A Quote by Paul Samuelson

Mea culpa, mea culpa. MIT and Wharton and University of Chicago created the financial engineering instruments, which, like Samson and Delilah, blinded every CEO. They didn't realize the kind of leverage they were doing and they didn't understand when they were really creating a real profit or a fictitious one.
No, no," Mr. Darling always said, "I am responsible for it all. I, George Darling, did it. MEA CULPA, MEA CULPA." He had had a classical education.
Dead Air' is full of rants; it's a rant-based book. Yes, it's self-indulgence. I plead guilty; mea culpa.
'Dead Air' is full of rants; it's a rant-based book. Yes, it's self-indulgence. I plead guilty; mea culpa.
Here's me opening my wrists before breakfast, Christmas day, and here's you asking if it hurt. Here's where I choose between mea culpa and Why the hell should I tell you?
It might kill you to say it, because the film really takes on the Catholic Church, but I do think there is a sort of affection for certain rituals, and an authenticity to the presentation of those rituals, in 'Mea Maxima Culpa.'
The rest of the crowd were friends of my fortune, not of me. [Lat., Caetera fortunae, non mea, turba fuit.]
The nice thing about 'Samson & Delilah' is that the team behind it are real hustlers - they really want it to happen.
Which is supposed to mean they're doing something in their broadcasting they would not do is they were simply out to maximize profit; if they were really public service institutions, not purely profit maximizing institutions.
I grew up in Cleveland and started doing plays in high school. And I went to the University of Illinois, and I majored in drama. And after school, I went up to Chicago, because I didn't really know anybody in New York or Los Angeles, and I knew people who were doing plays in Chicago.
At that time, 73 and 74, I became aware that there were a number of us making instruments. Max Eastley was a good friend and he was making instruments, Paul Burwell and I were making instruments, Evan Parker was making instruments, and we knew Hugh Davies, who was a real pioneer of these amplified instruments.
The Chicago City News Bureau was a tripwire for all the newspapers in town when I was there, and there were five papers, I think. We were out all the time around the clock and every time we came across a really juicy murder or scandal or whatever, they'd send the big time reporters and photographers, otherwise they'd run our stories. So that's what I was doing, and I was going to university at the same time.
There is so much wrong with the world. (tanta stat praedita culpa)
I was obsessed with the scientific instruments people were building and all the weird experiments they were doing. I did actually wind up working in some of that, but there were whole sections I'd written about these instruments that ultimately had to be abandoned when I realized that the book really was about Margaret Cavendish. I couldn't justify using all of them.
It's like Samson and Delilah: watch your back, because trouble could be the person you're sleeping with.
I call it "being interrupted by success." We had done The Soft Bulletin, which came out in 1999, and we knew we that were gonna make another record before too long. But in between this, we were still in this mode of kind of just - not re-creating what we could be, but kind of doing different things. For the longest time in the Flaming Lips we were like, "Make a record, go on tour. Come back, make another record," and you know, I think, frankly, we were kind of like, "There's more to life than just recording records and going on tour."
The Treasury's plan has little for those outside of the financial industry. It is aimed at rescuing the same financial institutions that created this crisis with the sloppy underwriting and reckless disregard for the risk they were creating, taking or passing on to others.
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