Flowers From 1970 Quotes

Sometimes when you are lonely, you cling to the one person who makes you feel like you have everybody in the world. For George, that was Dream.

Like what? What else have you found in a book?" "Well..." he looked around, like the walls might have ears and reopened the cigar box, faced it towards him so I couldn't see the contents. "Things like this." He showed me a pressed blue flower as big as my fist, it's stamens flattened in all directions like a firework display. A cookie fortune that read simply 'woe betide you'. A neatly clipped page of personal ads dated September 1, 1970 from a paper called the East Village Chronicler. "Funny stuff right?" It was. I liked it. The thought that you could find harmless, interesting things tucked inside books. A reminder that the world contained mysteries.

The secret of life, the garden of blissful hopes The token of reliance, the bliss of all generations The hymn of the soul, striking the strings of the hearts when children sing it, like nightingales The song of life, that makes flower buds open towards life, smiling, full of hope O my Mother, how sweet is (the taste of) mentioning you on my tongue Whenever you are mentioned, I begin to chant, raising you above the skies How often did you wake until dawn the night, so that I may spend the night in comfort How much efforts tired you so that I may be safe and well guided. This is an excerpt from a poem that the great scholar Sheikh Ibrahim al-Yaqoubi wrote for his children in the year 1970, and taught his som Muhammad Abul Huda al-Yaqoubi when he was in 3rd grade, on the occasion of a school celebration for the wefare of the children, held in the vecinity of the Umaya Mosque in Damascus. سر الحياة وروضةُ الآمال رمزُ الوفاء سعادة الأجيال أنشودةٌ للروح رددها على وتر الفؤاد بلابلُ الأطفال نغمُ الحياة به تفتّح زهرُها في الكون مبتسما عن الآمال أمي فما أحلاك لفظا في فمي أشدو بذكرك دائما وأغالي كم قد سهرت لكي أبيت منعما كم قد تعبت لراحتي ودلالي وهي قطعة من قصيدة نظمها العلامة الكبير سنة ١٩٧٠ لأولاده، وألقاها ابنه الشيخ محمد أبو الهدى وكان في الصف الثالث آنذاك في احتفال المدرسة الغراء سعادة الأبناء بجوارالجامع الأموي

Meredith Etherington-Smith Meredith Etherington-Smith became an editor of Paris Vogue in London and GQ magazine in the United States during the 1970s. During the 1980s, she served as deputy and features editor of Harpers & Queen magazine and has since become a leading art critic. Currently, she is editor in chief of Christie’s magazine. She is also a noted artist biographer; her book on Salvador Dali, The Persistence of Memory, was an international bestseller and was translated into a dozen languages. Her drawing room that morning was much like any comfortable, slightly formal drawing room to be found in country houses throughout England: the paintings, hung on pale yellow walls, were better; the furniture, chintz-covered; the flowers, natural garden bouquets. It was charming. And so was she, as she swooped in from a room beyond. I had never seen pictures of her without any makeup, with just-washed hair and dressed in jeans and a white T-shirt. She looked more vital, more beautiful, than any photograph had ever managed to convey. She was, in a word, staggering; here was the most famous woman in the world up close, relaxed, funny, and warm. The tragic Diana, the royal Diana, the wronged Diana: a clever, interesting person who wasn’t afraid to say she didn’t know how an auction sale worked, and would it be possible to work with me on it? “Of course, ma’am,” I said. “It’s your sale, and if you would like, then we’ll work on it together to make the most money we can for your charities.” “So what do we do next?” she asked me. “First, I think you had better choose the clothes for sale.” The next time I saw her drawing room, Paul Burrell, her butler, had wheeled in rack after rack of jeweled, sequined, embroidered, and lacy dresses, almost all of which I recognized from photographs of the Princess at some state event or gala evening. The visible relics of a royal life that had ended. The Princess, in another pair of immaculately pressed jeans and a stripy shirt, looked so different from these formal meringues that it was almost laughable. I think at that point the germ of an idea entered my mind: that sometime, when I had gotten to know her better and she trusted me, I would like to see photographs of the “new” Princess Diana--a modern woman unencumbered by the protocol of royal dress. Eventually, this idea led to putting together the suite of pictures of this sea-change princess with Mario Testino. I didn’t want her to wear jewels; I wanted virtually no makeup and completely natural hair. “But Meredith, I always have people do my hair and makeup,” she explained. “Yes ma’am, but I think it is time for a change--I want Mario to capture your speed, and electricity, the real you and not the Princess.” She laughed and agreed, but she did turn up at the historic shoot laden with her turquoise leather jewel boxes. We never opened them. Hair and makeup took ten minutes, and she came out of the dressing room looking breathtaking. The pictures are famous now; they caused a sensation at the time. My favorite memory of Princess Diana is when I brought the work prints round to Kensington Palace for her to look at. She was so keen to see them that she raced down the stairs and grabbed them. She went silent for a moment or two as she looked at these vivid, radiant images. Then she turned to me and said, “But these are really me. I’ve been set free and these show it. Don’t you think,” she asked me, “that I look a bit like Marilyn Monroe in some of them?” And laughed.

proof that once upon a time, in 1970, George davidson, a man who didn't exist yet, had loved me

take care wrong number

my heart couldnt be in 2020, when it belonged in 1970

you take good care of those flowers George

in the same room, of the same house, fifty years apart, clay and George had loved each other

you said it yourself, flowers from 1970 couldn't last that long