"The 81 days of detention were a nightmare. I am not unique; it happened to many people in China. Conditions were extreme, created by a system that thinks it is above the law and has become a kind of monstrous machine. There were so many moments when I felt desperate and hopeless. But still, the next morning, I heard the birds singing."
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“Living in Fear Is Worse Than Imprisonment.” Mail and Guardian, June 29, 2012. http://mg.co.za/article/2012-06-28-living-in-fear-is-worse-than-imprisonmentAi Weiwei
"Police in China can do whatever they want; after 81 days in arbitrary detention you clearly realise that they don’t have to obey their own laws." ** Anderlini, Jamil. “China’s ‘Mozart’ Drops Off State Hit Parade.” CNBC.com, May 12, 2010. http://www.cnbc.com/id/37107939/
Ai Weiwei
My idea in "My Sweet Lord," because it sounded like a "pop song," was to sneak up on them a bit. The point was to have the people not offended by "Hallelujah," and by the time it gets to "Hare Krishna," they're already hooked, and their foot's tapping, and they're already singing along "Hallelujah," to kind of lull them into a sense of false security. And then suddenly it turns into "Hare Krishna," and they will all be singing that before they know what's happened, and they will think, "Hey, I thought I wasn't supposed to like Hare Krishna!"
George Harrison
The whole world is in some ways better than it's ever been in the past. And, indeed, I think for many people the meaning of their lives really depends on that belief. If you strip out that belief in progress, if you start thinking of the world in the way in which the ancient pre-Christian Europeans did, or the Buddhists and the Hindus or the Taoists of China do, many people think that's a kind of despair. I don't know how many times I've been told "If I thought that, John, I wouldn't get up in the morning" and "If I agreed with you, John, that history had no pattern of that kind, I wouldn't get up in the morning." I said, "Well, stay in bed a bit longer, you might find a better reason for getting up."
John N. Gray
I adored this lady, and I respected her work ethic. She always wanted to improve her understanding of a piece. "Casta Diva", [for instance] — what interested me most was how she gave the runs and the cadenzas words. That always floored me. I always felt I heard her saying something — it was never just singing notes. That alone is an art. It’s an art that you can try to achieve, but you can’t copy, because that’s just imitating without delving into [how she felt] about that particular fioritura. ... how many other artists since Callas have you heard and thought, "She sang gorgeously, but I never cried?"
Maria Callas
Though he was a strong believer in individual difference and came to fear, above all, the thought that people would become interchangeable parts in a totalitarian system, he seems to have felt that as a subject for study himself he was a universal, i.e., a fair sample of his kind, capable of normative reactions under dissection. His end has something macabre in it, like the end of some Victorian pathologist who tested his theories on his own organs, neglecting asepsis. In his last letters, he speaks of his appearance as being "frightening," of being a "death's head," but all along he has been something of a specter at the feast. He was prone to see the handwriting on the wall, for England, for socialism, for personal liberty; indeed, his work is one insistent reminder, and his personal life — what we glimpse of it — even when he was fairly affluent seems to have been an illustrated lesson in survival techniques under extreme conditions, as though he expected to be cast adrift in a capsule.
George Orwell
Weiwei, Ai
Weldon, Fay
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