Famous Entourage Quotes

To find his successor, Yeltsin’s entourage organized a public opinion poll about favorite heroes in popular entertainment. The winner was Max Stierlitz, the hero of a series of Soviet novels that were adapted into a number of films, most famously the television serial Seventeen Moments of Spring in 1973.

A reflection on Robert Lowell Robert Lowell knew I was not one of his devotees. I attended his famous “office hours” salon only a few times. Life Studies was not a book of central importance for me, though I respected it. I admired his writing, but not the way many of my Boston friends did. Among poets in his generation, poems by Elizabeth Bishop, Alan Dugan, and Allen Ginsberg meant more to me than Lowell’s. I think he probably sensed some of that. To his credit, Lowell nevertheless was generous to me (as he was to many other young poets) just the same. In that generosity, and a kind of open, omnivorous curiosity, he was different from my dear teacher at Stanford, Yvor Winters. Like Lowell, Winters attracted followers—but Lowell seemed almost dismayed or a little bewildered by imitators; Winters seemed to want disciples: “Wintersians,” they were called. A few years before I met Lowell, when I was still in California, I read his review of Winters’s Selected Poems. Lowell wrote that, for him, Winters’s poetry passed A. E. Housman’s test: he felt that if he recited it while he was shaving, he would cut himself. One thing Lowell and Winters shared, that I still revere in both of them, was a fiery devotion to the vocal essence of poetry: the work and interplay of sentences and lines, rhythm and pitch. The poetry in the sounds of the poetry, in a reader’s voice: neither page nor stage. Winters criticizing the violence of Lowell’s enjambments, or Lowell admiring a poem in pentameter for its “drill-sergeant quality”: they shared that way of thinking, not matters of opinion but the matter itself, passionately engaged in the art and its vocal—call it “technical”—materials. Lowell loved to talk about poetry and poems. His appetite for that kind of conversation seemed inexhaustible. It tended to be about historical poetry, mixed in with his contemporaries. When he asked you, what was Pope’s best work, it was as though he was talking about a living colleague . . . which in a way he was. He could be amusing about that same sort of thing. He described Julius Caesar’s entourage waiting in the street outside Cicero’s house while Caesar chatted up Cicero about writers. “They talked about poetry,” said Lowell in his peculiar drawl. “Caesar asked Cicero what he thought of Jim Dickey.” His considerable comic gift had to do with a humor of self and incongruity, rather than wit. More surreal than donnish. He had a memorable conversation with my daughter Caroline when she was six years old. A tall, bespectacled man with a fringe of long gray hair came into her living room, with a certain air. “You look like somebody famous,” she said to him, “but I can’t remember who.” “Do I?” “Yes . . . now I remember!— Benjamin Franklin.” “He was a terrible man, just awful.” “Or no, I don’t mean Benjamin Franklin. I mean you look like a Christmas ornament my friend Heather made out of Play-Doh, that looked like Benjamin Franklin.” That left Robert Lowell with nothing to do but repeat himself: “Well, he was a terrible man.” That silly conversation suggests the kind of social static or weirdness the man generated. It also happens to exemplify his peculiar largeness of mind . . . even, in a way, his engagement with the past. When he died, I realized that a large vacuum had appeared at the center of the world I knew.

The Louvre’s much restored three wings or pavilions, the Sully, Denon, and Richelieu, were once the galleries where courtiers enjoyed royal hospitality and entertainments (and The Princesse de Clèves her secret surges of immoral passion). On a quiet un-crowded evening visit to the Louvre, it’s easy to imagine the masked and dancing couples in these pavilions, the rustle of silk, the whisperings of lovers, the royal entourage. The Louvre’s art collection was the result of François I’s enterprising enthusiasm for Italian art. He imported masterpieces by Uccello, Titian, Giorgione, and, most notably, Leonardo da Vinci himself, whose Mona Lisa—La Joconde in French—was and remains the most valued painting in the royal collection. Montaigne does not mention the paintings or the Italian sculptor Benvenuto Cellini whom François also imported to help transform gloomy Paris into a city of bright and saucy opulence.

him. He spent more than three hours in the Uffizi Gallery, staring in wonder at its famous works of art. His entourage tried to keep him moving. Behind him, Mussolini, who had never willingly stepped foot in an art museum in his life,1 muttered in exasperation, “Tutti questi quadri…”—“All these paintings…”2 But Adolf Hitler would not be hurried.

Garlock, you might have thought, had taken the Christian opposition to Rock as far as anyone could: “Bringing racism into his attack, Garlock noted that rock had its roots in the music of Africa, South America, and India, places he said where voodoo, sex orgies, human sacrifices, and devil worship abounded. Garlock linked some rock performers with Satan.”17 Yet, even further excesses of abuse on the theme of Rock-as-Satanic have followed as the years have passed. Possibly the craziest is Jacob Aranza’s claims that “75 percent of the rock and roll today (top 10 stuff!) deals with sex, evil, drugs, and the occult.” And that this is all part of a decades’ long, four step plan, “Satan’s Agenda”, to “pronounce rock stars as messiahs”.18 Jeff Godwin took this even further: “The Lord has also revealed to some Christians that incarnate demons from the netherworld actually are members of some of the most popular bands.”19 Converts are famous for their zeal, and as early as 1957 one celebrated rock’n’roller turned on the music that had propelled him to fame when he found religion. Richard Wayne Penniman, better known as Little Richard, stopped playing rock’n’roll and began to preach against it: “I was in the eighth grade at San Diego Adventist Elementary School, his conversion touched my life. Little Richard arrived at our school with an entourage of about three black limousines and a staff of personal assistants in black suits. He spoke in chapel, then preached Sabbath morning in a local church (probably San Diego 31st Street), then spoke and sang in the afternoon for a standing-room-only Associated MV (AY) meeting at the old San Diego Broadway church.

the Kuiper belt, a region of icy asteroids past the orbit of Neptune, drawing an entourage of rocks in its wake and splashing them across the earth. The Kuiper belt contained over thirty thousand asteroids larger than a hundred kilometers in diameter, along with being the home to many short-period comets like the famous Halley’s comet.