Icon Star Quotes

The Christian icon is not the Stars and Stripes but a cross-flag, and its emblem is not a donkey, an elephant, or an eagle, but a slaughtered lamb.

The more I write stories for young people, and the more young readers I meet, the more I'm struck by how much kids long to see themselves in stories. To see their identities and perspectives—their avatars—on the page. Not as issues to be addressed or as icons for social commentary, but simply as people who get to do cool things in amazing worlds. Yes, all the “issue” books are great and have a place in literature, but it's a different and wildly joyous gift to find yourself on the pages of an entertainment, experiencing the thrills and chills of a world more adventurous than our own. And when you see that as a writer, you quickly realize that you don't want to be the jerk who says to a young reader, “Sorry, kid. You don't get to exist in story; you're too different.” You don't want to be part of our present dystopia that tells kids that if they just stopped being who they are they could have a story written about them, too. That's the role of the bad guy in the dystopian stories, right? Given a choice, I'd rather be the storyteller who says every kid can have a chance to star.

Over spring mountains A star ends the paragraph Of a thunderstorm.

I don’t love you,’ he murmured. ‘I don’t love you, too’ she whispered back.

Stars entertain us. Icons do something much more. They embody us. They tell us something about who we are and who we want to be. They are both a mirror and a shaping force.

Then, unprompted, Henry says into the stretching stillness, “Return of the Jedi.” A beat. “What?” “To answer your question,” Henry says. “Yes, I do like Star Wars, and my favorite is Return of the Jedi.” “Oh,” Alex says. “Wow, you’re wrong.” Henry huffs out the tiniest, most poshly indignant puff of air. It smells minty. Alex resists the urge to throw another elbow. “How can I be wrong about my own favorite? It’s a personal truth.” “It’s a personal truth that is wrong and bad.” “Which do you prefer, then? Please show me the error of my ways.” “Okay, Empire.” Henry sniffs. “So dark, though.” “Yeah, which is what makes it good,” Alex says. “It’s the most thematically complex. It’s got the Han and Leia kiss in it, you meet Yoda, Han is at the top of his game, fucking Lando Calrissian, and the best twist in cinematic history. What does Jedi have? Fuckin’ Ewoks.” “Ewoks are iconic.” “Ewoks are stupid.” “But Endor.” “But Hoth. There’s a reason people always call the best, grittiest installment of a trilogy the Empire of the series.” “And I can appreciate that. But isn’t there something to be valued in a happy ending as well?” “Spoken like a true Prince Charming.” “I’m only saying, I like the resolution of Jedi. It ties everything up nicely. And the overall theme you’re intended to take away from the films is hope and love and … er, you know, all that. Which is what Jedi leaves you with a sense of most of all.

Occasionally, he left the compound. I’d figured he must be out hunting, at least some of the time, but he hadn’t returned with a new icon, and I’d heard nothing on Arcana Radio. Plus, Lark’s laminated player list—the little twit actually did keep it on the fridge door—had had no updates since the Star. Well, other than her scratching my title out and scribbling in “The Unclean One.” Har.

think i'll miss you forever, like the stars miss the sun in the morning sky

A recluse. A pale-skinned pop culture–obsessed geek. An agoraphobic shut-in, with no real friends, family, or genuine human contact. I was just another sad, lost, lonely soul, wasting his life on a glorified videogame. But not in the OASIS. In there, I was the great Parzival. World-famous gunter and international celebrity. People asked for my autograph. I had a fan club. Several, actually. I was recognized everywhere I went (but only when I wanted to be). I was paid to endorse products. People admired and looked up to me. I got invited to the most exclusive parties. I went to all the hippest clubs and never had to wait in line. I was a pop-culture icon, a VR rock star. And, in gunter circles, I was a legend. Nay, a god.

But perhaps there was beauty in not knowing. Maybe that was its own form of love, the faith of coming together even when you couldn’t see the path in front of you, when you had no idea whether joy or heartbreak would await you further down the road of life, when you had nothing but a guiding light in the distance to yearn for.

Have you ever missed a person even while they're still next to you? Like you're waiting for their absence someday, so you try desperately to hang on to the moment, so much that you can barely exist in the present with them?

They can see the character, standing before them. The voice became iconic in its own right. Parents often ask me to do it for their children, who don't quite believe them. After all, any old man can claim to be the guy inside the gold suit and kids are rightly skeptical. 'Hello, I am See-Threepio, human-cyborg relations.' Then I see the magic. I watch as the sound enters their ears, it reaches their brain, it gets processed in moments. And suddenly. Smiles of recognition - and love.

A little like the sun and the moon, aren't we? Never in the sky at the same time. But sometimes the sun and the moon were visible together. Sometimes they were.

Let me stay." "Keep me in your songs.

Grief is love. It's the price we pay for the gift of someone meaningful in our lives.

You saw this as a travesty because, by marrying Mara, I was taking an important icon from you. But this is about starting a new life, not ending an old one.

If you look at the sky or don't, no matter, A star shall remain a star!

Some infinities are bigger than other infinities

Sometimes you didn't have to let people back into your life, to absorb all the cruelty in the world. Sometimes you didn't have to open your heart. Sometimes it was okay to just let them go.

Only three of the naturally occurring elements were manufactured in the big bang. The rest were forged in the high-temperature hearts and explosive remains of dying stars, enabling subsequent generations of star systems to incorporate this enrichment, forming planets and, in our case, people. For many, the Periodic Table of Chemical Elements is a forgotten oddity—a chart of boxes filled with mysterious, cryptic letters last encountered on the wall of high school chemistry class. As the organizing principle for the chemical behavior of all known and yet-to-be-discovered elements in the universe, the table instead ought to be a cultural icon, a testimony to the enterprise of science as an international human adventure conducted in laboratories, particle accelerators, and on the frontier of the cosmos itself.

I don’t think it’s nice of you laughing.” − Hollywood icon Clint Eastwood, A Fistful of Dollars “I’m glad you’re laughing, because now all kinds of holocaustic things will be happening up in here.” – Cowboy Rabbi

As it turns out, queer villains become far more interesting among other gay characters, both within a specific project or universe and the zeitgeist at large. They become one star in a larger constellation; they are put in context. And that’s pretty exciting, even liberating; by expanding representation, we give space to queers to be—as characters, as real people—human beings. They don’t have to be metaphors for wickedness and depravity or icons of conformity and docility.11 They can be what they are.

Have you outgrown your systems or beliefs? Is it time that you upgraded? Or, on a personal level, as Jerry Colonna, executive coach to some of the biggest tech stars in Silicon Valley, would ask: “How are you complicit in creating the conditions you say you don’t want?

During my first few months of Facebooking, I discovered that my page had fostered a collective nostalgia for specific cultural icons. These started, unsurprisingly, within the realm of science fiction and fantasy. They commonly included a pointy-eared Vulcan from a certain groundbreaking 1960s television show. Just as often, though, I found myself sharing images of a diminutive, ancient, green and disarmingly wise Jedi Master who speaks in flip-side down English. Or, if feeling more sinister, I’d post pictures of his black-cloaked, dark-sided, heavy-breathing nemesis. As an aside, I initially received from Star Trek fans considerable “push-back,” or at least many raised Spock brows, when I began sharing images of Yoda and Darth Vader. To the purists, this bordered on sacrilege.. But as I like to remind fans, I was the only actor to work within both franchises, having also voiced the part of Lok Durd from the animated show Star Wars: The Clone Wars. It was the virality of these early posts, shared by thousands of fans without any prodding from me, that got me thinking. Why do we love Spock, Yoda and Darth Vader so much? And what is it about characters like these that causes fans to click “like” and “share” so readily? One thing was clear: Cultural icons help people define who they are today because they shaped who they were as children. We all “like” Yoda because we all loved The Empire Strikes Back, probably watched it many times, and can recite our favorite lines. Indeed, we all can quote Yoda, and we all have tried out our best impression of him. When someone posts a meme of Yoda, many immediately share it, not just because they think it is funny (though it usually is — it’s hard to go wrong with the Master), but because it says something about the sharer. It’s shorthand for saying, “This little guy made a huge impact on me, not sure what it is, but for certain a huge impact. Did it make one on you, too? I’m clicking ‘share’ to affirm something you may not know about me. I ‘like’ Yoda.” And isn’t that what sharing on Facebook is all about? It’s not simply that the sharer wants you to snortle or “LOL” as it were. That’s part of it, but not the core. At its core is a statement about one’s belief system, one that includes the wisdom of Yoda. Other eminently shareable icons included beloved Tolkien characters, particularly Gandalf (as played by the inimitable Sir Ian McKellan). Gandalf, like Yoda, is somehow always above reproach and unfailingly epic. Like Yoda, Gandalf has his darker counterpart. Gollum is a fan favorite because he is a fallen figure who could reform with the right guidance. It doesn’t hurt that his every meme is invariably read in his distinctive, blood-curdling rasp. Then there’s also Batman, who seems to have survived both Adam West and Christian Bale, but whose questionable relationship to the Boy Wonder left plenty of room for hilarious homoerotic undertones. But seriously, there is something about the brooding, misunderstood and “chaotic-good” nature of this superhero that touches all of our hearts.

Let’s talk about ‘Coexist’ bumper stickers for a second. You’ve definitely seen them around. They’re those blue strips with white lettering that assemble a collection of religious icons and mystical symbols (e.g., an Islamic crescent, a Star of David, a Christian cross, a peace sign, a yin-yang) to spell out a simple message of inclusion and tolerance. Perhaps you instinctively roll your eyes at these advertisements of moral correctness. Perhaps you find the sentiment worthwhile, but you’re not a wear-your-politics-on-your-fender type of person. Or perhaps you actually have ‘Coexist’ bumper stickers affixed to both your Prius and your Beamer. Whatever floats your boat, man; far be it from us to cast stones. But we bring up these particular morality minibillboards to illustrate a bothersome dichotomy. If we were to draw a Venn diagram of (a) the people who flaunt their socially responsible “coexist” values for fellow motorists, and (b) the people who believe that, say, an evangelical Christian who owns a local flower shop ought to be sued and shamed for politely declining to provide floral arrangements for a same-sex wedding, the resulting circles would more or less overlap. The coexist message: You people (i.e., conservatives) need to get on board and start coexisting with groups that might make you uncomfortable. It says so right here on my highly enlightened bumper sticker. But don’t you dare ask me to tolerate the ‘intolerance’ of people with whom I disagree. Because that’s different.

To boldly go where no man has gone before” says the iconic Captain’s Oath in the Star Trek series. Humanity seeks to live adventures, either by conquering mountains or the seas, or by watching war movies, space adventures, fantasies and thrillers. But often the greatest adventure of them all is to negotiate through a lifetime.

In Jack Kerouac’s iconic novel On the Road, the narrator Sal Paradise plays chronicler to the antics of the star of the story, Dean Moriarty, who is really the exemplar, the hero, the model. So just call me Sal. I’ve been on a ride with Augustine. Here’s what I’ve seen; here’s what he’s shown me (about myself); here’s why you might consider coming along.

I don't understand how you can live with an open heart. Everyone hurts you. Why don't you protect yourself better? Put up walls? "What if the thing your heart needs most is right on the side of that wall? I know it's dangerous to expose yourself to everything the world wants to throw at it, to everyone who wants to take something for themselves. But I still leave it open, just in case something beautiful comes in.

You'd be hard-pressed to find a human who can't hum the opening lines of Darth Vader's theme, "The Imperial March," or describe one of the iconic scenes it underscores in Star Wars: The Empire Strikes Back. It would be far more difficult to find someone who knows that John Williams's longtime collaborator on that film and many others was Angela Morley, a transgender woman who is responsible for some of the most memorable scores in film and television.

when Shin needed special-effects scale models to achieve a shot of an exploding train for the climax of Runaway, he asked, tongue-in-cheek, whether Kim wouldn’t just give him instead a real train to blow up. To his surprise, an actual, functioning train was delivered to the set, loaded to the brim with explosives. Shin had only one take to get it right, but that was a lovely problem to have. Runaway’s final train explosion became one of North Korean cinema’s iconic images.

What are the Hanged Man’s powers?” I tried to remember more about that player. “I don’t know,” Aric admitted. “I’ve never faced him, nor seen him mentioned in any chronicles I’ve read. The Star had his icon in the last game. But did the Arcane Navigator take it himself, or harvest it from another?” Aric rotated his shot glass on his desk blotter. “The Hanged Man remains a mystery. That is why he’s called uncanny. In this game, all have been accounted for, but for him.” “Then he’s the inactivated card?” One Arcana was dormant—until he or she killed another player. “Matthew told me to beware of that player but wouldn’t reveal an identity.

Here there was a cheerful boy At least he created tales and lived in joy. Nursery rhymes his grandmother told, Songs and tales emerged gladly in gold. Caring heart, affection spoke loud as brighter, He made the decision: he would be a writer! Rising laughters, crying tears, many feelings, Inserted everything and nothing was in vain. So he transformed the ugly into beautiful, Tales to amuse and make everyone sane, In there he went, without daydreams or zeal. As such it was born the icon of literature still. No one denied he was exceedingly bountiful. A ballerina loves the soldier in his world, Nothing gets involved in his fairy tales, Dancing from a poor weak boy to a king, Eccentric prince of charm in winged corners! Rare star of sweet tenderness, Sensible and masterful in tenderness, Emchanted kingdom of dreams and candor, Now a divine fire of a soul he shines. Havia um menino alegre porem so Ao menos criava contos e deles vivia Nas historias que contava sua avo, Seus contos surgiam pois ele os via. Carinho nao faltava em seu coracao ator, Havia tomado a decisao: seria escritor! Risos, lagrimas, sentimentos saos, Inseria tudo e nada era em vao. Transformava ate o feio em belo, Inadvertia e divertia com seu elo, Adiante ia, sem devaneios e zelo. Nascia assim o icone da literatura. A bailarina ama o soldado em seu mundo, Nada se interpunha em seus contos de fadas, De pobre menino fraco e cogitabundo, Era principe de encantos em cantos alados! Rara estrela de doce brandura, Sensata e magistral em ternura, Em seu reino de sonhos e candura, No fogo divino de sua alma fulgura.

As it turns out, queer villains become far more interesting among other gay characters, both within a specific project or universe and the zeitgeist at large. They become one star in a larger constellation; they are put in context. And that’s pretty exciting, even liberating; by expanding representation, we give space to queers to be—as characters, as real people—human beings. They don’t have to be metaphors for wickedness and depravity or icons of conformity and docility.11 They can be what they are. We deserve to have our wrongdoing represented as much as our heroism, because when we refuse wrongdoing as a possibility for a group of people, we refuse their humanity. That is to say, queers—real-life ones—do not deserve representation, protection, and rights because they are morally pure or upright as a people.12 They deserve those things because they are human beings, and that is enough.

Your charming charm is a super sexy mega power that is simply impossible to overcome. Sweetest gourmet, I adore your gorgeous body, when I see you, only one word sounds in my head: yum, I will give myself completely to you. I will always love only you unconsciously, unconsciously, your gently erotic image sat in the depths of my mind completely. From your amazingly contagious beauty, your mouth opens and speechless is lost. Dizzyingly, stunningly beautiful, you are like a giant tornado, from which everything attracts you. And the heart and soul yearn all the time only for you. It doesn't matter if you love me or not, the main thing is that I still love you, and in my subconscious mind, I will only love you forever. Your luxurious appearance of the highest quality, this is a workshop, the filigree work of Mother Nature, this is just a masterpiece that constitutes a unique example of true beauty, you have no equal, you are a girl of high caliber. You are absolutely beautiful to such an extent, so beautiful, so exotic, erotic, and your image sounds poetic like very beautiful music of love, that I’m just afraid and shy to come to you, I’m afraid to talk to you, as if standing next to a goddess, or with a super mega star, a world scale model that even aliens probably know. My heart beats more often, I can’t talk normally, from excitement, goosebumps all over my body, and it just shakes. All these are symptoms of true love for you, well, simply: oh), wow). To be your boyfriend and husband is the greatest honor in the world, he knelt before you with flowers in his hands. Your appearance is perfect just like Barbie. You are so beautiful that only you want to have sex forever, countless, infinite number of times. You are unattainable, you are like a star whose light of the soul, like a searchlight, illuminates me in the deep darkness of solitude. In love with you thorough. You are simply amazingly beautiful. You are the best of the best. Goddess of all goddesses, empress of all empresses, queen of all queens. More beautiful you just can not imagine a girl. Sexier than you just can not be anything. Beautiful soul just is not found. There was nothing more perfect than you and never will be, simply because I think so. Laponka, I'm your faithful fan, you are my only idol, idol, icon of beauty. It doesn't matter who you are, I will accept you any. Because in any case I am eager to be only with you. You have a sexy smile, and your sensual look is just awesome. And from your voice and look a pleasant shiver all over your body. You are special, the best that is in all worlds, universes and dimensions. You're just a sight for sore eyes. To you I feel the most powerful, love and sexual inclination. You're cooler than any Viagra and afrodosiak. From your beauty just cling to the constraints and embarrassment.

When Surkov finds out about the Night Wolves he is delighted. The country needs new patriotic stars, the great Kremlin reality show is open for auditions, and the Night Wolves are just the type that’s needed, helping the Kremlin rewrite the narrative of protesters from political injustice and corruption to one of Holy Russia versus Foreign Devils, deflecting the conversation from the economic slide and how the rate of bribes that bureaucrats demand has shot up from 15 percent to 50 percent of any deal. They will receive Kremlin support for their annual bike show and rock concert in Crimea, the one-time jewel in the Tsarist Empire that ended up as part of Ukraine during Soviet times, and where the Night Wolves use their massive shows to call for retaking the peninsula from Ukraine and restoring the lands of Greater Russia; posing with the President in photo ops in which he wears Ray-Bans and leathers and rides a three-wheel Harley (he can’t quite handle a two-wheeler); playing mega-concerts to 250,000 cheering fans celebrating the victory at Stalingrad in World War II and the eternal Holy War Russia is destined to fight against the West, with Cirque du Soleil–like trapeze acts, Spielberg-scale battle reenactments, religious icons, and holy ecstasies—in the middle of which come speeches from Stalin, read aloud to the 250,000 and announcing the holiness of the Soviet warrior—after which come more dancing girls and then the Night Wolves’ anthem, “Slavic Skies”: We are being attacked by the yoke of the infidels: But the sky of the Slavs boils in our veins . . . Russian speech rings like chain-mail in the ears of the foreigners, And the white host rises from the coppice to the stars.

Marilyn Monroe (born Norma Jeane Mortenson; June 1, 1926 – August 5, 1962) was an American actress, model, and singer, who became a major sex symbol, starring in a number of commercially successful motion pictures during the 1950s and early 1960s. After spending much of her childhood in foster homes, Monroe began a career as a model, which led to a film contract in 1946 with Twentieth Century-Fox. Her early film appearances were minor, but her performances in The Asphalt Jungle and All About Eve (both 1950), drew attention. By 1952 she had her first leading role in Don't Bother to Knock and 1953 brought a lead in Niagara, a melodramatic film noir that dwelt on her seductiveness. Her "dumb blonde" persona was used to comic effect in subsequent films such as Gentlemen Prefer Blondes (1953), How to Marry a Millionaire (1953) and The Seven Year Itch (1955). Limited by typecasting, Monroe studied at the Actors Studio to broaden her range. Her dramatic performance in Bus Stop (1956) was hailed by critics and garnered a Golden Globe nomination. Her production company, Marilyn Monroe Productions, released The Prince and the Showgirl (1957), for which she received a BAFTA Award nomination and won a David di Donatello award. She received a Golden Globe Award for her performance in Some Like It Hot (1959). Monroe's last completed film was The Misfits, co-starring Clark Gable with screenplay by her then-husband, Arthur Miller. Marilyn was a passionate reader, owning four hundred books at the time of her death, and was often photographed with a book. The final years of Monroe's life were marked by illness, personal problems, and a reputation for unreliability and being difficult to work with. The circumstances of her death, from an overdose of barbiturates, have been the subject of conjecture. Though officially classified as a "probable suicide", the possibility of an accidental overdose, as well as of homicide, have not been ruled out. In 1999, Monroe was ranked as the sixth greatest female star of all time by the American Film Institute. In the decades following her death, she has often been cited as both a pop and a cultural icon as well as the quintessential American sex symbol. 수면제,액상수면제,낙태약,여성최음제,ghb물뽕,여성흥분제,남성발기부전치유제,비아,시알,88정,드래곤,바오메이,정력제,남성성기확대제,카마그라젤,비닉스,센돔,,꽃물,남성조루제,네노마정,러쉬파퍼,엑스터시,신의눈물,lsd,아이스,캔디,대마초,떨,마리화나,프로포폴,에토미데이트,해피벌륜 등많은제품판매하고있습니다 원하시는제품있으시면 추천상으로 더좋은제품으로 모시겠습니다 qwe114.c33.kr 카톡【ACD5】텔레【KKD55】 I believe that everything happens for a reason. People change so that you can learn to let go, things go wrong so that you appreciate them when they're right, you believe lies so you eventually learn to trust no one but yourself, and sometimes good things fall apart so better things can fall together

You look like a startled deer emerging from a wood and seeing its first ever human being,” he said. Those were his first words to her.

All of my best friends are imaginary, but at least the cadre of dogs that once existed in my life were real. If I had a choice between super-hero, anti-hero or villain, anti-hero would win out. Somewhere in between solves the detrimental problems that those in power refuse to deal with because of financial gain. A manifesto is nothing more than a more assertive pamphlet. The mythology of comic books was extremely creative and brilliant in concept. The imaginary world offers the psychological escape that is sometimes paramount from the real world. It creates a balance that is sometimes necessary to equalize the mind. It's like an uncomplicated form of math when you don't understand math, and explains that two plus two is four in another way. Star Trek, Star Wars, and Harry Potter were very creative concepts, whole new worlds now exist for people to inhabit. Such things create jobs, revenue, and things for people to occupy themselves with. Dystopia offers great warnings about existence, alerts and informs the populace. Take vampires and werewolves, iconic in creation, still existing after a century. There's a romance angle, and something that also allows kids to enjoy Halloween by playing dress up. Here's my point: I'm a regular person that exist in a world that needs to be fixed, explored and expanded. I'm a cog in the machine, and I don't want to be in the machine. That's what a base job is, and that job usually defines the person. Writing defines me, nothing else.

In the course of our conversation, I expressed my theory that there’s a natural evolution to how male audiences respond to the Star Wars franchise: When you’re very young, the character you love most is Luke Skywalker (who’s entirely good). As you grow older, you gravitate toward Han Solo (who’s ultimately good, but superficially bad). But by the time you reach adulthood, and when you hit the point in your life where Star Wars starts to seem like what it actually is (a better-than-average space opera containing one iconic idea), you inevitably find yourself relating to Darth Vader. As an adult, Vader is easily the most intriguing character, and seemingly the only essential one.

As nearly every story that follows illustrates, a failure to gear up, or to properly use gear—or failure of the gear itself—plays a starring role in fatal accidents on Rainier.

ITP claims that evolution shaped our senses to be a user interface, tailored to the needs of our species. Our interface hides objective reality and guides adaptive behavior in our niche. Spacetime is our desktop, and physical objects, such as spoons and stars, are icons of the interface of Homo sapiens.

The Star workstation he shepherded to launch was an amazing accomplishment. Enclosed in a squat beige-colored box which, like its ancestral Alto, slid on casters under a desk, the machine came packed with features no one had ever seen before and few envisioned in a commercial office machine. These included a bitmapped screen (in “muted blue,” as Xerox promotional literature described it at the time), a mouse (“an electronic pointing device”), windowed displays, and “What You See Is What You Get” document preparation. The bundled functions included text processing, a drawing program, the first integrated “help” program, and electronic mail. By far the system’s most striking feature was its graphical user interface, the stylized display that communicated with the user via the bitmapped screen. This arrangement of icons and folders built around what the Star designers called the “desktop metaphor” is so familiar today that it seems to have been a part of computing forever. But its pioneering implementation on the Star included some capabilities that had yet to resurface on the market nearly two decades later. Text, formulas, and graphics could all be edited in the same document. (Compare today’s “integrated” software, in

which a drawing imported into a text document can no longer be altered, but must be changed in the original graphics program and reintroduced into the text document.) Out of the box the Star was multilingual, offering typefaces and keyboard configurations that could be implemented in the blink of an eye for writing in Russian, French, Spanish, and Swedish through the use of “virtual keyboards”—graphic representations of keyboards that appeared on screen to show the user where to find the unique characters in whatever language he or she was using. In 1982 an internal library of 6,000 Japanese kanji characters was added; eventually Star users were able to draft documents in almost every modern language, from Arabic and Bengali to Amharic and Cambodian. As the term implied, the user’s view of the screen resembled the surface of a desk. Thumbnail-sized icons representing documents were lined up on one side of the screen and those representing peripheral devices—printers, file servers, e-mail boxes—on the other. The display image could be infinitely personalized to be tidy or cluttered, obsessively organized or hopelessly confused, alphabetized or random, as dictated by the user’s personality and taste. The icons themselves had been painstakingly drafted and redrafted so they would be instantaneously recognized by the user as document pages (with a distinctive dog-eared upper right corner), file folders, in and out baskets, a clock, and a wastebasket. Thanks to the system’s object-oriented software, the Star’s user could launch any application simply by clicking on the pertinent icon; the machine automatically “knew” that a text document required it to launch a text editor or a drawing to launch a graphics program. No system has ever equaled the consistency of the Star’s set of generic commands, in which “move,” “copy,” and “delete” performed similar operations across the entire spectrum of software applications. The Star was the epitome of PARC’s user-friendly machine. No secretary had to learn about programming or code to use the machine, any more than she had to understand the servomechanism driving the dancing golf ball to type on an IBM Selectric typewriter. Changing a font, or a margin, or the space between typed lines in most cases required a keystroke or two or a couple of intuitive mouse clicks. The user understood what was happening entirely from watching the icons or documents move or change on the screen. This was no accident: “When everything in a computer system is visible on the screen,” wrote David Smith, a designer of the Star interface, “the display becomes reality. Objects and actions can be understood purely in terms of their effects on the display.

IBM launched its Chess machine, renamed simply the Personal Computer, in August 1981, a scant four months after the Star. Judged against the technology PARC had brought forth, it was a homely and feeble creature. Rather than bitmapped graphics and variable typefaces, its screen displayed only ASCII characters, glowing a hideous monochromatic green against a black background. Instead of a mouse, the PC had four arrow keys on the keyboard that laboriously moved the cursor, character by character and line by line. No icons, no desktop metaphor, no multitasking windows, no e-mail, no Ethernet. Forswearing the Star’s intuitive point-and-click operability, IBM forced its customers to master an abstruse lexicon of typed commands and cryptic responses developed by Microsoft, its software partner. Where the Star was a masterpiece of integrated reliability, the PC had a perverse tendency to crash at random (a character flaw it bequeathed to many subsequent generations of Microsoft Windows-driven machines). But where the Star sold for $16,595-plus, the IBM PC sold for less than $5,000, all-inclusive. Where the Star’s operating system was closed, accessible for enhancement only to those to whom Xerox granted a coded key, the PC’s circuitry and microcode were wide open to anyone willing to hack a program for it—just like the Alto’s. And it sold in the millions.

From college professors and authors and judges and ministers! Everybody! Dirt farmers and international names!...I don't know what she does to them all - but she does something. She's not a movie star to them - she's a goddess.

Morgan’s latest project is a tech startup called Clect (clect.com), which is a community and one-stop marketplace where people can browse, sell, and buy collectibles of any type imaginable (Star Wars, Smurfs, comics, a Millennium Falcon made from motorcycle parts, etc.).

Fifty Shades of Chicken That’s the title of Shaun’s “most-gifted” book. Totally serious. I assumed it would be a complete joke, but it has nearly 700 reviews on Amazon and a 4.8-star average.

Confronted with a seemingly unmanageable emotional universe, some people embraced a new Protestant work ethic, convinced that a successful life would be measured by how much money one made and the goods one could buy with this money. The good life was no longer to be found in community and connection, it was to be found in accumulation and the fulfillment of hedonistic, materialistic desire. In keeping with this shift in values from a people-oriented to a thing-oriented society, the rich and famous, particularly movie stars and singers, began to be seen as the only relevant cultural icons.

Because she had not only observed him up close at trial on a daily basis but interviewed him twice providing great insight into Oswald’s killer. In addition, Kilgallen could check not only his background but investigate discrepancies in statements he made to the Warren Commission since she was the first reporter to read them, and since Ruby was still alive, the potential existed to interview him again. This strategy was unique, far afield from that conducted by any reporter or investigative body consumed with targeting Oswald as the key to unlocking the mysteries of the JFK assassination when Kilgallen believed he was not. In addition, after interviewing Ruby twice, Kilgallen had gained a soft spot for his plight, some sympathy for the man who shot Oswald. Whatever she heard during the twin interviews caused her to wonder if Ruby was a patsy, used and then discarded. Recall what she wrote after the second interview: “I went out into the almost empty lunchroom corridor wondering what I really believed about this man.” Kilgallen’s actions while pursuing the investigation indicated she had taken on the task of defending Ruby herself. She was standing up for him, demanding justice, becoming his paladin. She wondered if he had fair treatment, if his constitutional rights to a fair trial were honored. Armed with this mindset, Kilgallen was in fighting mode determined to leave no avenue of interest unturned. Kilgallen’s siding with Ruby’s defense team at his trial evidenced proof of Kilgallen’s focus on Ruby. She also attempted to aid the defense by securing more information from the FBI about Oswald. Then Kilgallen exposed only Ruby’s testimony at the Warren Commission before its intended release instead of the thousands of pages of pertinent information about others associated with the assassinations. It also appears likely she flew to New Orleans based

Something about the church being like Star Wars? I was trying to remember it today when I was talking to Father McKenzie, but I clean forgot.’ Buchan downed his drink, then placed the glass firmly on the table. There was nothing for him here, nothing good to come from sitting any longer. ‘They both look great,’ said Buchan. ‘The CGI on Star Wars, the colour palettes, the scope and the scale of the worlds they create, is extraordinary. Just like the Church looks great. So many wonderful buildings, so much jaw-dropping architecture and art. And the music too. Star Wars music, it’s epic. Some of the best, most iconic film music there is. And there’s tonnes, I mean, tonnes of great religious music, from, I don’t know, God Rest Ye Merry Gentlemen to Arvo Pärt’s Deer’s Cry, and Bach’s Christmas Oratorio. Everything in between. But then we get to the message, the dialogue, the script, the story... And they’re both shit.

So I went down to register at De Anza and saw that the classes for chemistry, physics, and calculus were all full. What? I couldn’t believe it. Here I was—the star science and math student at my high school and all set to be an engineer—and the three most important courses I needed were locked out. It was horrible. I called the chemistry teacher on the phone, who said if I showed up I could probably get in, but I couldn’t shake this terrible feeling that my future was shutting down. I could see it shutting down right in front of me. I felt my whole academic life was going to be messed up right from the start. And it was right then that I changed my mind, and decided to see if it was still possible to go to Colorado.

What if protecting yourself kills you in the end?' he said. 'What if the thing your heart needs most is right on the other side of that wall? I know it's dangerous to expose yourself to everything the world wants to throw at it, to everyone who wants to take something for themselves. But I still leave it open, just in case something beautiful comes in.

Loyalty to a secret.

Still, he let himself feel her absence. He let himself feel the absence of his brother. And he let himself feel that familiar suffocation, the feeling of wanting to talk to someone, to let out some of the emotions bottling up in his chest.

I didn't know about you. I just knew that about me. And I guess I felt like knowing you made me face those thoughts. You are my meditation, you know?

I told myself it was my fault. My fault, for opening my heart like that. And so after then, I closed it tight. It made me stronger, you know?" "I know." "Close your heart, and no one can tell you you're worthless.

Then maybe, instead of needing to see her, you need to figure out why it is that she matters to you. Maybe you need to see what it is that she brings out of you, to make you so whole.

Here's a promise I can give to you. I promise that, when you need me, you can always find me. If you find yourself feeling alone, I promise I'll come to you. And someday, in some future, when I'm no longer wanted on a stage, and when you no longer want to be a secret agent...let's say that, if you aren't trying to find someone else. I promise I'm yours." "It's a promise

Maybe love was not knowing and going ahead anyway.

Named must your fear be before banish it you can.” —Yoda, from Star Wars: The Empire Strikes Back

So, I need to reacquaint myself with this sort of celebrity person I seem to be. Someone who was in an iconic, blockbuster film called Star Wars.

During this period, I served many celebrities, including Jennifer Aniston, Vince Vaughn, Gary Oldman, Leonardo DiCaprio, Juliette Lewis, Rob Lowe, Colin Farrell, Tom Selleck, David Spade, Thomas Haden Church, Sharon Osbourne, Brad Pitt, John Malkovich, Tara Reid, Toby Maguire and Diane Keaton. You know all of them, so no explanation needed. The hardest thing about serving such famous Hollywood icons, at least for the first time, is trying not to stare at them. It’s so otherworldly to see someone like Selleck, who’s not just huge -he’s bigger than life- and who you´ve watched on big screen and small for years… they are, invariably, taller or shorter than you’d imagined. And the women are either spectacularly beautiful or very ordinary without screen makeup. But you can’t stare. It’s verbatim by ownership. Brad Pitt was cool and very humble. He had a few Pyramid beers with a producer friend, and then took off on his motorcycle down Sunset Boulevard, heading West towards the Palisades. Am I saying that he was driving drunk? No. He was there for two hours and had two beers, so he wasn’t breaking the law. At least not with my assistance. He had been there many times before, I just hadn’t been the one serving him. I remember when he came in during his filming of Troy. He had long hair and a cast on his leg. Ironically, he had torn his Achilles’ tendon while playing Achilles in the epic film.

As I write this, I’m sitting in a café in Paris overlooking the Luxembourg Garden, just off of Rue Saint-Jacques. Rue Saint-Jacques is likely the oldest road in Paris, and it has a rich literary history. Victor Hugo lived a few blocks from where I’m sitting. Gertrude Stein drank coffee and F. Scott Fitzgerald socialized within a stone’s throw. Hemingway wandered up and down the sidewalks, his books percolating in his mind, wine no doubt percolating in his blood. I came to France to take a break from everything. No social media, no email, no social commitments, no set plans . . . except one project. The month had been set aside to review all of the lessons I’d learned from nearly 200 world-class performers I’d interviewed on The Tim Ferriss Show, which recently passed 100,000,000 downloads. The guests included chess prodigies, movie stars, four-star generals, pro athletes, and hedge fund managers. It was a motley crew. More than a handful of them had since become collaborators in business and creative projects, spanning from investments to indie film. As a result, I’d absorbed a lot of their wisdom outside of our recordings, whether over workouts, wine-infused jam sessions, text message exchanges, dinners, or late-night phone calls. In every case, I’d gotten to know them well beyond the superficial headlines in the media. My life had already improved in every area as a result of the lessons I could remember. But that was the tip of the iceberg. The majority of the gems were still lodged in thousands of pages of transcripts and hand-scribbled notes. More than anything, I longed for the chance to distill everything into a playbook. So, I’d set aside an entire month for review (and, if I’m being honest, pain au chocolat), to put together the ultimate CliffsNotes for myself. It would be the notebook to end all notebooks. Something that could help me in minutes but be read for a lifetime.

In 1717, the iconic silver star was embedded on a white marble floor in the Cave of the Nativity upon the spot where Jesus was said to have been born.[125] This was inscribed with the text “Here Jesus Christ was born of the Virgin Mary.”[126] In 1847 this star was stolen – an event that is said to have been a contributing factor in the beginning of the Crimean War (1854–1856).

There is no room for rosy eyed acceptance of the cultural decay around us. Highly suspect will be any Christian literary and cultural critic who makes too much room for Lady Gaga, Harry Potter, Hester Prynne, Huckleberry Finn, James Bond, Katniss Everdeen, Joe Brooks, Leroy Van Dyke, and Star Trek: Into Darkness. Those who enthusiastically embrace these cultural icons appear to be happy with the macro-cultural trends of the Christian apostate world. That being the case, what does this say about their faith, their worldview, and their own cultural trajectories? Could it be that they have embraced the tattooed Jesus---the false Christs of culture? Indeed, many have been wooed by a false prophet, a false priest, a false redeemer, and a false king. They have been rescued from the wrong sins and have taken on the wrong view of reality, truth, and. ethics. They have embraced the wrong religion, and they have joined the apostasy.

Vischer had the same kind of experiences, likewise anticipating Rorschach’s. “When I observe a stationary object,” Vischer wrote, “I can without difficulty place myself within its inner structure, at its center of gravity. I can think my way into it,” feel “compressed and modest” when I see a star or flower, and “experience a feeling of mental grandeur and breadth” from a building, water, or air. “We can often observe in ourselves the curious fact that a visual stimulus is experienced not so much with our eyes as with a different sense in another part of our body.

I was greenly jealous of my peers’ moms with their bleach-blonde hair, tanning-bed arms, toothpick waists, and closets full of brand-new clothes: blouses and skirts and pants and designer jeans that some of the mothers let their daughters borrow. I didn’t know whether Mom’s lack of interest in all things fashionable came from being an immigrant from Scotland—where the media-saturated and commodity-rich beauty industry didn’t take over until the end of the twentieth century—or because she was a reader, a writer, and a teacher: mind over matter. All I knew was that, while she would buy me any book I asked for or take me to any play I might want to see, she couldn’t explain how to contour eye shadow or tell me whether my sweater complemented my complexion. She didn’t diet, she didn’t read women’s magazines, and she refused to buy me the enormous gold earrings or the pair of spiky red shoes I coveted, stilettos sharp enough to skewer fi sh. And even though her disinterest meant I didn’t have to participate in a daily beauty competition—one with a trophy mom sacrifi cing her body on the altar of loveliness—I also didn’t have a beauty mentor that I could trust. So I was left to try to copy the popular girls at school, tv and movie icons, or the breathtaking stars in magazines. Even the curling iron was a purchase I had to negotiate on my own.

button (for example, if you’re reading a book or viewing a web page), simply tap your finger in the middle of the screen and a bar will pop up on the bottom of the screen that has the Home button on it.   To access your Favorites, tap the star in the bottom right of any page (we’ll go into detail about the Favorites a little later). Here’s what the Favorites icon looks like:     The Status Bar

Kalinske wanted Sonic to become an instantly recognizable cultural icon who could define the decade and eventually grow into a multibillion-dollar intellectual property that would continue to pump money into Sega for decades even after he’d left the company. This was why Sega of America had been so protective of Sonic. They didn’t want him to join that long list of videogame characters whose innovative gameplay had made them celebrities but whose lack of dimension had caused them to fade away. They had to make sure that Sonic would find a better fate than one-hit wonders like Dig-Dug, Frogger, or even Mr. & Mrs. Pac-Man, all of which had aged with the ungraceful gawkiness of a former child star.

Stars entertain us. Icons do something much more. They embody us. They tell us something about who we are and who we want to be. They are both a mirror and a shaping force. Zeitgeist is German for the spirit of the times, the general cultural, intellectual, and political climate within a nation, or a specific group, in a particular period. You could call it the collective consciousness of a given people at a certain time. Icons can see and feel the Zeitgeist of their generation more clearly than the rest of us. They have the antennae, the sensitivity, and the intellect to become a thermometer of their era, and they have the talent to reflect the Zeitgeist through their art. For generation X, one of those icons was Prince.

By far the most well known–and star of the Macy’s parade–is the original Pikachu. Created to resemble a cute mouse, Pikachu has been at the center of the Pokemon story since it first began. As the first Pokemon character introduced, and the story’s hero’s–Ash-  personal pet, Pikachu is recognized world wide as an iconic symbol of the franchise. The popularity of Pikachu has more to do with his cute persona and likeable personality. Although he was first portrayed as somewhat of a rogue, disobeying trainer Ash and outwardly harming him, his character has evolved over the years to where his sweet personality matches the cute mouse face. All Pokemon are classified by type, depending on the special powers and characteristics they possess. In the case of Pikachu, he/she is an electric Pokemon, who zaps his enemies with bolts of electricity. Not by accident, the creators developed Pikachu to have a tail shaped like a lightening bolt, to further his identity. Pikachu

By far the most well known–and star of the Macy’s parade–is the original Pikachu. Created to resemble a cute mouse, Pikachu has been at the center of the Pokemon story since it first began. As the first Pokemon character introduced, and the story’s hero’s–Ash-  personal pet, Pikachu is recognized world wide as an iconic symbol of the franchise. The popularity of Pikachu has more to do with his cute persona and likeable

Her hair was backcombed but she applied only the subtlest of makeup, her mother’s voice ringing in her ears: “Men want to see a pretty face, not a painted mannequin.

It’s as if something else takes over when I sing—a divine energy, a creative force, call it what you will—and it fills me from top to toe . . .

In the cool of evening people gather on deck to watch stars emerge from the twilight—at first single pinpricks and then a swarm, uncountable. The sky tilts steadily night by night, revealing new parts of itself as our changed latitude tips old constellations below the horizon and hoists new ones aloft. Soon there is a thrilling first glimpse of the Southern Cross, its iconic quadrangle pointing toward the antipodes, just below the shadow of Corvus the crow. The North Star sinks lower, steadfast pivot of the heavens until a day at the equator when it will dip to the horizon and vanish. In the northern hemisphere, Polaris will always make an angle with the horizon equal to your latitude—a cosmic geometry first revealed to me in magic diagrams by an astronomy professor, rocketing across the blackboard in a cloud of chalk dust.

Kate couldn’t have fit an arm in any of Marilyn’s clothes, even at the star’s heaviest, but people who had never had to worry about the stigma of obesity loved to think that Marilyn Monroe, the foremost icon of female sexuality, was fat. It made their own deep-seated disparagement of fatness more palatable.

There are no stars in the sky because you can’t see holy spirits next to city lights.

Here is a more modern approach to thinking about what the Ancients conveyed with their system of light angles. Imagine the square as representing even numbers and the triangle as representing odd numbers. It is hard to draw shapes with one or two sides; instead, they used three and four as iconic representations. The even numbers (square) represent freezing or a type of stasis. The odd numbers (triangle) represent growth or a type of expansion.

People-Pleasing Is a Form of Assholery” Whitney wrote, produced and starred in Whitney, which aired on NBC from 2011 to 2013: “I was so apologetic and afraid of people not liking me, that . . . [I] slowed down the writing process and confused employees. In the room, people would pitch jokes, and I would just say ‘yes’ to all of them, because I didn’t want to hurt anyone’s feelings. I’d have to go later and change them, and then—all of a sudden—the script comes out and their jokes aren’t there, and they feel betrayed and lied to. “When I first went in to Al-Anon [support group for addiction] I heard someone say, ‘People-pleasing is a form of assholery,’ which I just loved, because you’re not pleasing anybody. You’re just making them resentful because you’re being disingenuous, and you’re also not giving them the dignity of their own experience and [assuming] they can’t handle the truth. It’s patronizing.” TF: After this conversation with Whitney I reread Lying by Sam Harris. The types of “white lies” Whitney describes can be hugely destructive, and Sam makes a compelling case for stopping the use of a wide spectrum of half-truths.

(Kyler's song about Lennon?) Stop hiding in the darkness, step out into the light. The sky is filled with all these stars, so come and kiss the night. Infinity is waiting, calling you by name. The world is yours for the taking, so take it just the same. Shock and awe, surprise them, those who think you're weak. Look to the sky and chase them, those answers that you seek. The stars will light the sky for us, they'll illuminate the way. They show you how to find me, they'll make you want to stay. ― L.D. Crichton, All Our Broken Pieces

Shit,” he whispered. “I’m definitely home.” When he was a child, he could never sleep through sandstorms, especially the powerful tempête de sable, because they always sounded like screaming women, and when he dared to look into the bellies of these storms from the window, he could have sworn he saw dancing djinn. When he was a teen, there was a green grasshopper on his mother’s shoulder when she came home. It had laughed and disappeared right before his eyes. And all his life, he’d seen people in the markets who weren’t people. He and his friends were so used to these things that they stopped talking about them when they got older. Yes, he was home. The weird icon was no big deal.

None of my tattoos belong to me; other people wore them first. I have Gaga’s Rilke quote on the inside of my arm and Lana del Rey’s paradise on the side of my foot. Rihanna’s stars cascade across my hip; Cara Delevingne’s wasp stings my shoulder. These tattoos belong to people who are free and abundantly themselves. When they walk in, they belong, even though they look like they came from the moon or Mars or the Milky Way. They don’t have scars; they are the scar—the line that separates them from the ordinary is their entire existence. Their tattoos are my icons, little etched Patronus charms that fly across my body. So when I get ink, I get theirs. I reach for what they have; I cling to it in permanent colors.

Cuban dissidents, and President Lyndon Johnson) are suspects.

glamorous

Beautiful day. Art matters. Poetry & literature matters. Friends matter. Life and light matter. Remembering the true history of the world and honesty matters. Words matter. Please don't waste your time on overaught social media, vapid pop stars and lunatic millionaires, icons without any real substance. If you want to change the world? Make the real things matter. Reality. It's a revolution.

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Jaroslav enjoyed the fun, but the simple fact was that he wanted to make a career in hockey. As a fan, he worshipped icon Vladimir Zabrodsky, the star of the 1940's world champion Czechoslovakia team, and had an autographed photo of the man with the inscription, "If you want to know more, you need to practice as if you know nothing." Those words would become Jaroslav's mantra for decades to come as he strove to be great. In part, it was simply that Jaroslav was in love with hockey. In part, it was that he had a fire burning inside that drove him to fight to win in any competition he faced. But there was something else. He had seen was the Communists did to his father: they had deemed the butcher replaceable and treated him accordingly. Jaroslav Jr. refused to allow such a thing to happen to himself. He would make himself indispensable. He would make himself too good to be denied.

Film Review: The Shore of Angels By Mike D. X, International Film Journal In The Shore of Angels, writer and composer Sami Abouzid delivers a poetic masterpiece that swims between fantasy and emotional truth. Set against the haunting beauty of a coastal Spanish village and the mythic depths of the ocean, the film follows Antony, a soulful guitarist, and Meloria, a mermaid whose love defies worlds. What begins as a silent, magical connection becomes a sweeping tale of impossible love, sacrifice, and fate. Abouzid’s vision is as cinematic as it is heartfelt — every scene pulses with emotion and visual beauty. The storytelling is bold, the music unforgettable, and the themes deeply human. Meloria becomes an icon of longing, Antony a symbol of broken dreams. The Shore of Angels is not just a film — it’s a legend in motion. A timeless story told with rare artistic honesty. 5 stars — An unforgettable fantasy. — Mike D. X

No other supporting player won three Academy Awards, and you would be hard-pressed to name another character actor whose performances frequently overwhelmed those of ostensible leads like Joel McCrea and Barbara Stanwyck in Banjo on My Knee. “We’re supporting you. Be nice to us,” McCrea and Stanwyck joked with Brennan. Those stars had the fights of their lives trying to stay on equal terms with old Walter. Sure, other character actors have had their star turns—especially in television, which gave Ward Bond in Wagon Train, Raymond Burr in Perry Mason, and Harry Morgan in M.A.S.H. their respective moments of fame—but no character actor other than Brennan dominated the Hollywood century of popular entertainment, or attained the iconic status he achieved. To follow Brennan—beginning with his career as a seven-dollar-a-day extra—is to learn all you need to know about Hollywood and its mythologizing of the American dream. Walter Brennan became an archetype, not a stereotype.

13. The Chemical Brothers, “Setting Sun” (1996) Everybody’s favorite song in the fall of 1996, uniting rockers, ravers, clubbers, druggers, all factions of the pop massive. The Chemical Brothers turn “Tomorrow Never Knows” into a banging techno loop, warping Ringo’s block-rocking beats into something new. “Setting Sun” is unaccountably obscure these days, considering what a fact of life it was for a year or so, but it’s a song that accurately predicted the future. There was nothing retro about it; instead of capitulating to the past, the Chemicals complimented it enough to ransack it. In this song, the Beatles aren’t legends or saints or icons—they’re a nasty drum break. The vocals were by Oasis’s Noel Gallagher, then Britannia’s biggest rock star, yet he sounded more antique than Ringo’s drums did. It was the ultimate Nineties statement of the Beatles as a right-now thing as opposed to a good-old-days thing.

The film version of Chicago is a milestone in the still-being-written history of film musicals. It resurrected the genre, winning the Oscar for Best Picture, but its long-term impact remains unclear. Rob Marshall, who achieved such success as the co-director of the 1998 stage revival of Cabaret, began his career as a choreographer, and hence was well suited to direct as well as choreograph the dance-focused Chicago film. The screen version is indeed filled with dancing (in a style reminiscent of original choreographer Bob Fosse, with plenty of modern touches) and retains much of the music and the book of the stage version. But Marshall made several bold moves. First, he cast three movie stars – Catherine Zeta-Jones (former vaudeville star turned murderess Velma Kelly), Renée Zellweger (fame-hungry Roxie Hart), and Richard Gere (celebrity lawyer Billy Flynn) – rather than Broadway veterans. Of these, only Zeta-Jones had training as a singer and dancer. Zellweger’s character did not need to be an expert singer or dancer, she simply needed to want to be, and Zellweger’s own Hollywood persona of vulnerability and stardom blended in many critics’ minds with that of Roxie.8 Since the show is about celebrity, casting three Hollywood icons seemed appropriate, even if the show’s cynical tone and violent plotlines do not shed the best light on how stars achieve fame. Marshall’s boldest move, though, was in his conception of the film itself. Virtually every song in the film – with the exception of Amos’s ‘Mr Cellophane’ and a few on-stage numbers like Velma’s ‘All That Jazz’ – takes place inside Roxie’s mind. The heroine escapes from her grim reality by envisioning entire production numbers in her head. Some film critics and theatre scholars found this to be a cheap trick, a cop-out by a director afraid to let his characters burst into song during the course of their normal lives, but other critics – and movie-goers – embraced this technique as one that made the musical palatable for modern audiences not accustomed to musicals. Marshall also chose a rapid-cut editing style, filled with close-ups that never allow the viewer to see a group of dancers from a distance, nor often even an entire dancer’s body. Arms curve, legs extend, but only a few numbers such as ‘Razzle Dazzle’ and ‘Cell Block Tango’ are treated like fully staged group numbers that one can take in as a whole.

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