The function of the press in society is to inform, but its role in society is to make money.
A. J. LieblingRead
The primary requisite for writing well about food is a good appetite. Without this, it is impossible to accumulate, within the allotted span, enough experience of eating to have anything worth setting down.
Interpretation
To write well about food, one must have a genuine love and appreciation for it.
A. J. Liebling emphasizes that a true passion for food is essential for anyone who aspires to write meaningfully about it. Without a strong appetite and the dedicated experience that comes from enjoying meals, a writer cannot develop the depth or insight necessary to convey the richness of culinary experiences effectively.
In practice
During a cooking class, to inspire students: 'Remember, the primary requisite for writing well about food is a good appetite.'
The function of the press in society is to inform, but its role in society is to make money.
No sane man can afford to dispense with debilitating pleasures. No ascetic can be considered reliably sane.
A city with one newspaper... is like a man with one eye, and often the eye is glass.
I take a grave view of the press. It is the weak slat under the bed of democracy
A city with one newspaper, or with a morning and an evening paper under one ownership, is like a man with one eye, and often the eye is glass.
Freedom of the press is guaranteed only to those who own one.
I am madness maddened when it comes to books, writers, and the great granary silos where their wits are stored.
Creating is living doubly. The groping, anxious quest of a Proust, his meticulous collecting of flowers, of wallpapers, and of anxieties, signifies nothing else.
The blues is an art of ambiguity, an assertion of the irrepressibly human over all circumstance whether created by others or by one's own human failings. They are the only consistent art in the United States which constantly remind us of our limitations while encouraging us to see how far we can actually go. When understood in their more profound implication, they are a corrective, an attempt to draw a line upon man's own limitless assertion.
Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music - not like a record that you'd put on, which would play for a while and finish.
I think it is perfectly natural for any artist to admire intensely and love a young man. It is an incident in the life of almost every artist.
Often, particularly towards the end of the process, I think of myself less as a theatre director and more as someone who just directs the traffic. My job is to move the ideas and bits of the show into the places where they work best. Sometimes my job is also to say, 'No.'
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