Sully Erna Quotes

“Searching for nothingWondering if I’ll changeI’m trying everythingBut everything still stays the sameI thought if I showed you I could flyWouldn’t need anyone by my sideI'm running backwardsWith broken wings I know I’ll die”

“I'm not the one who's so far awayWhen I feel the snake bite enter my veins.Never did I wanna be here again,And I don't remember why I came.”

“The future of Norway isn't about competing on being the cheapest but the most innovative. We have an expensive welfare state, and the only answer to continue that way is to become more competitive, especially on knowledge.”

“But seen through a long lens, peacemaking founded on 'forgetting' appears to have a limited lifespan.”

“But witnesses incur responsibilities, as anyone who has ever seen a traffic accident and had to go to court to testify, knows. In the new world of globally televised war crimes, the defence of 'not knowing,' or neutrality, will dissolve for everyone. To be a witness or bystander is not a value-free choice but, inadvertently, a moral position; and in this sense the 'guilt' of people who live with the memory of crimes committed by members of their families, or communities, has been unwittingly extended to everyone who watches appalling pictures on the news.”

“In our tribunal, we look only at personal criminal responsibility in a very tightly defined, narrow way and we demand proof beyond a resonable doubt about the involvement of the individual. We do no have a mandate to establish the moral responsibility of those who saw things happen and did nothing, including people who might have had the capacity to stop the process and did nothing. But we have to be careful in thinking that just because we focus on individual criminal guilt we therefore absolve the community. The old distinctions are too simplistic when we move up the chain of command and witness the merging of the collectivity into the personae of these charismatic political and military leaders.'-Louise Arbour, Chief Prosecutor for International Criminal Tribunal for the Former Yugoslavia”

“At the end of this journey, it seems to me that reconciling the long shadows cast by the uneasy past may ultimately depend on elements so basic that they bring to mind a simple Slav proverb I once came across and never forgot: Eat bread and salt and speak the truth. They are the recovery of fact, public accountability and the instituting of fair trials of one sort or another, to help mark ends and beginnings and to return the moral compass as close to the centre as possible.”

“A trip to Paris had sounded so adventurous when I was first talking about it a year earlier. People spoke about the city with dreamy longing, as though Paris possessed a magic that could not be found elsewhere. I'd never heard anyone talk about Paris without sighing. The city was a Promised Land that held appeal for most everyone: artists, lovers, even people who just liked cheese.”

“Paris. City of love. City of dreams. City of splendour. City of saints and scholars. City of gaiety.Sink of iniquity.In two thousand years, Paris had seen it all.”

“Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors.In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.”