the kids in my neighborhood.
Mike Leigh taught me about making choices - as an actor, you choose between being honest and clever, and with Mike, it's always about being honest. I learned how to behave on a film set from Jim Broadbent. He was a great example of someone with a fantastic career who kept his feet on the ground.
I've talked a lot with Greg Raymer and Joe Hachem. Being on Team PokerStars with them has helped me out quite a bit. I've traveled around Europe playing with them. I've also talked with Robert Williamson here and there and Jim Worth. So I've had some good people to talk to and bounce ideas off of.
The strength of my mother is something I didn't pay attention to for so long. Here she was, this single mom, who was part of the Great Migration, who was part of a Jim Crow south, who said, 'I'm getting my kids out of here. I'm creating opportunities for these young people by any means necessary.'
My siblings and I, we were raised on TV and films. Not a day went by that we weren't watching one of three movies - 'Caddyshack,' 'Animal House,' 'Beverly Hills Cop' - on rotation. Our comedy, our personalities were set watching 'Sesame Street': these really sort of wacky, Jim Henson-y characters.
Many thought that the abolition of slavery, the end of Jim Crow, and the legislative progress of the Civil Rights Era, among other watershed moments, would have fundamentally done away with the racist structures that have long oppressed black people. However, we know that has been far from the case.