Big L Best Quotes

What if I promise to make you a batch of brownies tomorrow?" she asked, deciding to use his love of baked goods against him. He snorted in disbelief as he got to his feet. "I'm not some whore you can buy with a pan of yummy baked goods, woman. How dare you insult me?" he said on a sniff as he folded his arms over his chest and did his best to look put out. "Fine," Haley said with a sigh. "What if I promise to make a big bowl of frosting tomorrow and let you lick it off me?" She had to bite back a smile as Jason shifted anxiously while he licked his lips and ran his eyes hungrily down her body. "Buttercream?" he croaked out. "Mmmmhmm," she said, walking over to him. She cupped the back of his head and gently tugged him down for a quick kiss. "And if you're good I might lick some off you," she said, loving the idea. "Get your own bowl of frosting. I don't share," he simply said, giving her one last kiss before walking out the door, whistling happily, no doubt thinking about the large bowl of frosting he was going to devour tomorrow.

Your current situation = the life expectations you have accepted as completed, unless you change your comfort zone to create a better life.

You weren't the perfect father but that's okay because -- probably nobody's a perfect father. No family's perfect, either. I was lucky. I was privileged. Not because of the big house and the money, but because you gave me a lot of yourself. You taught me, you showed me, you encouraged me -- you never lied to me and you never demanded that I be anything I’m not. I didn’t imitate you because you insisted that I do so, but because I wanted to. Of all the men I knew, you were most worthy of imitation. Then I blamed you for letting me be who I was. Pretty dumb. You and Alfred gave me a home and you gave me what we don't mention. The L word. You were the best family I could have had. Thanks.

We all have made many mistakes in our lives. Some bigger, some smaller, but it’s not about how many or how big of the mistakes we have made. It is about how you look at your life and your future without them.

Lowell’s best friend was the heroically moustached art director of a tobacco magazine that published in the same building where Lowell worked at plumbing. His name was Harry Balmer, and despite the evidence of his moustache he was nervous, compulsive, and wracked with small fears. He looked his best from across a wide room; the closer you got to him, the more he seemed to fall apart into a mass of twitches and gnawed finernails and the clearer it became that this big, smart-looking moustache was a kind of bush he was trying to hide behind.

Cities have characters, pathologies that can make or destroy or infect you, states of mind that run through daily life as surely as a fault line. Chandler’s “mysterious something” was a mood of disenchantment, an intense spiritual malaise that identified itself with Los Angeles at a particular time, what we call noir. On the one hand noir is a narrow film genre, born in Hollywood in the late 1930s when European visual style, the twisted perspectives and stark chiaroscuros of German Expressionism, met an American literary idiom. This fruitful comingling gave birth to movies like Double Indemnity, directed by Vienna-born Billy Wilder and scripted by Raymond Chandler from a James M. Cain novella. The themes — murderous sex and the cool, intricate amorality of money — rose directly from the psychic mulch of Southern California. But L.A. is a city of big dreams and cruelly inevitable disappointments where noir is more than just a slice of cinema history; it’s a counter-tradition, the dark lens through which the booster myths came to be viewed, a disillusion that shadows even the best of times, an alienation that assails the sense like the harsh glitter of mica in the sidewalk on a pitiless Santa Ana day. Noir — in this sense a perspective on history and often a substitute for it — was born when the Roaring Twenties blew themselves out and hard times rushed in; it crystallized real-life events and the writhing collapse of the national economy before finding its interpreters in writers like Raymond Chandler.

Fine, go get the dildos.” “Oh, my God.” Alec placed his hands on either side of his face. “This is the best day of my life.” Keela bit down on her lower lip. “What do you want me to do to them?” His eyes welled up. “It’s finally happening.” Bronagh covered her mouth with her hand when she couldn’t control the giggle that erupted from her. Alec’s attention zoned in on her and her mouth. “You … you’re playing … aren’t you?” he whispered, legit tears falling from his eyes. Keela laughed then, too. “That was cruel, Aideen,” Alec whispered and wiped his tear stained cheeks. “So fucking cruel. Don’t ever talk to me again. I don’t like any of you anymore.” He stormed out of the kitchen with Keela laughing as she ran after him. I looked to Kane and Nico when they grunted and found them staring at me. “What?” I asked. Nico blinked he eyes. “You shouldn’t lie like that, not about threesomes. It’s hurtful.” “It’s only hurtful because this is one threesome that isn’t comin’ true and it’s killin’ all of you.” Kane chimed in. “That doesn’t make it any less evil to lie about it. You got poor Alec’s hopes up.” “Just Alec’s?” I grinned. Kane glared at me. “Mine and Dominic’s too.” “Damn right,” Nico snarled. I laughed. “You’re all too easy to play with.” “You made Alec cry.” And I actually felt guilty about it. “Alec cried yesterday when he found out KFC were updatin’ their menu,” Bronagh cut in. “Him cryin’ isn’t that big of a deal, trust me.

A woman decides to have a facelift for her 50th birthday. She spends $15,000 and feels pretty good about the results. On her way home, she stops at a news stand to buy a newspaper. Before leaving, she says to the clerk, "I hope you don’t mind my asking, but how old do you think I am?" "About 32," is the reply. "Nope! I’m exactly 50," the woman says happily. A little while later she goes into McDonald’s and asks the counter girl the very same question. The girl replies, "I’d guess about 29." The woman replies with a big smile, "Nope, I’m 50." Now she’s feeling really good about herself. She stops in a drug store on her way down the street. She goes up to the counter to get some mints and asks the clerk this burning question. The clerk responds, "Oh, I’d say 30." Again she proudly responds, "I’m 50, but thank you!" While waiting for the bus to go home, she asks an old man waiting next to her the same question. He replies, "I’m 78 and my eyesight is going. Although, when I was young, there was a sure-fire way to tell how old a woman was. If you permit me to put my hands under your bra, then, and only then can I tell you EXACTLY how old you are." They wait in silence on the empty street until her curiosity gets the best of her. She finally blurts out, "What the hell, go ahead." He slips both of his hands under her blouse and begins to feel around very slowly and carefully. He bounces and weighs each breast and he gently pinches each nipple. He pushes her breasts together and rubs them against each other. After a couple of minutes of this, she says, "Okay, okay...How old am I?" He completes one last squeeze of her breasts, removes his hands, and says, " Ma dam, you are 50." Stunned and amazed, the woman says, "That was incredible, how could you tell?" The old man says, "Promise you won’t get mad?" "I promise I won’t," she says. "I was behind you in McDonald’s.

I would like to have enough capital so that I would not have to slave from sunrise till dark as I did on dad's farm. I don't know as the work was any harder than what we do here, but there is a difference. There all we got was just about a bare living, at the best a few hundred dollars put away for a year's work, but here one don't know what the next stroke of the pick, or the next rocker full of dirt, may bring forth—an ounce or twenty ounces it may be. That is the excitement and fascination that makes one endure the hardships, working up to one's knees in cold water, breaking one's back in gouging and crevicing, the chance that the next panful will indicate the finding of a big deposit.

Sean had never stared into as many blank-eyed faces before. Throughout the high school civics talk, he felt as if he were speaking to the kids in a foreign language, one they had no intention of learning. Scrambling for a way to reach his audience, he ad-libbed, tossing out anecdotes about his own years at Coral Beach High. He confessed that as a teenager his decision to run for student government had been little more than a wily excuse to approach the best-looking girls. But what ultimately hooked his interest in student government was the startling discovery that the kids at school, all so different—jocks, nerds, preppies, and brains—could unite behind a common cause. During his senior year, when he’d been president of the student council, Coral Beach High raised seven thousand dollars to aid Florida’s hurricane victims. Wouldn’t that be something to feel good about? Sean asked his teenage audience. The response he received was as rousing as a herd of cows chewing their cud. Except this group was blowing big pink bubbles with their gum. The question and answer period, too, turned out to be a joke. The teens’ main preoccupation: his salary and whether he got driven around town in a chauffeured limo. When they learned he was willing to work for peanuts and that he drove an eight-year-old convertible, he might as well have stamped a big fat L on his forehead. He was weak-kneed with relief when at last the principal mounted the auditorium steps and thanked Sean for his electrifying speech. While Sean was politically seasoned enough to put the morning’s snafus behind him, and not worry overmuch that the apathetic bunch he’d just talked to represented America’s future voters, it was the high school principal’s long-winded enthusiasm, telling Sean how much of an inspiration he was for these kids, that truly set Sean’s teeth on edge. And made him even later for the final meeting of the day, the coral reef advisory panel.

McClury folded back the rifle’s bipod and stood, disturbing the light covering of snow that lay across his body. His weapon was an Accuracy International L96, a bolt-action rifle made by the Brits. In McClury’s opinion one of the best all-round rifles in the world for this type of work. Precise and powerful but not too big or heavy. He’d used enough of them in the past to qualify his opinion. He wore white Gore-Tex pants, a jacket with a hood, and a white ski mask. The rifle’s furniture had been wrapped in strips of white electrical tape. McClury unbuttoned and unzipped the jacket and threw it off. It was camouflage and protection against the cold but impeded movement. Underneath he wore a black thermal shirt. He felt the chill immediately, but for now he could live with it. He left the white ski mask in place. His hide was a little under five hundred yards away, overlooking the target’s chalet. McClury had been set up just under the crest of a snowy outcrop dotted with trees to hide his silhouette and to make him virtually invisible.

The Blasters proved to be the most prominent and popular of these acts by far. Originally a quartet, the band was bred in Downey, just down the freeway from East L.A. In their teens, brothers Phil and Dave Alvin were bitten by the blues bug; they became habitués of the L.A. club the Ash Grove, where many of the best-known folk and electric blues performers played, and they sought out the local musicians who could teach them their craft, learning firsthand from such icons as Big Joe Turner, T-Bone Walker, and Little Richard’s saxophonist Lee Allen (who would ultimately join the band in the ’80s). But the Blasters’ style was multidimensional: they could play R&B, they loved country music, and they were also dyed-in-the-wool rockabilly fans who were initially embraced by the music’s fervent L.A. cultists. Their debut album, 1980’s American Music, was recorded in a Van Nuys garage by the Milan, Italy–born rockabilly fanatic Rockin’ Ronnie Weiser, and released on his indie label Rollin’ Rock Records, which also issued LPs by such first-generation rockabilly elders as Gene Vincent, Mac Curtis, Jackie Waukeen Cochran, and Ray Campi. By virtue of Phil Alvin’s powerful, unmannered singing and Dave Alvin’s adept guitar playing and original songwriting, the Blasters swiftly rose to the top of a pack of greasy local bands that also included Levi and the Rockats (a unit fronted by English singer Levi Dexter) and the Rockabilly Rebels (who frequently backed Ray Campi). Los Lobos were early Blasters fans, and often listened to American Music in their van on the way to their own (still acoustic) gigs. Rosas says, “We loved their first record, man. We used to play the shit out of that record. Dave [Hidalgo] was the one who got a copy of it, and he put it on cassette.

Joe flies to L.A. to do a welfare check on Hunter the day after he is evicted from the Chateau Marmont, although he is unaware of his son’s dramas with the hotel. Father and son have “an emotional morning” at La Peer, Hunter tells his friend, Azura. “I’m taking him for a haircut. Sorry, we were engrossed. A very personal and long overdue talk.” Uncle Jim texts later that day to check the temperature: “How’s it going with your dad? (1-10) 10 best.” Hunter: “7.” Jim: “Hang in there my friend. Rome wasn’t built in a day!” Joe leaves the next day, and Hunter moves to an Airbnb to resume his carousing. “Should I come…I have mushroom pills,” texts his buddy Rush. “Yes please come,” says Hunter. “Wait, are you not staying at the Chateau anymore?

Today the entirety of the travel and expense policy still consists of these five simple words: ACT IN NETFLIX’S BEST INTEREST That works better. It is not in Netflix’s best interest that the entire content team fly business from L.A. to Mexico. But if you have to take the red-eye from L.A. to New York and give a presentation the next morning it would likely be in Netflix’s best interest that you fly business, so you don’t have bags under your eyes and slurred speech when the big moment arises.

In her afterword to Nightfather, a remarkable novel about a young daughter’s poignant attempts to understand her Holocaust-survivor father, the Dutch writer Carl Friedman—whose father was a Holocaust survivor—quotes the poet Remco Campert, another author from the Netherlands. “Resistance does not start with big words,” Campert says, “it starts with small deeds. Asking yourself a question / that is how resistance starts / then putting that question to somebody else.”61 Nazism and the Holocaust assaulted the values that human beings hold most dear when we are at our best. Resistance to protect them came too late then; hence resistance continues to be urgent now, and it begins perpetually with small deeds, the raising of critical questions among them. Approaches to Auschwitz show that nothing human, natural, or divine guarantees respect for those values, but nothing is more important than our commitment to defend them, for they remain as fundamental as they are fragile, as precious as they are endangered.

Perhaps the outlook of the social entrepreneurs is best captured in the words of the great city planner and architect Daniel Burnham: “Make no little plans; they have no magic to stir men’s blood and probably will themselves not be realized. Make big plans; aim high in hope and work, remembering that a noble, logical diagram once recorded will not die.

Make the decision to play big and commit—decide to go! Set your goal. Identify the recipient: Whom do you need to influence to get where you want to go? Determine the best time to execute and invest in doing your research and homework. Start brainstorming and assemble your support team. Develop your plan: a Plan A and a Plan B. Conduct a premortem. Take action. Remember:

A pile of raspberry-jam-cakes as high as Mary Poppins’s waist stood in the centre, and beside it tea was boiling in a big brass urn. Best of all, there were two plates of whelks and two pins to pick them out with.