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Quote by Nkwachukwu Ogbuagu

“Larry King electrified interviews by lending them the credence of pure and brilliant animation required to awaken that desire in viewers to do nothing else but give their attentions to their TV sets. His guttural voice was pleasantly stentorian. With it, he chatted warmly. And chattered reasonably. And charted a course for himself that made him an icon of the screen. I'd borrow his voice for an hour and return it on Resurrection day.”

Quote by Nkwachukwu Ogbuagu

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Nkwachukwu Ogbuagu

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“Let me be absolutely clear: Tumnus was an idiot. He was absolutely NOT a spy for the White Witch. That dude couldn’t have spied on a blind unicorn. He was a deadbeat who spent most of his time sitting on street corners, playing his pan flute, and panhandling for change. He was on the Narnia version of welfare, and he told the White Witch about Lucy in the hopes of getting some kind of handout.”

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“The problem is not that erotically charged images can’t also be seen as culturally valuable expressions (they can), but that woman’s highest cultural expression has been as a passive sex object, and not as an artist or creator of culture herself. This has limited what women have been able to achieve in a patriarchal society that cannot separate women’s value and worth from a very fixed idea of their sexuality.”

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“With the rise of classical Greece, the soul debate evolved into the more familiar heart-versus-brain, the liver having been demoted to an accessory role. We are fortunate that this is so, for we would otherwise have been faced with Celine Dion singing "My Liver Belongs to You" and movie houses playing The Liver Is a Lonely Hunter. Every Spanish love song that contains the word corazon, which is all of them, would contain the somewhat less lilting higado, and bumper stickers would proclaim, "I [liver symbol] my Pekingese.”

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“Picasso and Modigliani’s ‘Venuses’ represent a sort of iconoclasm in their self-conscious rejection of the cold, perfectly-finished, stuffy beauty of the Western tradition of art. For the contemporary viewer they have become a reassuring confirmation of left-of-centre politics, of anti-establishment positions and of an intellectual kudos that doesn’t need art to look classical to be meaningful. And the frankness of the male artist’s unflinchingly libidinal vision is taken as evidence of the separation from restrictive bourgeois respectability and taste.”

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Book:Women in the Picture: What Culture Does with Female Bodies
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