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One had better not rush, otherwise dung comes out rather than creative work.
--
Letter to A.S. Suvorin (August 18, 1891)

 

Anton Chekhov

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Outside the door a group of men stood whispering while the less solemn parts of the Mass were being said. These men stared about them at the rolling country of little hills and commented on the crops, the weather, the tombstones or whatever came into their dreaming minds.
'Very weedy piece of spuds, them of Mick Finnegan's.'
'He doesn't put on the dung, Larry: the man that doesn't drive on the dung won't take out a crop.' A pause, 'Nothing like the dung.'
(p13)

 

Patrick Kavanagh

 

California is a tragic country — like Palestine, like every Promised Land. Its short history is a fever-chart of migrations — the land rush, the gold rush, the oil rush, the movie rush, the Okie fruit-picking rush, the wartime rush to the aircraft factories — followed, in each instance, by counter-migrations of the disappointed and unsuccessful, moving sorrowfully homeward.

 

Christopher Isherwood

 

You know, whenever you do something new and original, people run to see it because it's different. Then, if it happens to be successful, the studios rush to imitate it. It becomes commonplace right away. But it's been like that before, I think. Now, the stakes are so gigantic that they cut each other's throats. So if most of the films are failures, then those that succeed so spectacularly, so commercially, become the norm. It's like a roulette for the studios. The problem with it is that it becomes more and more of a committee. Before, you dealt with the studio. It had one or two persons and now you have masses of executives who have to justify their existence and write so-called "creative notes" and have creative meetings. They obsess about the word creative probably because they aren't.

 

Roman Polanski

 

Of all the creative work produced by humans anywhere, a tiny fraction has continuing commercial value. For that tiny fraction, the copyright is a crucially important legal device. For that tiny fraction, the copyright creates incentives to produce and distribute the creative work. For that tiny fraction, the copyright acts as an "engine of free expression."
But even for that tiny fraction, the actual time during which the creative work has a commercial life is extremely short. As I've indicated, most books go out of print within one year. The same is true of music and film. Commercial culture is sharklike. It must keep moving. And when a creative work falls out of favor with the commercial distributors, the commercial life ends.

 

Lawrence Lessig

 

What's so special about Rush? Besides his remarkable talent and the fact that Rush not only shared political principles with WFB, but Rush also has his graciousness and humility?

 

Rush Limbaugh