Is the Home Secretary aware that I was one of those Members there on Saturday and I was able to observe police officers spraying members of the crowd with red paint in order to identify them for later arrest, that the police were using agents provocateurs in the crowd and that at 9.10 during the evening, when there was complete quiet throughout the crowd, a completely unprovoked dragoon-like charge was mounted by the police straight into that crowd, seriously injuring a number of people? Does not the right hon. Gentleman believe that he should go and witness the scale and ferocity of police violence against innocent, peaceful people protesting against the theft of their jobs by the Murdoch empire?
Jeremy CorbynRelated topics
able arrest believe charge crowd evening gentleman home innocent later number observe order paint protesting quiet red right secretary should straight using witness Murdoch spraying honRelated quotes
If you have weapons, take them home; if you do not have them, please do not seek to get them. We cannot solve this problem through retaliatory violence. We must meet violence with nonviolence. Remember the words of Jesus: «He who lives by the sword will perish by the sword.» We must love our white brothers, no matter what they do to us. We must make them know that we love them. Jesus still cries out in words that echo across the centuries: «Love your enemies; bless them that curse you; pray for them that despitefully use you.» This is what we must live by. We must meet hate with love. Remember, if I am stopped, this movement will not stop, because God is with the movement. Go home with this glowing faith and this radiant assurance.
Martin Luther King Jr.
On working at La Passione (1996): Day one, the damage was done. All it was meant to be was one hour of a little boy's dreams. And I had things I wanted to do with the guitar that hadn't been done before. Like, there's one number called "Olive Oil", where I was actually playing slide guitar in the same scale as a saxophone. [...] But then in came millions of executives from America. So in the end, it fell flat on its arse. And it came out the same week that Britpop took off. Blair had just won the election. Oasis. Spice Girls. So something a bit Fellini-ish – about a little boy who loved red cars – went straight over the top. It was like, ‘Well, don't you have a 335 guitar with a Union Jack on it?'
Chris Rea
[David Sylvester asked Gottlieb, he is aware of the impact of the city New York on his painting:] Definitely I am. When I was in Paris last spring, my original plan was to go for four months and to paint there, and a number of people urged me to stay. That wanted to see what would happen, how my painting would change. But I felt strongly after being there less than a month that it was necessary for me to come back to New York, because I feel a certain rhythm in New York I don't feel in Paris.... there is a tempo in the life of New York which is exhilarating and I feel that this gets into one's painting. It's the pulse, not the look. I'am not involved with the external appearance of the city; it's the vibrations. ].
Adolph Gottlieb
With regard to the diagonal, too, I am in complete agreement with you [with Theo van Doesburg ]. As soon as it appears together with straight [horizontal and vertical] lines, I believe it should be condemned... A while back I started a thing entirely in diamonds [diamond-shape] like this [his sketch in the letter of several diamond-forms]. I have to find out if it's possible: intellectually I'm inclined to say it is. There's something to be said for the idea, because perpendicular and flat lines can be seen everywhere in nature; by using a diagonal line I would be canceling that out. But I'm inclined to say that this cannot be combined with perpendicular and flat lines or with different kinds of slanting lines.
Piet Mondrian
My work is in a complete transformation. Lately, in my studio in Amsterdam, 'beings' re-emerge more and more, but I have repainted all the canvases that I have brought with me [from Amsterdam to Paris]. It is matter itself. On the canvas, no discovery, no personal drama, no submission to a rhythm.... freed from 'Victory Boogiewoogie' [title of the last work of Piet Mondrian, 1944], bepop, bepop, we free ourselves from rhythm, we are not there yet, but it is coming... Now I paint stains, bigger stains, colours endlessly reapplied one upon the other, I scrape and I put down new stains of colour unto nothing remains but one great plane, concentrated and linked at the same time, suddenly a vivid red or yellow and the canvas and being merge.
Karel Appel