Rapidly Quotes

“Offence is like muddy soil; when trapped underfoot, it resists rapid progress. Don't trap offences under your mind, else you resist change! Jesus said "Shake the soil off your sandals"! What are you waiting for? Shake it off!”

“Offence is like muddy soil; when trapped underfoot, it resists rapid progress. Don't trap offences under your mind, else you resist change! Jesus said "Shake the soil off your sandals"! What are you waiting for? Shake it off!”

“The current state of knowledge is a moment in history, changing just as rapidly as the state of knowledge in the past has ever changed and, in many instances, more rapidly.”

“But suppose, for the sake of argument, free competition, without any sort of monopoly, would develop capitalism trade more rapidly. Is it not a fact that the more rapidly trade and capitalism develop, the greater is the concentration of production and capital which gives rise to monopoly?”

“Well, the terrible thing right now, and I don't know the statistics, but there's a growing concern in some communities about how rapidly people are sent from school to jail, how quickly they're put into the criminal justice system. And of course the rapidly growing number of brown people, both men and women, in prison. And this is terrible.”

“Our sense of a composition largely inheres in how we feel about the individual parts; narrative arcs are almost always essential in drama but (unless there are lyrics involved) often less essential in music. All of this is, I suspect, again symptomatic of human memory limitations. We live, to a remarkable degree, in the present; what happened thirty seconds ago is already rapidly fading from our memory (or at least rapidly becomes harder for us to retrieve).”

“Tracey hurriedly shut the door behind her to prevent the flames that had been licking hungrily at her caboose all the way down the corridor, from following her inside. Then, almost falling into one of the gravity couches, she hurriedly strapped herself into it before punching the emergency release. She hoped the escape system still worked. It did. The explosive dead-bolts fired, shaking the pod loose, dislodging it from the rapidly disintegrating wreck, just about shaking the crap out of her on its bone-jarring way into the great wide open.”

“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.”

“His heart beat so rapidly it might burst”

“Sectarian thinking is contagious and rapidly spread.”

“...the uncomfortable appearance of a girl who was rapidly shooting up into a woman and didn't like it.”