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Rose Macaulay

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"Take my camel, dear," said my aunt Dot, as she climbed down from this animal on her return from High Mass.
--
The Towers of Trebizond (1956), opening words

 
Rose Macaulay

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Have you heard about the kid who lost his head at Six Flags? The first time I read it, I thought, "Oh my God...How can I make this funny for everybody?"...Here goes. What happened was, he was in a church youth group and he lost his hat during the roller coaster. Afterwards, he was like, "I'm going to go get my hat." And there was a big fence with signs that said, "Hey, cut your losses." And he was like, "What? Have you SEEN me in that hat? Not today, fence!" So, he climbed that fence, and then there was another fence with a sign that probably said, "Hey, come on, knock it off." He was like, "You can't tell me how to live, signs!" And he climbed over that fence and there, the story ends. Did he get the hat? I'd like to think he did. That small silver lining, "Hey, I got my hat!" Then whack, right then! And I know he was on a church youth group and they don't believe in evolution, but that kid was going to get picked off sooner or later.

 
Daniel Tosh
 

The characteristic of the hour is that the commonplace mind, knowing itself to be commonplace, has the assurance to proclaim the rights of the commonplace and to impose them wherever it will. As they say in the United States: "to be different is to be indecent." The mass crushes beneath it everything that is different, everything that is excellent, individual, qualified and select. Anybody who is not like everybody, who does not think like everybody, runs the risk of being eliminated. And it is clear, of course, that this "everybody" is not "everybody." "Everybody" was normally the complex unity of the mass and the divergent, specialised minorities. Nowadays, "everybody" is the mass alone.

 
Jose Ortega y Gasset
 

MAN IS FUNDAMENTALLY AN ANIMAL. Animals, as distinct from man, are not machine-like, not sadistic; their societies, within the same species, are incomparably more peaceful than those of man. The basic question, then is: What has made the animal, man, degenerate into a machine?
When I say "animal," I do not mean anything bad, cruel or "base"; I am stating a biological fact. Man has developed the peculiar concept that he is not an animal at all, but, well — man; a creature which long since has shed that which is "bad," which is "animal." He demarcates himself in all possible ways from the bad animal and points, in proof of his "being better," to culture and civilization which distinguish him from the animal. He shows, in his whole behavior, his "theories of values," his moral philosophies, his "monkey trials" and such, that he does not want to be reminded of the fact that basically he is an animal, an animal, furthermore, which has much more in common with the "animal" than with that being which he asserts to be and dreams of being. The theory of the German Übermensch has this origin. Man shows by his maliciousness, his inability to live in peace with his kind, his wars, that what distinguishes him from the other animals is only his unbounded sadism and the mechanical trinity of the authoritarian concept of life, mechanistic science and the machine. If one looks at the results of civilization as they present themselves over long periods of time, one finds that these contentions of man are not only erroneous; more than that, they seem to be made expressly for the purpose of making man forget that he is an animal.

 
Wilhelm Reich
 

Strictly speaking, the mass, as a psychological fact, can be defined without waiting for individuals to appear in mass formation. In the presence of one individual we can decide whether he is "mass" or not. The mass is all that which sets no value on itself — good or ill — based on specific grounds, but which feels itself "just like everybody," and nevertheless is not concerned about it; is, in fact, quite happy to feel itself as one with everybody else.

 
Jose Ortega y Gasset
 

Elvis' lowest effective note was a low-G, as heard on "He'll Have To Go" (1976); on "King Creole" (1958), he growls some low-F's; going up, his highest full-voiced notes were the high-B's in "Surrender" (1961) and "Merry Christmas Baby" (1971), the high-G at the end of "My Way" (1976 live version), and the high-A of "An American Trilogy" (1972); using falsetto, Elvis could reach at least a high-E, e.g, as in "Unchained Melody" (1977), so, it was very nearly a three-octave range, although more practically two-and-a-half.

 
Elvis Presley
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