When I Hear The Word Culture

Hanns Johst – Wikipedia

Hanns Johst
Johst in 1933
Born 8 July 1890SeerhausenbeiRiesa,Kingdom of Saxony
Died 23 November 1978 (aged 88)Ruhpolding,Bavaria,West Germany
Allegiance
  • German Empire (from 1918 to 1918)
  • Weimar Republic (from 1933 to 1933)
  • Nazi Germany (from 1933 to 1945)
Service/ branch German Army inWorld War IandWaffen SSinWorld War II
Years of service 1914–1918 and 1939–1945
Rank SS-Gruppenführer
Commands held
  • President of the Akademie für Deutsche Dichtung
  • President of the Reichsschriftumskammer
  • Stab Reichsführer-SS

The German poet and dramatist Hanns Johst (born 8 July 1890 in Berlin, Germany, died 23 November 1978 in Berlin) was a member of the officially sanctioned authors’ organizations in the Third Reich and was strongly associated with Nazi doctrine. According to several sources, the phrase “When I hear the word culture, I grab for my pistol” was spoken by Heinrich Himmler, Joseph Goebbels, and Hermann Göring, but it was really a garbled rendition of a line from his playSchlageter.

Background

Hanns Johst was born in Seerhausen, Germany, as the son of an elementary school teacher and a school administrator. He grew raised in the cities of Oschatz and Leipzig. He had aspirations of being a missionary when he was a child. He began working as an auxiliary at a Bethel Institution when he was seventeen years old. In 1910, he graduated from Leipzig University with his Abiturin and went on to study medicine, philosophy, and—later—the history of art. In 1914, he decided to enlist in the army.

Early work

His early work is influenced by the movement known as Expressionism. Der Anfang(The Beginning) (1917), Der König(The King) (1918), and Der König(The King) are just a few examples (1920). Later on, in plays such as Wechsler und Händler(Money changers and Traders) (1923) and Thomas Paine(Thomas Paine), he shifted to anaturalist philosophy (1927). It is said that Bertolt Brecht’s first play, Baal, was created as a response to the playDer Einsame(The Lonely), which was a depiction of the life of dramatist Christian Dietrich Grabbe.

In 1932, he became a member of the Nazi Party, and in 1933, he published an article titled “Standpunkt und Fortschritt” (“Standpoint and Progress”) in which he explained his agreement with Hitler’s worldview.

Schlageter

The playSchlageter, written by Johst after the Nazis gained power in 1933 and played on Hitler’s 44th birthday, April 20, 1933, to commemorate the Nazi victory, was an expression of Nazi philosophy. A heroic biography of the proto-Nazi martyrAlbert Leo Schlageter was presented in the film. This drama is the source of the well-known phrase “When I hear the word culture, I grab for my pistol,” which is frequently associated with Nazi officials. Although the play’s real sentence is somewhat different: “When I hear Culture, I reassure my Browning!” “When I hear Culture, I assure my Browning!” “When I hear the word ‘Culture,’ I immediately release the safety catch on my Browning!” (Scene 1 of Act 1 of the play.) In a chat with the young Schlageter, it is spoken by another character in a different voice.

  1. He claims that he would rather fight than study, and he has a valid point.
  2. (Laughing.) The promise of a paradise will not be enough to lure you away from your barbed wire entanglement!
  3. Barbed wire is just that: barbed wire.
  4. There is no rose without a thorn!
  5. Fraternity, equality, freedom, beauty, and dignity are all values that I hold dear from the year 18!
  6. When you’re in the thick of a debate, someone calls for everyone’s hands to be raised.
  7. I use live ammo when I fire!

THIEMANN: It’s right on the money!

SCHLAGETER: It appears that you have a hair trigger.

Ford B.

Parkes-Perret, was published by Akademischer Verlag Hans-Dieter Heinz in Stuttgart in 1984.

According to historian David Starkey, it was Joseph Goebbels who misattributed it to Queen Elizabeth II in comments condemning her for being “poorly educated and philistine” in December 2007.

“Whenever I hear the phrase Schrödinger’s cat, I reach for my revolver,” says a producer to Fritz Lang in Jean-Luc Godard’s 1963 filmLe Mépris.

When Lang responds, he invokes the original statement, saying, “Some years ago—some dreadful years ago—the Nazis used to take out a gun instead of a checkbook.” ” That’s When I Reach for My Revolver ” is a song written by Mission of Burma’s Clint Conley in 1981, and it was released as a single in 1981.

Tuli Kupferberg wrote the book When I Hear the Word ‘Culture,’ I Reach for My Gun, which was published in 1994. The next year, he published a book,Cartoons Collages and Perverbs, which included a cartoon that said, “WHEN I HEAR THE WORD “GUN,” I REACH FOR MY CULTURE.”

Role in Nazi Germany

In 1933, Johst signed theGelöbnis treuester Gefolgschaft, a pro-Nazi statement of devotion to Hitler signed by pro-Nazi writers and published in the German language. Johst succeeded Hans-Friedrich Blunck as President of the Reichsschrifttumskammer (German writer’s union) and the Deutsche Akademie für Dichtung (German poetry academy) in 1935, establishing himself as a dominant figure in the German literary world. As a result of this expulsion, the last notable Jewish writers, like Martin Buber, were forced to flee to the United States or to the United Kingdom.

Johann Johst rose to a number of significant positions within the Nazi regime, and he was appointed to the Gottbegnadeten list in September 1944, which recognized him as one of the Reich’s most important artists.

Quotations

God the Father Himself woven the grandeur along with the light of the stars and the beams of the sun. They, on the other hand, pressed the garland of thornsdown into His hair and head, drawing blood with it. Meadow herbs and larkspur are the only materials I use to weave for the kid. Save it from the cross and thorns, please, God, please! (From the anthology “Mother”)The more difficult and prolonged this fight becomes, the more we are confronted with the unmistakable knowledge of the genuine worth of culture.

The outside life is becoming increasingly simpler and more difficult, burdened by the cost of our time, whilst the inner life is receiving fresh, young, and abundant confirmation.

Post-war

A Munichdenazificationtribunalclassified Johst as a “fellow traveler” on July 7, 1949, after he was incarcerated following World War II. He was reclassified as a “principal offender” and sentenced to three and a half years in a work camp following an appeal procedure that finished in 1949. (the time Johst had already served). His classification as “incriminated” was established in 1951, following his release from jail and the continuation of denazification processes. In 1955, Johst was successful in having this decision overturned and the proceedings brought to a close at the expense of the taxpayers.

  • Many of his works were prohibited in the Soviet Occupied Zone, with the exception of Der Anfang.
  • Gedichte(1924), and Der junge Mensch (Der junge Mensch).
  • Gedichte(1921),Mutter without Tod.
  • Roman(1931),Wegwärts.
  • Roman(1931),Stroh(1916),Stroh(1916),Stro (1916).

In 1953, Johst sought to publish a book that he had finished and rewritten at the end of 1943, but he was unable to find a publisher for it. He died on November 23, 1978, in a nursing home in Ruhpolding, after a long illness.

Works

  • The Beginning, 1917
  • The Crossing, 1921
  • Consuela, 1924
  • Consuela: From the Diary of a Spitzbergen Expedition, 1925
  • So go they, 1930
  • Consuela: From the Diary of a Spitzbergen Expedition, 1930
  • Consuela: From the Die Begegnung was released in 1930
  • Die Torheit einer Liebe was released in 1931
  • Ave Maria was released in 1932
  • And Mutter ohne Tod was released in 1933. Die Begegnung (The Beginning), 1933
  • “Mask and Face,” 1935
  • “Erzählungen,” 1944
  • “Gesgnete Vergänglichkeit,” 1955
  • “Maske und Gesicht,” 1935

Drama

  • Hour of the Dead, 1914
  • Strof, 1915
  • Der junge Mensch, 1916
  • Der Ausländer, 1916
  • Stroh, 1916
  • Der Einsame, 1917
  • Der König, 1920
  • Propheten, 1922
  • Wechsler und Händler, 1923
  • Die fröhliche Stadt, 1925
  • Der Herr Monsieur, 1926
  • Der Herr Monsieur Thomas Paine’s Requiem was composed in 1927
  • Schlageter’s Requiem was composed in 1933
  • Fritz Todt’s Requiem was composed in 1943.

Poetry

  • Wegwärts, 1916
  • Rolandruf, 1918
  • Mutter, 1921
  • Lieder der Sehnsucht, 1924
  • Briefe und Gedichte aus einer Reise durch Italien und durch die Wüste, 1926
  • There’s a road ahead of us. Poetry and song, 1941
  • Gedichte und Gesänge, 1941
  • Im Tal der Sterne, to be precise. Liebeslieder. Mutterlieder, composed in 1943

Essays, speeches, propaganda articles et al.

  • Dramatisches Schaffen was published in 1922
  • Wissen und Gewissen was published in 1924
  • Ich glaube! Bekenntnisse was published in 1928. Germany is the name of my planet, in 1938
  • Ruf des Reiches, Echo des Volkes, 1940
  • Ruf des Reiches, Echo des Volkes, 1940
  • Hanns Johst spricht zu dir (Sammelausgabe), 1942
  • Hanns Johst spricht zu dir (Sammelausgabe), 1942

References

  1. Ab88 “writers,” from Letters of Heinrich and Thomas Mann, 1900–1949, Volume 12 of Weimar and Now: German Cultural Criticism, University of California Press 1998ISBN0-520-07278-2, p. 367–8
  2. Ab88 “writers,” from Letters of Heinrich and Thomas Mann, 1900–1949, Volume 12 of Weimar and Now: German Cultural Criticism, University of California Press 1998ISBN0-520-07278-2, p. 367 p. 27 in the anthology Mutter(i.e. Mother), edited by Albert Langen, Munich, 1921. The original version was written in German. “In contrast, they push the Dornenkranz deep into the hair and into the heart and the blood. / Gottvater himself flinches in the light of day and night. Bewahr’ es Gott vor Kreuz und Dorn! Ich winde dem Kinde / only Wiesenkraut und Rittersporn / nur Wiesenkraut und Rittersporn”
  3. s^ First edition, volume 1, issue 3–4, June–July 1943. Musik im Kriege, first edition, volume 1, issue 3–4, June–Juli 1943. The original German text is as follows: “With increasing severity and duration of the war, we are able to see the true values of culture with greater clarity and certainty. The manifestation of the spiritual and mental forces reveals their strength, their radiance, and their gnade. The outer life becomes increasingly simpler and less stressful as a result of the renunciation of everyday activities, while the inner life receives a fresh, youthful, and abundant affirmation as a result. The inner possession is not jeopardized by anything
  4. On the contrary, the more roher and grausamer the outer world is inclined to turn against the spirit and the soul, the more eloquently the miracle of the arts demonstrates its power “
  5. “Kurze Geschichte des NS von 1919 bis heute.”. Hoffmann and Campe, Hamburg 2007, pp. 279-
  6. “Deutsche Verwaltung für Volksbildung in der sowjetischen Besatzungszone, Liste der auszusondernden Literatur.”. Hoffmann and Campe, Hamburg 2007, pp. 279-
  7. “Deutsche Verwaltung für Volksbildung in der sowjetischen Besatzungszone, Liste der auszusondernden Literatur.” A polunbi.de, published by the Zentralverlag in Berlin in 1946, contains 190–203 pages. abErnst Klee’s “Das Kulturlexikon zum Dritten Reich.” was retrieved on the 31st of August, 2019. In Fischer, Frankfurt am Main 2007, page 286 is written: Rolf Düsterberg’s review of Jürgen P. Wallmann’s “Hanns Johst” is available online.

External links

  • Works by or about Hanns Johstat may be found on the Internet Archive
  • The German text of Schlageter Schauspiel can be found in the ZBW’s 20th Century Press Archives
  • And newspaper clippings about Hanns Johstat can be found in the ZBW’s 20th Century Press Archives.

Hermann Göring quote #1818462

“When I hear the term culture, I grab for my revolver,” says a character in the 1981 Cannes Film Festival Award-winning film Mephisto, who is referred to as “The General” in the English-dubbed version of the film. Misattributed “When I hear the term culture, I go for my revolver,” says one variation. “When I hear culture, I feel secure in my Browning!” These comments, often credited to Göring, who may have spoken similar lines, are drawn from those in the drama Schlageter by Hanns Johst: “When I hear culture, I feel secure in my Browning!” (Scene 1 of Act 1 of The Tempest) The first performance of the drama took place in April 1933, on the occasion of Hitler’s birthday.

Boller, Jr., and John George published They Never Said It: A Book of Fake Quotes, Misquotes, and Misleading Attributions in 1989, which reported this as a misattribution on page 36 of their book They Never Said It: A Book of Fake Quotes, Misquotes, and Misleading Attributions.

The most recent update was on June 3, 2021.

Related quotes

Barbara Kruger, American artist (b. 1945), says: Words written on an unnamed piece of art (1985) It’s a parody of the quotation “Whenever I hear the term “Culture,” I reach for my revolver,” from Hans Johst’s Schlageter (1933), act I, scene I (real quote: Wenn ich Kulturhöre., Edward Abbey’s novel, The Monkey Wrench Gang, is quoted as follows: As Dr. Sarvis explained, “When I hear the term “culture,” I instinctively go for my checkbook.” p. 109 (included).

„When I reached thirty I looked back on my past.“

Japan’s most famous martial artist, writer, and artist, Miyamoto Musashi (1584 – 1645) Introduction to Go Rin No Sho (1645), by Go Rin No Sho Context: When I reached the age of thirty, I took a look back at my life. My past successes were not achieved as a result of my mastery of strategy. Perhaps it was a matter of inherent aptitude, or the order of heaven, or the fact that the strategy of other schools was inferior. Afterwards, I studied every morning and evening in quest of the principle, and it wasn’t until I was fifty that I came to understand the Way of strategy.

As a result, with the use of strategy, I am able to practice a variety of skills and talents – all without the assistance of an instructor.

In order to communicate the genuine essence of this Ichi school, as it is reflected in the Way of Heaven and Kwannon, I take up my brush and paint.

Related topics

THE ACTUAL ORIGINAL QUOTE:“When I hear ‘culture’.I unlock my Browning!.”(“Wenn ich Kultur höre.entsichere ich meinen Browning!”)Hanns Johst(1890-1978)German playwright and Nazi SS officerThecommonly misquoted, misattributed linefrom Johst’s 1933 playSchlageterThis line fromSchlageter,Johst’s patriotic homage to the German World War I “martyr”Albert Leo Schlageter, is most widely-known in misquoted paraphrase form, as“Whenever I hear the word ‘culture’ I reach for my gun.”The literal translation of the German words“Wenn ich Kultur höre.entsichere ich meinen Browning”is:“When I hear culture.I unlock my Browning.”The ellipsis in the sentence (.) is a pause written into the text by Johst, not an indication of missing text. Most English translations incorrectly use the wordwheneverin place ofwhenand insertwordbeforeculture. In German,Wennactually meanswhenand w ann immermeanswhenever. Since a Browning is a pistol and the wordentsichere(unlock) refers to a gun’s safety catch, the line has also been translated as:“Whenever I hear the word ‘culture’ I release the safety on my pistol!”Sometimes the wordrevolveris used in place ofBrowningorpistol. Versions of Johst’s original line have been attributed to Nazi leaderHermann Göringand occasionally to other Nazi officials, such asHeinrich HimmlerandJoseph Goebbels. These and other top Nazis were indeed fans of the playSchlageterand apparently did quote Johst’s line. But Johst deserves the real credit — or blame — for the origin.
AN ANTI-FOODIE APPLICATION:“When I hear the words ‘healthy eating,’ I reach for my pork chop.”Dick SteinJazz show host on Seattle radio stationKNKX/KPLUIn a comment on the KPLU website in June 2014
A TECH NERD’S VIEW OF FASHION:“When I hear the word couture, I reach for my cyanide pill.”A quip posted on the now defunct TechEye.com site
HENRY MILLER’S GENIUS VARIATION:“When I hear the word Culture I reach for my revolver. Remember that? So, too, when I hear the word Genius.”Henry Miller(1891-1980)American novelist and painterInHenry Miller on Writing(1964)
GROUCHO’S VERSION:“When I hear the word culture I reach for my wallet!”Attributed toGroucho MarxAmerican comedian, writer, stage, film, radio, and television performerAttributed to Groucho inUrban History: Volume 22(1995), published by Cambridge University Press
THE POSTMODERN VARIATION:“When I hear the word ‘postmodern’ I reach for the remote control. I want to change channels immediately, before I get instantaneously and totally bored.”McKenzie WarkProfessor of Media and Cultural Studies at The New School in New York CityIn his bookVirtual Geography: Living with Global Media Events(1994)
THE PUKE BOWL VARIATION:“When I hear the word nobility I reach for the puke bowl.”Maeve KellyIrish novelist, short-story writer and poetSaid by a character in Kelly’s novelNecessary Treasons(1985)
A WINE LOVER’S VERSION:“When I hear the word culture I don’t reach for an Uzi, I reach for a corkscrew and a bottle of venerable and well chilled sauterne. Viniculture. Noble rot, mutating nobler by the minute.”Glenn O’BrienAmerican journalistIn an article included in his bookSoapbox: Essays, Diatribes, Homilies and Screeds(1997)
A PRODUCER’S VIEW OF GOVERNMENT:“It is unlikely that the government reaches for a revolver when it hears the word culture. The more likely response is to search for a dictionary.”David Glencross(1936-2007)Television executive and producer for Britain’s ITVComment at the Royal Television Society conference on the future of television in November 1988Quoted in theOxford Essential Quotations Dictionary(1998)
A LOVE HATER’S VERSION:“When I hear the word love, I reach for my revolver.”Gore Vidal(1925-2012)American-born novelist, screenwriter and playwrightQuoted in the bookS and M, Studies in Sadomasochism(1983), edited by Thomas S. Weinberg and G. W. Levi Kamel
QUIRKY, EDGY, INDEPENDENT FILMMAKER’S QUOTE:“‘Independent.’ I’m so sick of that word. I reach for my revolver when I hear the word ‘quirky.’ Or ‘edgy.’ Those words are now becoming labels that are slapped on products to sell them. Anyone who makes a film that is the film they want to make, and it is not defined by marketing analysis or a commercial enterprise, is independent.”Jim JarmuschAmerican movie director, producer, screenwriter and actorQuoted in the“Personal Quotes”section of his bio on IMDB.com
STEPHEN HAWKING’S CAT QUIP:“When I hear of Schrödinger’s cat, I reach for my pistol.”Stephen Hawking(1942-2018)British theoretical physicist and cosmologistA favorite Hawking quip that’soften mentioned in articles about him. It refers to Erwin Schrödinger’s famed“thought experiment” about a catthat is simultaneous dead and alive. The “Schrödinger’s cat” paradox highlights a problem inherent in certain aspects of quantum theory.

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While the quote is sometimes credited to Nazi commander Hermann Goering, the sentence really originates in the 1933 playSchlageterby German dramatist Hanns Johst, who was born in the same year Goering was born in Germany. “If I hear culture, I’ll bet my Browning!” says a character in the play. “If I hear culture, I’ll bet my Browning!” Albert Leo Schlageter was the subject of a nationalist drama in 1923, which was based on his life. Schlageter had been court-martialed by the French and executed for his participation in active resistance against French control of the Ruhr.

This quotation comes from the Oxford Dictionary of Quotations.

Image courtesy of: Hanns Johst, expressionist playwright and Nazi cultural official at the Nürnberger Operahaus, receives an NSDAP art award (Preises der NSDAP für die Kunst) from Alfred Rosenberg (who is standing backwards on stage), the Nazi Party’s chief thinker and leader.

Opinion

The New York Times Archives is credited with this image. See the article in its original context from September 17, 1987, Section A, Page 34 of the New York Times Magazine. Home delivery and digital subscribers are entitled to a special perk known as Buy ReprintsTimesMachine. Concerning the Archive This is a scanned version of a story from The Times’s print archive, which was published before the publication of the newspaper’s online edition in 1996. The Times does not modify, edit, or update these stories in order to preserve the integrity of the original publication.

  • Message to the Editor: Tom Moore incorrectly attributed the phrase “Whenever I hear the term culture, I go for my pistol” to Nazi Reich Marshal Hermann Goring, who lived during World War II (letter, Sept.
  • It is true that the line originates in Nazi Germany (the original German is “When I see Culture.
  • When C.
  • In spite of the fact that he believed that a “political dialectic of the very first order” was present in the play’s first half, he also believed that the play’s dramatic stream finally ran dry.

“If you don’t accept that everything worthwhile in history has been gained via killing. you won’t go home pleased,” Trask said. THOMAS VINCIGUERRA is a writer and artist based in Mexico City. Garden City, Long Island, September 3, 1987

Hanns Johst Quote

When I hear the term “culture,” I get a little excited. I take my handgun out of my pocket. Hanns JohstSchlageter is a German composer (1933). Translation in a different style: “Whenever I hear the word culture, I become excited. I let go of the safety catch on my Browning revolver! “. Hermann Göring’s name is frequently misattributed.

Picture Quote 1

This spiritual capacity does not provide explanations, but rather directs the road in the right direction. Florence Scovel Shinn was a woman who lived in the nineteenth century.

Hanns Johst

Creative Commons Attribution-Noncommercial-No Derivative Works The date of birth is July 8, 1890. On November 23, 1978, he passed away (aged 88) Quotes by Hanns Johst

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Lifelovenaturetimegodpowerhumanmindworkartheartthoughtmenday

When I hear the word “culture”…

For more than a hundred years anthropology has been spreading love and light. And now that the results are in—now that even the oddest habits from the remotest locations have been accepted as fully human and totally natural—it is evident that the popular decision has been an enthusiastic acceptance. Generally speaking, its ethical understandings are seen as benign. Politically, it is just as palatable to the liberal imagination as it is to the radical intellect. Its larger ramifications have been lovingly accepted by a wide spectrum of individuals who have joyfully fused its ideologies with their own.

– Roger Sandall “Culture,” according to Immanuel Wallerstein, is particularly sensitive to its politicization, as an ideological construct, and as a weapon in contemporary civilizational disputes in the capitalist world-system–”culture as the intellectual battlefield of the modern global system,” as he puts it.

One of Wallerstein’s favourite quotations is this:

“Whenever I hear the word culture, I reach for my gun”

In Nazi Germany, Hermann Wilhelm Göring (picture), the leader of the Luftwaffe, is widely credited with coining the phrase. The sentence originated in the 1933 play Schlaeger, according to those who know the history of the Nazi movement. They say it was a frequent Nazi cliché that was altered and employed by various famous Nazi figures.

“Wenn ich Kultur höre … entsichere ich meinen Browning!”

The term has gained popularity outside of its Nazi connotations. In addition, if you believe Google, the word has gotten increasingly common over the previous thirty years, perhaps not as much as it was during Nazi Germany’s reign, but definitely for a longer period of time than it was under that regime. Culture is viewed differently in each scenario, with some ridiculing the term, others trivializing it, and many pointing to the same ways that it has become instrumentalized in current conflict in each case.

  • In many cases, Sandall’s assertion that anthropology’s definition of culture has proved compelling sounds as though anthropology has only offered a word, with others filling in the implications.
  • If the term “culture” is mentioned, what should I do?
  • I grab for my gum (Babe Ruth, perhaps?).
  • It’s time for me to reach for my computer (Billy the Hacker).
  • It’s time for me to grab for my mirror (Eric Herring).
  • I stretch for my Bible (The Irish Times) a little further.
  • (David Barton/Martyn Bond) I grab for my dictionary.

As I grab for my data (courtesy of The Economist),.

How about a collection of job descriptions that I can refer to?

An organization chart?

I reach for the doorknob (according to Newsweek).

Kamalipour).

As an alternative, I turn to Marx or Mills, who both assert that there are elite and mass conceptions of social conditions (Gary A.

I grab for my textbook on institutional theory (Crooked Timber), which is now on my nightstand.

I switch on the radio(Virginia Madsen) … Scott Fraser says, “I reach for my sex.” I grab for the strudel(Gary North) … My seat at the table(mi accomodo a la table)(FrancoCastelli) is available.

His mouth is filled with the emErgEs of a bird (Padcha Tuntha-obas). I reach for my NOM (name of my mother) (another stupid lolcat, directed atanotherstupid lolcat)

Christopher Hitchens on the word “community”

According to Wikipedia, the etymology and origin of the phrase “when I hear the word culture, I grab for my pistol” are as follows: On Hitler’s 44th birthday, on April 20, 1933, to commemorate his win, Hanns Johst created the play Schlageter, an expression of Nazi philosophy that was presented on Hitler’s 44th birthday, on April 20, 1933, to commemorate his triumph. This drama is the source of the well-known phrase “when I hear the word culture, I grab for my pistol,” which is frequently associated with Nazi officials.

In comments condemning Queen Elizabeth II for being “poorly educated and philistine,” historian David Starkey misattributed the phrase to Joseph Goebbels in December 2007.

Mission of Burma’s Roger Miller wrote the song “That’s When I Reach for My Revolver,” which was released in 1981 and was inspired by the sentence.

In my adoptive nation, as well as in my hometown of Washington DC, the situation is extremely dire.

The use of the phrase “the intelligence community” for the CIA is offensive.

Moreover, I once came across the phrase “the Sicilian business community” in a very carefully written narrative of organized crime, which I believe to be the ultimate reduction to absurdity.

It deprives the language of the ability to communicate.” “Whenever I hear the term community, I instinctively go for my pistol,” I say in my rendition.

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