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“Campaign finance and ethics reform only works if it curtails all special interest groups equally and does not carve out any exceptions to benefit one party or another. 'Pay to play' reform was passed to limit the influence of big spending contractors over the public officials from whom they are trying to obtain work.”

“In many ways, large profits are even more insidious than large losses in terms of emotional destabilization. I think it's important not to be emotionally attached to large profits. I've certainly made some of my worst trades after long periods of winning. When you're on a big winning streak, there's a temptation to think that you're doing something special, which will allow you to continue to propel yourself upward. You start to think that you can afford to make shoddy decisions. You can imagine what happens next. As a general rule, losses make you strong and profits make you weak.”

“I grew up knowing a lot about LSU watching them on TV. They were always on TVI had a bunch of friends and family at LSU. It's a cool stadium. I never got to go to it. I heard it's really a special place. It's a big place. It's intimidating. It's loud. We have to play really good there. I'm looking forward to playing there.”

“I'm still here. I'm a force to be reckoned with... you have to come take my spot, and not through Twitter and not through the media, come take my spot. I'm ready to go. As big men in the league, there are two who have done something special during this millennium. I'm one and Tim Duncan is the other. Anyone else has to come upstairs and see the Shogun. I'm still the Shogun.”

“I'm really glad that our young people missed the Depression and missed the great big war. But I do regret that they missed the leaders that I knew, leaders who told us when things were tough and that we'd have to sacrifice, and that these difficulties might last awhile. They didn't tell us things were hard for us because we were different, or isolated, or special interests. They brought us together and they gave us a sense of national purpose.”

“Conversations about films are always funny. I would say a majority of people want to talk about what were the more obvious successes; the big box office films. Other people wanting to be more sensitive to you want to talk about the ones that maybe didn't make a lot of money, but they think you might have a special feeling about. And then other people sometimes want to help you by suggesting that you should have done this or that in the movie, that that would have helped you a great deal in whatever capacity.”

“The whole first movie [Twilight] was pretty fun. I had never really done a movie like it, when there's such a big cast of people that are around about the same age. Everyone didn't really know what was going to happen with the movie, but there was a good energy. There was something which people were fighting for, in a way. They wanted it to be something special. None of us were really known then, as well. It felt like a big deal, at the time.”

“When you begin to believe you have license because you are a special person breathing special oxygen, that's when you're in big trouble. That's the road to insanity. And a lot of people in the studios are like that. They believe that they are special. I do think actors are blessed, or cursed, with maybe a slightly heightened awareness, which you have to use.”

“It is imperative to exercise over big business a control and supervision which is unnecessary as regards small business. All business must be conducted under the law, and all business men, big or little, must act justly. But a wicked big interest is necessarily more dangerous to the community than a wicked little interest. 'Big business' in the past has been responsible for much of the special privilege which must be unsparingly cut out of our national life.”

“There's no doubt that in the last two to three decades, American democracy has been hacked. It was based on the regular harvesting of the wisdom of crowds, but now big sources of special interest money are able to prevent the passage of almost any meaningful reform that's aimed at the public interest.”

“I was in bands as a singer-guitarist-songwriter until 1980-81. So, there's a bunch of stuff. A lot of the stuff is hard to come by-stuff by the Special Interest Group and the Zobo Funn Band. The Zobo Funn Band was a big Northeast cult band. We had about a billion skirmishes with the big rock industry.”

“Offering 'comprehensive' reform usually means years of arguing and horse-trading among pressure groups to get anything done. By the time all the special interests are appeased or bought off, the resulting elephantine legislation typically looks nothing like what was intended. In short, big-government medicine usually doesn't work on big-government sickness. If President Obama wants 'comprehensive' change, it would be better simply not to spend any more money we don't have.”

“In the Washington soft money game, big business and big labor are accomplices working together to protect the mushy middle of big government, with plenty of special interest plums: Big unions get big spending and big business gets corporate welfare and special tax breaks - all at the expense of average Americans.”

“When I was in high school, I was in a special math class. I was infatuated with physics, particularly nuclear physics, Einstein, and the Big Bang. I read a lot about black holes. And partly because I'm so lazy I thought you could do all this just by looking at the sky and thinking up universes. It didn't seem like hard work when I was a kid, so I enrolled in this class.”

“I'm also a sucker for a view. Take me to a high place where I can see the landscape or the stars or the whole city, and I'm putty, I'm melting in your arms. Then I think having a romantic night, getting a little dressed up, but don't kill yourself trying to force the romance. A bunch of little subtle changes that will make the day more special will amount to a big awesome day in your memory. I like little breadcrumbs along the way. Draw it out!”

“Many painters had a clear idea of what fractals are. Take a French classic painter named Poussin. Now, he painted beautiful landscapes, completely artificial ones, imaginary landscapes. And how did he choose them? Well, he had the balance of trees, of lawns, of houses in the distance. He had a balance of small objects, big objects, big trees in front and his balance of objects at every scale is what gives to Poussin a special feeling.”