I've never really thought in terms of taboos. I think that books can really help parents and kids talk together about difficult subjects. I've always felt that way.
Madonna was so flamboyant in terms of her look, her style, her public pronouncements, her religious taboo-smashing.
The plan is that there would be three seasons [in Taboo], and, as with Peaky Blinders, I have had a destination in mind from the beginning, because I think it helps as a writer. The destination in mind is that James Keziah Delaney sets foot on Nootka Sound. But that's a long way off.
... all of my life I've made things that are like fragmented mirrors of what I perceive to be the world. As far as I'm concerned the fact that in 1990 the human body is still a taboo subject is unbelievably ridiculous. What exactly is frightening about the human body?
I want to show the event at the very moment it takes place.... My body must be anchored to the ground and seek the best point of view, without any visual taboos. But then, at the heart of the event, my effort is to disappear, I introduce a distance that borders on indifference.
It's really important to have a healthy sexuality and to be open about it. It's not a taboo. It's normal.
In our society, talking about sex is still a taboo, and of course many village chiefs don't want to hear about that issue. "You are trying to deviate us from our way of life, our traditions." And of course the argument they give is that these traditions date back to before our birth, and actually they accuse us of being funded by the outside world to subvert their way of life.
I've been writing so much. And what happens with TV is that they split [Taboo] into two blocks, so you get a director that does four and another director that does another four. You commit yourself to seven days a week, for 12 or 13 hour days for a long time. I couldn't really do that.
[My book is] a collection of letters and essays about what it takes to be a young woman today. Mostly the taboo things that girls don't want to talk about, but once we do we realize we're not alone.
The very general occurrence of the homosexual in ancient Greece, and its wide occurrence today in some cultures in which such activity is not taboo suggests that the capacity of an individual to respond erotically to any sort of stimulus, whether it is provided by another person of the same or opposite sex, is basic in the species.
Sex was always surrounded by taboos, and I don't see it necessarily as a manifestation of evil. I think that sexuality is first and foremost the way that God chooses for us to be here on earth, to enjoy this energy of love in the physical plane.
Those who see what's obvious aren't necessarily brighter than others. They're just more likely to observe that the emperor is naked. Like children, they see what's actually there. Their perceptions are less clouded by belief systems, taboos, habits of thought. One responsibility of management--an important one--is to call attention to the invisible obvious, pointing it out as a child does (sometimes to the embarrassment of adults). Doing so also requires supporting employees who take that risk, too, and other risks as well.
We used to call the 1% the ruling class, but America's never felt comfortable using that terminology. It was taboo to talk about class war. Americans are okay talking about it like this; everyone wants to be part of the 99%, even the cops are like, "No, no, man. I'm part of the 99% too." No one wants to be part of the 1%.
There was a culture that came out of the self-esteem movement which was don't anybody keep track of the goals. The kids keep track, but nobody keep track of the goals because we don't want the kids to have the experience of losing. And in depriving them losing, thinking it scarred them to lose, we made losing so taboo, so unspeakable, that we instead made losing more scary to kids, not less scary.
I suppose all of those New Romantic clubs were quite up their own asses in a way. Well, Taboo was up its own ass in a different way, but not in terms of rules.
The trickster's function is to break taboos, create mischief, stir things up. In the end, the trickster gives people what they really want, some sort of freedom.
What happened during the previews of 'Taboo' [musical] was that it was the first time I'd ever been written about as a great song-writer - I cried. I absolutely wept, because it wasn't the usual stuff like, "Oh, he was a drug addict and he did this and that..." It was really looking at the music and it was really complimentary. It was a huge thing.
When I first started, you could go to a college campus and it was not cool to wear a country artist's shirt on campus. It was taboo, and there was a stigma involved. In the time from then till now, I'm amazed at how much things have changed. It's young now, it's cool, it's hip
At the end, what I like is that it's the girl's decision to go back in the room. She needs a hug, she wants a hug, she asks for a hug and he gives it to her. For me, it's like an act of resistance to go there and to transgress the taboo and to do what started the whole thing in the beginning. It was supposedly a hug that started this whole drama between the character of Simon and the teacher.
It is especially taboo for a wine writer to admit that he or she likes the buzz. But wine is a full sensory experience. It's not just tasting notes.
There have been only two taboos in the world: sex and death. It is very strange why sex and death have been the two taboos not to be talked about, to be avoided. They are deeply connected. Sex represents life because all life arises out of sex, and death represents the end. And both have been taboo - don't talk about sex and don't talk about death.
If we can hump dead animals and antelopes, there's no reason that a man and another man can't elope.
Rough boys I wanna bite and kiss you.
Maybe I'll make a huge color tapestry from my belly button lint.
Performing on a stool, we've got a sight to make you drool, seven virgins and a mule, keep it cool, keep it cool.
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