Famous quotes containing the words idol, cross, headless, martin, eternal, sabbath, black and/or musician:
“Its idea of “production value” is spending a million dollars dressing up a story that any good writer would throw away. Its vision of the rewarding movie is a vehicle for some glamour-puss with two expressions and eighteen changes of costume, or for some male idol of the muddled millions with a permanent hangover, six worn-out acting tricks, the build of a lifeguard, and the mentality of a chicken-strangler.”
—Raymond Chandler (1888–1959)
“Expecting me to grovel,
she carefully covers both feet
with the hem of her skirt.
She pretends to hide
a coming smile
and won’t look straight at me.
When I talk to her,
she chats with her friend
in cross tones.
Even this slim girl’s rising anger
delights me,
let alone her deep love.”
—Amaru (c. seventh century A.D.)
“The headless aftermath ...”
—Robert Frost (1874–1963)
“Let me tell you something. Nobody goes to jail unless they want to. Unless they make themselves get caught. They don’t have things organized.”
—Nicholas Pileggi, U.S. screenwriter, and Martin Scorsese. Henry Hill (Ray Liotta)
“I have ever deemed it fundamental for the United States never to take active part in the quarrels of Europe. Their political interests are entirely distinct from ours. Their mutual jealousies, their balance of power, their complicated alliances, their forms and principles of government, are all foreign to us. They are nations of eternal war.”
—Thomas Jefferson (1743–1826)
“Only man thinning out his kind
sounds through the Sabbath noon, the blind
swipe of the pruner and his knife
busy about the tree of life . . .”
—Robert Lowell (1917–1977)
“th’ other black and grave, wherewith each one
Is checker’d all along,
Humilitie:”
—George Herbert (1593–1633)
“The mastery of one’s phonemes may be compared to the violinist’s mastery of fingering. The violin string lends itself to a continuous gradation of tones, but the musician learns the discrete intervals at which to stop the string in order to play the conventional notes. We sound our phonemes like poor violinists, approximating each time to a fancied norm, and we receive our neighbor’s renderings indulgently, mentally rectifying the more glaring inaccuracies.”
—W.V. Quine (b. 1908)