Ing Famous Quotes

These are all direct quotes, except every time they use a curse word, I'm going to use the name of a famous American poet: 'You Walt Whitman-ing, Edna St. Vincent Millay! Go Emily Dickinson your mom!' 'Thanks for the advice, you pathetic piece of E.E. Cummings, but I think I'm gonna pass.' 'You Robert Frost-ing Nikki Giovanni! Get a life, nerd. You're a virgin.' 'Hey bro, you need to go outside and get some fresh air into you. Or a girlfriend.' I need to get a girlfriend into me? I think that shows a fundamental lack of comprehension about how babies are made.

Ac­cord­ing to the agent, the se­cret to get­ting fa­mous is you just keep say­ing yes.

It was funny that she should have said that, for Julian chose that moment to begin baaing like a flock of sheep. His one long, bleating "baa-baa-aa-aa" was taken up by the echoes at once, and it seemed suddenly as if hundreds of poor lost sheep were baa-ing their way down the dungeons! Mr. Stick jumped to his feet, as white as a sheet. "Well, if it isn't sheep now!" he said. "What's up? What's in these "ere dungeons? I never did like them." "Baa-aa-AAAAAAAAAAP went the mournful bleats all round and about. And then

HEART: Let’s try stress and being on the go all of the time. Have you ever thought that you try to fit too many things in one day? Do you know how to relax and do nothing? Do you know how to just be as in human be-ing? LERITA: It seems like I’ve heard this before. HEART: Yeah. Yeah. Yeah. You need the threat of a damn heart transplant to get your attention, huh? I’ve been trying to get through to you for years, especially since you jumped on that bandwagon in high school. LERITA: What bandwagon? HEART: The “I’ve got to be Miss It… somebody famous… Miss Perfectionist…prove to everyone that I’m at the top” bandwagon.

A well-lived life of virtue and work in anonymity is now perceived as “drab and undesirable,” while according to Hollywood writer, Clive James, «fame (is) found increasingly fascinating.»518 Instead of actions and virtues taking on lives greater than any one person, the cult of personality dominates—the celebrity is remembered for who he is, not for what he lived. In such circumstances, latter-day Napoleons—not Cincinnati—thrive, the former having thirsted so badly “to be famous, and…want(ing)…fame to last after. death.”519 Daniel Boorstin contrasts the heroism of values and deeds with that of celebrity:   A man’s name (previously) was not apt to become a household word unless he exemplified greatness in some way or other. The twentieth century has confused celebrity worship and hero worship. We have willingly been misled into believing. that fame—well-knowness—is. a hallmark ofgreatness.520

as historians such as E. P. Thompson have famously shown, actual historical class struggles have always encompassed a recognition dimension, as work- ing people fought not only to mitigate or abolish exploitation, but also to defend their class cultures and to establish the dignity of labor. In the process, they elabo- rated class identities, often in forms that privileged cultural constructions of mascu- linity, heterosexuality, “whiteness,” and/or majority nationality, thus in forms prob- lematic for women and/or members of sexual, “racial,” and national minorities. In such cases, the recognition dimension of class struggle was not an unalloyed force for social justice. On the contrary, it incorporated and exacerbated, if it did not itself performatively create, gender, sexual, “racial,” and/or national misrecognition. But of course the same is true for recognition struggles focused on gender, “race,” and sexuality, which have typically proceeded in forms that privileged elites and middle-class people, as well as other advantaged strata, including “whites,” men, and/or heterosexuals, within the group.

song is as necessary to sailors as the drum and fife to a soldier. They can’t pull in time, or pull with a will, without it. Many a time, when a thing goes heavy, with one fellow yo-ho-ing, a lively song, like “Heave, to the girls!” “Nancy oh!” “Jack Crosstree,” etc., has put life and strength into every arm. We often found a great difference in the effect of the different songs in driving in the hides. Two or three songs would be tried, one after the other, with no effect;—not an inch could be got upon the tackles—when a new song, struck up, seemed to hit the humor of the moment, and drove the tackles “two blocks” at once.