Crowne Plaza Quotes

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From the ruins, lonely and inexplicable as the sphinx, rose the Empire State Building. And just as it had been tradition of mine to climb to the Plaza roof to take leave of the beautiful city extending as far as the eyes could see, so now I went to the roof of that last and most magnificent of towers. Then I understood. Everything was explained. I had discovered the crowning error of the city. Its Pandora's box. Full of vaunting pride, the New Yorker had climbed here, and seen with dismay what he had never suspected. That the city was not the endless sucession of canyons that he had supposed, but that it had limits, fading out into the country on all sides into an expanse of green and blue. That alone was limitless. And with the awful realization that New York was a city after all and not a universe, the whole shining ediface that he had reared in his mind came crashing down. That was the gift of Alfred Smith to the citizens of New York.
F. Scott Fitzgerald (My Lost City: Personal Essays 1920-40 (Works of F. Scott Fitzgerald))
Hotel en Ciudad de México: Crowne Plaza. Clima del hotel: adinerado. Carácter en recepción: burocrático, güey.
Andrés Neuman
What Goodby unveiled at the Crowne Plaza was unlike anything Kalinske and his colleagues had ever seen before. Quick cuts. Crazy zooms. Wild camera angles. It felt less like watching a regular commercial than like fast-forwarding through one on the VCR. Loud punk music. Intense lens flares. Aggressive close-ups. It looked sort of like a music video, but only if that music video was suffering from manic-depression and had just ingested a cocktail of heroin, cocaine, and speed. Weird lighting, unpretty actors, nonlinear storytelling—the whole thing was off-putting, migraine-inducing, and offensive to the senses, but it was absolutely incredible. And to tie it all together, at the end of every spot some maniac shouted, “Sega!” “And just remember,” Goodby said as the video presentation came to an end, “we’re only a short drive away.” He then played a short video clip of himself, Silverstein, and a few other guys whacking golf balls off the roof of their office building. Except whenever they hit the ball, the real reaction shot was replaced with footage of golf balls hitting Sega of America headquarters. During the ground-shaking applause that followed, Nilsen subtly elbowed Kalinske. “What did you think?” Kalinske blinked for a second, then replied, “I think vidspeak just became a dead language. Sorry, hedgy wedgy.” He was practically in a state of shock. This was it—everything he had wanted. The tone was edgy, but not too sharp. It cut, but only deep enough to leave a cool scar.
Blake J. Harris (Console Wars: Sega, Nintendo, and the Battle that Defined a Generation)
Benson had already forgotten the samples he had analyzed when an unfortunate explosion of the air purification system burned him beyond recognition. The investigation concluded that it was an accident. The purification system was antiquated; colonists had complained about it for the last twenty years and credits had consistently been refused. It was a sad event. It was forgotten in a week. A new air purification system was installed.
M.E. Proctor (Solitaire Plaza (The Savage Crown Book 2))
overloaded horses bent backwards by the chisel of the mason who once sculpted an eternal now on the brow of the wingless archangel, time-deformed cherubim and the false protests, overweight bowels fallen from the barracks of the pink house carved with grey rain unfallen, never creaking, never opening door, with the mouth wide, darkened and extinguished like a burning boat floating in a voiceless sea, bottle of rum down threadbare socks, singing from pavement to pavement, bright iridescent flame, "Oh, my Annie, my heart is sore!", slept chin on the curb of the last star, the lintel illuminated the forgotten light cast to a different plane, ah the wick of a celestial candle. The piling up of pigeons, tram lines, the pickpocket boys, the melancholy silver, an ode to Plotinus, the rattle of cattle, the goat in the woods, and the retreat night in the railroad houses, the ghosts of terraces, the wine shakes, the broken pencils, the drunk and wet rags, the eucalyptus and the sky. Impossible eyes, wide avenues, shirt sleeves, time receded, 'now close your eyes, this will not hurt a bit', the rose within the rose, dreaming pale under sheets such brilliance, highlighting unreality of a night that never comes. Toothless Cantineros stomp sad lullabies with sad old boots, turning from star to star, following the trail of the line, from dust, to dust, back to dust, out late, wrapped in a white blanket, top of the world, laughs upturned, belly rumbling by the butchers door, kissing the idol, tracing the balconies, long strings of flowers in the shape of a heart, love rolls and folds, from the Window to Window, afflicting seriousness from one too big and ever-charged soul, consolidating everything to nothing, of a song unsung, the sun soundlessly rising, reducing the majesty of heroic hearts and observing the sad night with watery eyes, everything present, abounding, horses frolic on the high hazy hills, a ships sails into the mist, a baby weeps for mother, windows open, lights behind curtains, the supple avenue swoons in the blissful banality, bells ringing for all yet to come forgotten, of bursting beauty bathing in every bright eternal now, counteract the charge, a last turn, what will it be, flowers by the gate, shoe less in the park, burn a hole in the missionary door, by the moonlit table, reading the decree of the Rose to the Resistance, holding the parchment, once a green tree, sticking out of the recital and the solitaire, unbuttoning her coat sitting for a portrait, uncorking a bottle, her eyes like lead, her loose blouse and petticoat, drying out briefs by the stone belfry and her hair in a photo long ago when, black as a night, a muddy river past the weeds, carrying the leaves, her coffee stained photo blowing down the street. Train by train, all goes slow, mist its the morning of lights, it is the day of the Bull, the fiesta of magic, the castanets never stop, the sound between the ringing of the bells, the long and muted silence of the distant sea, gypsy hands full of rosemary, every sweet, deep blue buckets for eyes, dawn comes, the Brahmanic splendour, sunlit gilt crown capped by clouds, brazen, illuminated, bright be dawn, golden avenues, its top to bottom, green to gold, but the sky and the plaza, blood red like the great bleeding out Bull, and if your quiet enough, you can hear the heart weeping.
Samuel J Dixey (The Blooming Yard)