"We are justified in calling all species of bipedal ape "human." ...the adaptation of bipedalism was so loaded with evolutionary potential—freeing the upper limbs to be free to become manipulative implements one day—that its importance should be recognized in our nomenclature. These humans were not like us, but without the bipedal adaptation they couldn't have become us."

“I'm known for speaking my mind, a trait I probably inherited from my parents, Louis and Mary Leakey—neither of whom was renowned for tact.”

“Protecting elephants and conserving natural ecosystems remain my personal priorities. But I am not so sure this would be so were I ill, hungry, and living in dispair. ...We must somehow find a way to provide for our own species if we are also to preserve others.”

“If the Darwinian package were correct, then we would expect to see the simultaneous appearance in the archeological and fossil records of evidence for bipedality, technology and increased brain size. We don't.”

“The French archeologists Iégor Reznikoff and Michael Dauvois conducted detailed surveys of three decorated caves in the Ariège region of southwest France. ...they moved slowly through the caves, stopping repeatedly to test the resonance of each section... spanning three octaves... those areas with highest resonance were also those most likely to harbor a painting or engraving. ...a fascinating discovery that... Chris Scarre commented at the time, draws "new attention to the likely importance of music and singing in the rituals of our early ancestors.”

“When a San Shaman goes into a trance, he harnesses that power, becomes part of the world beyond, becomes invisible to the singers and dancers around him, and draws images on the rock face. Ask the San who drew the images, and they say the spirits. And the rock face is more than a surface for the paint; it is the boundary of this world and the world beyond. ...part of the meaning of it all, and the rock shelter itself assumes a special status, a place of veneration.”

“Where Breuil has seen chaos—or at least, randomness—in wall art, Leroi-Gourhan sought and found order.”