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Lee Kuan Yew

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When you're Singapore and your existence depends on performance — extraordinary performance, better than your competitors — when that performance disappears because the system on which it's been based becomes eroded, then you've lost everything... I try to tell the younger generation that and they say the old man is playing the same record, we've heard it all before. I happen to know how we got here and I know how we can unscramble it.
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On one election result in Singapore, in Straits Times (26 June 2008), and "Opposition would ruin Singapore: Lee Kuan Yew" in AFP report at Google News (26 June 2008)

 
Lee Kuan Yew

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More often than not, one meets technicians, nimble keyboardists by profession, who ... indeed astound us with their prowess with ever touching our sensibilities .... stirring performance depends upon an alert mind which is willing to follow reasonable precepts in order to reveal the content of the compositions.
What comprises good performance? The ability through singing or playing to make the ear conscious of the true content and affect of a composition. Any passage can be so radically changed by modifying its performance that it will be scarcely recognizable.

 
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It's not a fantasy performance, Jane. Come on. Everything I do is real. It comes out of my head. I live this life every day. When I'm onstage it's my therapy. It's not a performance. It's a ritual. And the ultimate performance would be when I've reached my peak and I'm not there yet so don't you all clap when I say this I'll commit suicide and I'll take your kids with me.

 
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Sometimes "pi = 3.14" is (a) infinitely faster than the "correct" answer and (b) the difference between the "correct" and the "wrong" answer is meaningless. And this is why I get upset when somebody dismisses performance issues based on "correctness". The thing is, some specious value of "correctness" is often irrelevant because it doesn't matter. While performance almost always matters. And I absolutely detest the fact that people so often dismiss performance concerns so readily.

 
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Jane Whitney: What's your ultimate idea of performance, of a fantasy performance?

 
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What I would prefer to have is to have a kind of magic where we say, "OK, we’re going to do a magical performance on this night, at this time. You come along, if you don’t think it’s magical, that’s fine. We’ll show you. We’ll show you what we mean, and you judge for yourself." That’s only fair. So a lot of the magic we do tends to gravitate toward the practical end, toward something that is tangible. Where you’ve got a record at the end of it, a performance at the end of it, a painting at the end of it. You’ve conjured some energy, some idea, some information from somewhere and put it in a tangible form. You conjure something into existence in a literal sense. A rabbit out of a hat. Something out of nothing. That’s one level to it, but there’s a lot of background to that. That’s the stuff that people see, that’s the end result of the process. But we also do a lot of ritual work purely on our own.

 
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