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Peter Sellers, a showbiz baby, was carried onstage two weeks into his life by vaudevillian Dickie Henderson, who encouraged the audience to join him in singing "For He's a Jolly Good Fellow." Little Peter instantly burst into tears and the audience erupted into laughter and applause. From Pete's perspective, this emotional scenario was played out more or less consistently until his death in 1980.
--
Ed Sikov in Mr. Strangelove: A Biography of Peter Sellers (2002)

 

Peter Sellers

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I was walking barefoot on St. Paul's bridge
When I saw a man talking to God
He was round and handsome
Anachronistically
A little odd
I overheard his conversation
He said, "I can't live in a world devoid of love."
And the voice, the voice was so familiar
It was the voice of Peter Ustinov
"Peter," I whispered from the shadows
"We've all been damaged by the 20th century
A man like you can talk to God
But can you spare a word for me?
For I have loved you since the time
I saw you in The Mouse that Roared."
"That was Peter Sellers, my dear.
Go away," he implored.

 

Peter Ustinov

 

You ever do a little delete game? Do you like to do that? You go through, you take your contactlist, sometimes you're just in the doctor's office right? You start scrolling through, you're like...who don't I need? Who don't I need in my life? Where can I get a megabyte of space back right now? And it's kinda fun right? You just scroll through...er Peter, Peter, yeah f**k Peter, BOOM! And you really hit that delete button like you're deleting Peter from existence. Peter is sitting half way around the world eating a steak and the second you hit that button he just turns to vapour: VVVVVVVV!! The fork falls: Tingtingtingelingtingting! The person that's sitting across him is like: "PETER!". Peter is gone. Poof!

 

Dane Cook

 

Another instance of how our Lord associated Peter with himself was in the payment of the temple tax. It is the only time in scripture where God ever associates a human being with himself under the personal pronoun we.... Now at the time of the payment of the temple tax our blessed Lord told Peter to pay it, and he said to pay it “for me and thee.” Then he adds, "that we may not scandalize." Here he makes himself one with Peter. Peter is associated with the Master in a way that no one else can ever be associated. We — Christ and Peter. That is why papal encyclicals begin with the word we.

 

Fulton J. Sheen

 

Don't be frightened, Mr.Gould is here. (audience laughter) He will appear in a moment. I am not — as you know — in the habit of speaking on any concert except the Thursday night previews, but a curious situation has arisen, which merits, I think, a word or two. You are about to hear a rather, shall we say, unorthodox performance of the Brahms D Minor Concerto, a performance distinctly different from any I've ever heard, or even dreamt of for that matter, in its remarkably broad tempi and its frequent departures from Brahms' dynamic indications. I cannot say I am in total agreement with Mr. Gould's conception. And this raises the interesting question: "What am I doing conducting it?" (mild laughter from the audience) I'm conducting it because Mr. Gould is so valid and serious an artist, that I must take seriously anything he conceives in good faith, and his conception is interesting enough so that I feel you should hear it, too. But the age-old question still remains: "In a concerto, who is the boss (audience laughter) — the soloist or the conductor?" (Audience laughter grows louder) The answer is, of course, sometimes one and sometimes the other depending on the people involved. But almost always, the two manage to get together, by persuasion or charm or even threats (audience laughs) to achieve a unified performance. I have only once before in my life had to submit to a soloist's wholly new and incompatible concept, and that was the last time I accompanied Mr. Gould. (audience laughs loudly) But this time, the discrepancies between our views are so great that I feel I must make this small disclaimer. Then why, to repeat the question, am I conducting it? Why do I not make a minor scandal — get a substitute soloist, or let an assistant conduct? Because I am fascinated, glad to have the chance for a new look at this much-played work; because, what's more, there are moments in Mr. Gould's performance that emerge with astonishing freshness and conviction. Thirdly, because we can all learn something from this extraordinary artist who is a thinking performer; and finally because there is in music what Dimitri Mitropoulos used to call "the sportive element" (mild audience laughter) — that factor of curiousity, adventure, experiment, and I can assure you that it has been an adventure this week (audience laughter) collaborating with Mr. Gould on this Brahms concerto; and it's in this spirit of adventure that we now present it to you.

 

Glenn Gould

 

Warren Buffett, story from Benjamin Graham: A story that was passed down from Ben Graham illustrates the lemminglike behavior of the crowd: "Let me tell you the story of the oil prospector who met St. Peter at the Pearly Gates. When told his occupation, St. Peter said, “Oh, I’m really sorry. You seem to meet all the tests to get into heaven. But we’ve got a terrible problem. See that pen over there? That’s where we keep the oil prospectors waiting to get into heaven. And it’s filled—we haven’t got room for even one more.” The oil prospector thought for a minute and said, “Would you mind if I just said four words to those folks?” “I can’t see any harm in that,” said St. Pete. So the old-timer cupped his hands and yelled out, “Oil discovered in hell!” Immediately, the oil prospectors wrenched the lock off the door of the pen and out they flew, flapping their wings as hard as they could for the lower regions. “You know, that’s a pretty good trick,” St. Pete said. “Move in. The place is yours. You’ve got plenty of room.” The old fellow scratched his head and said, “No. If you don’t mind, I think I’ll go along with the rest of ’em. There may be some truth to that rumor after all."

 

Benjamin Graham