After 9/11, we realized that all these silly culture wars, and arguing about rock lyrics... who cares? You know, we, for some reason, remembered what our real problems are.

For a man who purports to have learned of media ethics only this month, Mr. Williams has spent an undue amount of time appearing as a media ethicist on both CNN and the cable news networks of NBC.

When something really comes from the soul, I think it has a truth that you cannot find in politics.

There have been at least three other cases in which federal agencies have succeeded in placing fake news reports on television during the Bush presidency. It was a really good tour. It seemed maybe about a week too long.

After 9/11, we realized that all these silly culture wars, and arguing about rock lyrics... who cares? You know, we, for some reason, remembered what our real problems are.

It is kind of tedious after a while, to parse politicians doing the same thing over and over again. The facts change from week to week, but the sort of masquerade doesn't.

I grew up in Washington, D.C. But also loving the theater.

I'm always struck by the kids who turn up in New York and LA, and places in between. Chicago. Wanting to do theater, wanting to do independent film. Wanting to break into television or radio.

In that sense, when a Bush or a Gore, or whomever, goes on David Letterman, that's the news, too.

While F.D.R. once told Americans that we have nothing to fear but fear itself, Mr. Ashcroft is delighted to play the part of Fear Itself, an assignment in which he lets his imagination run riot.

'Up in the Air' is not a political movie. It won't be mistaken for either a Michael Moore or Any Rand polemic on capitalism.

Americans have less and less patience for the intrusive and divisive moral scolds who thrived in the bubbles of the Clinton and Bush years.

As America knows, Obama turned down the lucrative career path guaranteed to the first African-American president of The Harvard Law Review to pursue the missions of service and teaching instead. The potential rewards for our country, now that that early choice has led him into the White House, are enormous.

Feckless as it was for Bush to ask Americans to go shopping after 9/11, we all too enthusiastically followed his lead, whether we were wealthy, working-class or in between. We spent a decade feasting on easy money, don't-pay-as-you-go consumerism and a metastasizing celebrity culture.

History is cyclical, and it would be foolhardy to assume that the culture wars will never return.

In the bubble decade, making money as an end in itself boomed as a calling among students at elite universities like Harvard, siphoning off gifted undergraduates who might otherwise have been scientists, teachers, doctors, entrepreneurs, artists or inventors.

Looking back at my high school years, I'm struck by how slowly history can move.

My particular historical vantage point is a product of my upbringing as that odd duck, a native Washingtonian whose parents were not in government. The first presidential transition of my sentient lifetime, Kennedy's, I remember vividly.

Nationalization would likely mean wiping out the big banks' managements and shareholders. It's because that reckoning has mostly been avoided so far that those bankers may be the Americans in the greatest denial of all.

Nationalization, unmentionable only yesterday, has entered common usage not least because an even scarier word - depression - is next on America's list to avoid.

No one is better placed or more philosophically suited than Obama to construct the new counter narrative as we go forward in our new New Deal. But many masters of the old universe, including quite possibly his chief economic adviser, can't recognize that the world has changed or should change.

Of course most Americans don't know how A.I.G. brought the world's financial system to near-ruin or what credit-default swaps are. They may not even know what A.I.G. stands for. But Americans do make the connection between their fears about their own jobs and their broad understanding of the A.I.G. debacle.

One of the most persistent cultural tics of the early 21st century is Americans' reluctance to absorb, let alone prepare for, bad news.

One would like to say in the aftermath of the 2008 election that everyone lived happily ever after. But the American drama, especially when it involves race, is always more complicated than that.

Someday we'll learn the whole story of why George W. Bush brushed off that intelligence briefing of Aug. 6, 2001, 'Bin Laden Determined to Strike in U.S.' But surely a big distraction was the major speech he was readying for delivery on Aug. 9, his first prime-time address to the nation.

The cruel ambush of 9/11 supposedly 'changed everything,' slapping us back to reality. Yet we are constantly shocked, shocked by the foreseeable.

Unless and until Barack Obama addresses the full depth of Americans' anger with his full arsenal of policy smarts and political gifts, his presidency and, worse, our economy will be paralyzed.

I believe that in a great city, or even in a small city or a village, a great theater is the outward and visible sign of an inward and probable culture.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

I don't have space to enter into the examples or the history of this, so I'm left with having to make the bold statement that culture is extinct.

We need to have a culture that says 'the less energy you can use to be comfortable, the better off you are and the better you should feel about yourself'.

Concerning culture as a process, one would say that it means learning a great many things and then forgetting them; and the forgetting is as necessary as the learning.

No doubt Western civilization has in the past been full of wars and revolutions, and the national elements in our culture, even when they were ignored, always provided an unconscious driving force of passion and aggressive self-assertion.

The things that I draw on, and the world that I feel part of, aren't particularly youth culture.

I recommend the same therapies for all humans with HIV. There is no reason to believe that physiologic responses to therapy will vary across lines of class, culture, race or nationality.

Towns are suffering from all these things, we should unite until we are all satisfied, man cannot be killing each other as if we were animals, as if we had no culture; that is a lack of culture.

You're a Catholic in Italy when you're born, it's unthinkable to stop being Catholic. You just take the rules a lot more seriously, because it pervades your culture.

Sex and drugs were simply not discussed in our culture at that time.

You have to open your mind. I like the ability to express myself in a deep way. It's the closest music to our humanity - it's like a folk music that rises up out of a culture.

Lives have been altered in fundamental ways, and later, after they acquire a more complete understanding of what goals are actually attainable, many are left facing a lot of pain and frustration. And yet, there's no culture of complaint.

I've always been interested in the relationship between total external surround, culture, the political matrix, technology, etc., and the internal human consciousness.

Writing is about culture and should be about everything. That's what makes it what it is.

And there are so many people in the third world suffering so horribly right now, and we are so focused on ourselves and our culture that a lot of things are showing up in our culture that are making it impossible for us to focus on others. We're so self-focused.

One very important aspect of our contemporary musical culture - some might say the supremely important aspect - is its extension in the historical and geographical senses to a degree unknown in the past.

Mr. Speaker, genocide is the most potent of all crimes against humanity because it is an effort to systematically wipe out a people and a culture as well as individual lives.

When I go to Japan and do shows I play for 1,000 to 1,500 people. I like a lot about Japan. Their popular culture and mass commercialization appeals to me.

The question was heatedly debated of how much Western culture should be brought into China.

The whole drive of western culture, the part of it which is serious, is towards an extreme objectification. It's carried to the point where the human subject is treated almost as if it's dirt in the works of a watch.

I've never understood why artists, who so often condescend to the cliches of their own culture, are so eager to embrace the cliches of cultures they know nothing about.