Cream Background Quotes

To begin with, there is the frightful debauchery of taste that has already been effected by a century of mechanisation. This is almost too obvious and too generally admitted to need pointing out. But as a single instance, take taste in its narrowest sense - the taste for decent food. In the highly mechanical countries, thanks to tinned food, cold storage, synthetic flavouring matters, etc., the palate it almost a dead organ. As you can see by looking at any greengrocer’s shop, what the majority of English people mean by an apple is a lump of highly-coloured cotton wool from America or Australia; they will devour these things, apparently with pleasure, and let the English apples rot under the trees. It is the shiny, standardized, machine-made look of the American apple that appeals to them; the superior taste of the English apple is something they simply do not notice. Or look at the factory-made, foil wrapped cheeses and ‘blended’ butter in an grocer’s; look at the hideous rows of tins which usurp more and more of the space in any food-shop, even a dairy; look at a sixpenny Swiss roll or a twopenny ice-cream; look at the filthy chemical by-product that people will pour down their throats under the name of beer. Wherever you look you will see some slick machine-made article triumphing over the old-fashioned article that still tastes of something other than sawdust. And what applies to food applies also to furniture, houses, clothes, books, amusements and everything else that makes up our environment. These are now millions of people, and they are increasing every year, to whom the blaring of a radio is not only a more acceptable but a more normal background to their thoughts than the lowing of cattle or the song of birds. The mechanisation of the world could never proceed very far while taste, even the taste-buds of the tongue, remained uncorrupted, because in that case most of the products of the machine would be simply unwanted. In a healthy world there would be no demand for tinned food, aspirins, gramophones, gas-pipe chairs, machine guns, daily newspapers, telephones, motor-cars, etc. etc.; and on the other hand there would be a constant demand for the things the machine cannot produce. But meanwhile the machine is here, and its corrupting effects are almost irresistible. One inveighs against it, but one goes on using it. Even a bare-arse savage, given the change, will learn the vices of civilisation within a few months. Mechanisation leads to the decay of taste, the decay of taste leads to demand for machine-made articles and hence to more mechanisation, and so a vicious circle is established.

The sensor did not seem to be restricted to my mother's food, and there was so much to sort through, a torrent of information, but with George there, sitting in the fading warmth of the filtered afternoon springtime sun spilling through the kitchen windows, making me buttered toast which I ate happily, light and good with his concentration and gentle focus, I could begin to think about the layers. The bread distributor, the bread factory, the wheat, the farmer. The butter, which had a dreary tang to it. When I checked the package, I read that it came from a big farm in Wisconsin. The cream held a thinness, a kind of metallic bumper aftertaste. The milk- weary. All of those parts distant, crowded, like the far-off sound of an airplane, or a car parking, all hovering in the background, foregrounded by the state of the maker of the food.

There is virtually no condition of human beings, physical or mental — there are a few exceptions — that we call pathology that does not reflect social and cultural background and issue. And we can't understand any of this without looking at the larger picture. Medicine is very interesting that way. If you go to a dermatologist with inflamed skin, he's going to give you steroid cream. If you go to a rheumatologist with an inflamed joint, what kind of medication are they gonna give you? Steroid very often. If you go to a lung specialist with asthma, what kind of inhaler are you gonna get? Steroid. If you go to a gastroenterologist with an inflamed intestine, what kind of medication are you gonna get? Steroids. Now what are steroids? They are copies of cortisol. What is cortisol? It is a stress hormone. We are treating everything with stress hormones. Maybe it should occur to us that stress has something to do with the onset of these conditions. And that stress is not an individual problem. Stress is a social problem. And so if we are seeing more of this or that condition, let's consider that we are looking at the manifestations of something in the culture.

SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.

SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.

Mark put his bag on the floor and looked around. Chintz wallpaper with pink roses on a light cream background covered the walls, while drapes of the same pattern fell across French doors that obviously led outside.

Isaac studied the huge, airy room and went to stand in front of a wall of watercolor apples- each one was set off by a colored background ranging from deep blue to fluorescent green to soft pink. He turned to ask Sanna about it, but she was still in the kitchen, pulling salt-crusted baked potatoes from the oven. Bass kneeled on a bar stool and stirred sliced apples with cinnamon and sugar. On the counter were the fixings for a baked potato bar, with cheese, bacon, broccoli, sour cream, and minced chives. "Are the apples above the fireplace meaningful?" Einars bent lower to talk to Bass, as they layered the apples into a dish, forcing Sanna to answer the question. "Those are all the apples we grow in our orchard." There were at least thirty. He hadn't even known there were that many varieties of apple in the world. "Did you paint them?" "Some of them. Most were done by much older relatives.

Their tumultuous love story was adapted into the 1974 Broadway musical Mack & Mabel. * Peeping Pete was released on June 23, 1913, with A Bandit; they are the oldest surviving Arbuckle movies. * Custard tended to break up in flight, and it faded into the background when shot in monochrome, so later pies consisted of blackberries and whipped cream—a concoction local bakeries readily learned to devise.

Looking back now, how fucking stupid was I not to see what was going on? But when you were in it, you didn’t know it, and when your life had finally started to happen, it didn’t matter what else you were giving up for that life. It only mattered that you were special—to someone—and that you were very lucky indeed to have that someone. And everything else should just fade away and become background noise.

I've never known anyone with the capacity for sugar that Adeena has. She'd demolished her waffles, which she'd drowned in syrup, and then ordered a slice of triple chocolate tuxedo pie, another sugar bomb. If I ate the way she'd did, I'd have lost a foot to diabetes by now. Martha slid our desserts in front of us, and Adeena and I hummed in appreciation after taking our first bites. The lemon icebox cake was cold and creamy, with a background sweetness and a whole lot of tang. As I often did when sampling delicious desserts, I tried to deconstruct what was in it. Graham crackers, cream cheese, whipped cream, and a ton of lemon curd seemed to be the basis of the recipe. Similar to the ginger calamansi pie I'd made, but simpler and no-bake, if I decided to buy the graham crackers instead of making my own. Definitely worth experimenting with, as I had a jar of calamansi curd tucked away in the fridge just begging to be used. I made a note on my phone later, maybe as a summer offering. As per usual when eating out, Adeena and I swapped plates so we could taste each other's desserts. "What do you think, girls?" I grinned at Martha. "Delicious. I love how the lemon cake is sweet and tangy, but you don't go too far in either direction." Adeena added, "It's the perfect counterpoint to my chocolate pie, which is divine, by the way. Rich, creamy, and so satisfying.

Guy Kawasaki, the well-known marketing specialist and venture capitalist, also thinks that we shouldn’t be afraid of polarization. Large companies search for the “Holy Grail” of products that appeal to every demographic, socioeconomic background, and geographical location, but this “one size fits all” approach rarely works and often leads to mediocrity (and vanilla ice cream). Instead, Kawasaki believes, we should create products that make specifically identified groups of people very happy and ignore everyone else. The worst-case scenario is inciting no passionate reactions from anyone — no one caring enough about a product to talk about it at all, either positively or negatively.

And as your official moping buddy, I have to say you’re doing it all wrong,” I continued. “You’re not my official moping buddy. And I was moping just fine on my own before you came along.” “I beg to differ. There’s no tub of ice cream in here, and you don’t even have some good emo music playing in the background. This is like a moping catastrophe.

Andrei perched on the rooftop of the cinema and looked out at Westwood’s nightlife bustling before him. He was mounted on the single, cream, stoned gargoyle built above in the corner of the theatre. He and his gothic animal breathed under the cold moon. Yes. He always felt like the moon—generally unnoticed by the world, that never minds—and navigated richly through his life alone and uninterrupted, like a ghost. Truth is an unobvious color. Those who attempt truth will never make billboards or conversations but usually sift in the background in awkward veritas.

With everyone else being so vocal, it was actually surprisingly easy for me to disappear into the background.  Or so I thought.

And the crumble today is rhubarb-apple." She then turned to me. "I'll give you a minute to decide," she smiled, walking off to the kitchen. I lingered at the table, eyeing the golden brown topping of the crumble, clattering tea cups and intimate conversations dancing in the background. It was similar to Make My Cake's cobbler in that it was a giant dish of oozing fruit concealed by bits of topping- exactly what I had come for. Yet it was unmistakably French. While it was indeed messier than the gâteaux I had fallen for elsewhere around Paris, Les Deux Abeilles's crumble, presented in a round white porcelain dish, was still more refined. It looked thick and sweet and crunchy. I could practically taste the buttery bits and jammy fruit converging in a chaotic mix of flavors and textures in my mouth. But now that pear-praline clafoutis was waving to me from heaven. And the tall, airy wisps on the lemon meringue were tempting me, as well as the towering cheesecake, fluffier than the versions back home, with more finesse. Molten chocolate cake is never the wrong choice, I was rationalizing to myself, when Valeria returned. "Alors, what will it be?" I gazed up at her comforting presence. "I'll take the crumble, please." After my laborious decision, I was relieved to discover I had been right to stick with my original intentions. Five minutes later, a generous slice of rhubarb-apple crumble arrived, warmed in the small kitchen and served with a side of fresh cream, whipped staunchly into a thick, puffy cloud. I sat for a minute, contemplating the crumble's imperfect bumps and dull brown color. The pale pink and sometimes green slices of rhubarb poked out of the sides and lumps of rouge topping decorated my plate. Where the crumble had baked against the dish, a sticky crust of caramelized fruit juice and sugar had formed. It looked like a tarte that had done a somersault in its pastry box and arrived bruised and battered. There was nothing perfect about it. Except its bright flavors. Except its comforting warmth. Except that it was exactly what I wanted and needed. I savored each juicy-crunchy bite. It was wonderful.

the Irish blessing that her grandmother had cross-stitched in green thread against a cream linen background and hung in her parlor: “May the road rise to meet you, May the wind be always at your back, May the sun shine warm upon your face, May the rains fall soft upon your fields, And, until we meet again, May God hold you in the hollow of his hand.