It is supposed, beyond question, that what the United States does and — Necessary Illusions

"My personal feeling is that citizens of the democratic societies should undertake a course of intellectual self-defense to protect themselves from manipulation and control, and to lay the basis for more meaningful democracy."

"In a three-minute stretch between commercials, or in seven hundred words, it is impossible to present unfamiliar thoughts or surprising conclusions with the argument and evidence required to afford them credibility. Regurgitation of welcome pieties faces no such problem."

"Debate cannot be stilled, and indeed, in a properly functioning system of propaganda, it should not be, because it has a system-reinforcing character if constrained within proper bounds. What is essential is to set the bounds firmly. Controversy may rage as long as it adheres to the presuppositions that define the consensus of elites, and it should furthermore be encouraged within these bounds, thus helping to establish these doctrines as the very condition of thinkable thought while reinforcing the belief that freedom reigns."

"Generally, the media tolerate or even welcome denunciation of their hostility to authority, for obvious self-serving reasons. But there are times when such attacks can become a real threat. To defend themselves, the media must turn — briefly — to critics of their conformity. If they are accused of being unpatriotic, or too harsh towards creations of the public relations industry of the Reagan variety, they may request — even feature — critiques of their subordination to the state and awe of powerful figures. Media spokespersons can then observe that they are being criticized from both sides, so it must be that they are right in the middle, doing their work properly. The argument might have some force if the "criticism from both sides" were actually evaluated. Such is not the case, however; to serve the purpose at hand, it is not enough that criticism of media subordination exists."

"It is not impossible that U.S. and Israeli intelligence actually believe that the Intifada was initiated by the PLO and is directed by it. There is ample evidence of the incapacity of intelligence, the national political police, or the political leadership to comprehend the reality of popular movements and popular struggles. The idea is simply too threatening, and cannot be faced or comprehended. It is also necessary to bear in mind the ideological fanaticism that often colors intelligence reports and the higher-level interpretation of them, also amply documented."

"The Times and other media were being spoon-fed material by the public relations specialists of the United Fruit Company, though, as its PR director Thomas McCann later wrote: "It is difficult to make a convincing case for manipulation of the press when the victims proved so eager for the experience."

"The only influences in [the painting The sick Child, Munch painted in his elderly home, remembering very accurate the last days of his dying little sister Sophie] The sick Child.. ..were the ones that come from my home.. ..my childhood and my home. Only someone who knew the conditions at home could possibly understand why there can be no conceivable chance of any other place having played a part – my home is to my art as a midwife is to her children.. ..few painters have ever experienced the full grief of their subject as I did in The sick child. It was not just I who was suffering; it was all my nearest and dearest as well."

"General Franco made it clear that Spain could enter the war only when England was about ready to collapse."

"The Spanish Republic did not find itself free of obligations. For the most part the leaders were Freemasons. Before their duty to their country came their obligations to the Grand Orient. In my opinion, Freemasonry, with all its international influence, is the organization principally responsible for the political ruin of Spain, as well as the murder of Calvo Sotelo, who was executed in accordance with orders from the Grand Secretary of Freemasonry in Geneva."

"Art was what I originally started out to do and music came second at first. I had a year at art college but I left because it was too much like school. I give all my paintings away to people I like."

"Lady Cannons gone to a matinée at the St. Jamess. We had tickets for the first night, but of course she wouldnt use them then. She preferred to go alone in the afternoon, because she detests the theatre, anyhow, and afternoon performances give her a headache. If she does a thing thats disagreeable to her, she likes to do it in the most painful possible way. She has a beautiful nature."

"At first when I saw The Sick Child [in his imagination] her pallid face and the vivid red hair against the pillow – I saw something that vanished when I tried to paint it. I ended up with a picture on the canvas which, although I was pleased with it, bore little relationship to what I had seen.. ..In the space of that year [1885 – 1886], scratching it out, just letting the paint flow, endlessly I tried to recapture what I had seen for the first time – the pale transparent skin against the linen sheets, the trembling lips, the shaking hands. I repainted the painting numerous times – scratched it out – let it become blurred in the medium – and tried again and again to catch the first impression – the transparent pale skin against the canvas – the trembling mouth – the trembling hands. I had done the chair [in which his sister Sophie had died] with the glass too often. It distracted me from doing the head. – When I saw the picture I could only make out the glass and the surroundings. – Should I remove it completely? – No, it had the effect of giving depth and emphasis to the head. – I scared off half the background and left everything in masses – one could now see past and across the head and the glass.. .I had achieved much of that first impression, the trembling mouth – the transparent skin – the tired eyes – but the picture was not finished in its colour – it was pale grey – the picture was then heavy as lead. [Munch showed the painting on the Autumn Exhibition 18 October 1886; it was criticized severely, even by his bohemian art-friend Jager]"