Respective Quotes

“Its not a question of whether we have or not, nor is-it about whether i am or you are, but this address is with respect to the fact that we need leaders who dread/desist from satisfying the rich and powerful man for political gain at the expense of their respective nations!”

“Its not a question of whether we have or not, nor is-it about whether i am or you are, but this address is with respect to the fact that we need leaders who dread/desist from satisfying the rich and powerful man for political gain at the expense of their respective nations!”

“A tolerance that no longer distinguishes between good and evil would become chaotic and self-destructive, just as a freedom that did not respect the freedom of others or find the common measure of our respective liberties would become anarchy and destroy authority.”

“Dreams are like living things; they can grow, they can suffer disabilities, they can have deficiency diseases and they can also die off when they meet unfavourable and favourable conditions respectively.”

“In every dream you pursue, you attract its respective version of opposition. Going back will not solve any problem; Regrets will not change anything either; Feeling of Superiority over every obstacle should be your priority!”

“When you make up your mind that you want to be Great, you have to learn about the Great people of the past, the Great people who changed the world, and the Great people of each respective category of absolutely everything you can think of. You have to saturate your mind in greatness. You literally have to get a degree in it. Greatness is a journey into those who have come before you. ‪”

“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.”

“One religion, one civilisation, above all is Love and Humanity, respectively.”

“Someday, I hope that we will all be patriots of our planet and not just of our respective nations.”

“How much Romance do you like in your Fantasy? And, respectively, how much Questing do you like in your Romance?”

“Never treat people with disdain, they all deserve your respect irrespective of their faith or religion”