Paris Jackson Quotes

Love conquers all," Aphrodite promised. "Look at Helen and Paris. Did they let anything come between them?" "Didn't they start the Trojan War and get thousands of people killed?" "Pfft. That's not the point. Follow your heart.

Love conquers all," Aphrodite promised. "Look at Helen and Paris. Did they let anything come between them?" "Didn't they start the Trojan War and get thousands of people killed?" "Pfft. That's not the point. Follow your heart

They always have. Otherwise we would not keep you annoying little brats around.” “I feel so wanted. Thanks.” “Use the training I have given you at camp.” “What training?” “You know. All those hero techniques and . . . No!” Mr. D slapped the game console. “Na pari i eychi! The last level!

The extravagance in dress—” Miss Jackson began. “Sillerton took me to the first night of the Opera, and I can only tell you that Jane Merry’s dress was the only one I recognised from last year; and even that had had the front panel changed. Yet I know she got it out from Worth only two years ago, because my seamstress always goes in to make over her Paris dresses before she wears them.

Ferris had nearly gotten it right. In that single day 713,646 people had paid to enter Jackson Park. (Only 31,059—four percent—were children.) Another 37,380 visitors had entered using passes, bringing the total admission for the day to 751,026, more people than had attended any single day of any peaceable event in history. The Tribune argued that the only greater gathering was the massing of Xerxes’ army of over five million souls in the fifth century B.C. The Paris record of 397,000 had indeed been shattered. When the news reached Burnham’s shanty, there were cheers and champagne and stories through the night. But the best news came the next day, when officials of the World’s Columbian Exposition Company, whose boasts had been ridiculed far and wide, presented a check for $ 1.5 million to the Illinois Trust and Savings Company and thereby extinguished the last of the exposition’s debts. The Windy City had prevailed.

Yes; she’s one of the few. In my youth,” Miss Jackson rejoined, “it was considered vulgar to dress in the newest fashions; and Amy Sillerton has always told me that in Boston the rule was to put away one’s Paris dresses for two years. Old Mrs. Baxter Pennilow, who did everything handsomely, used to import twelve a year, two velvet, two satin, two silk, and the other six of poplin and the finest cashmere. It was a standing order, and as she was ill for two years before she died they found forty-eight Worth dresses that had never been taken out of tissue paper;

I have always had a weakness for footnotes. For me a clever or a wicked footnote has redeemed many a text. And I see that I am now using a long footnote to open a serious subject - shifting in a quick move to Paris, to a penthouse in the Hotel Crillon. Early June. Breakfast time. The host is my good friend Professor Ravelstein, Abe Ravelstein. My wife and I, also staying at the Crillon, have a room below, on the sixth floor. She is still asleep. The entire floor below ours (this is not absolutely relevant but somehow I can't avoid mentioning it) is occupied just now by Michael Jackson and his entourage. He performs nightly in some vast Parisian auditorium. Very soon his French fans will arrive and a crowd of faces will be turned upward, shouting in unison, 'Miekell Jack-sown'. A police barrier holds the fans back. Inside, from the sixth floor, when you look down the marble stairwell you see Michael's bodyguards. One of them is doing the crossword puzzle in the 'Paris Herald'.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

Roderick Sutton, Earl of Westerham, owner of Farleigh Place, a stately home in Kent Lady Esme Sutton, Roderick’s wife Lady Olivia “Livvy” Sutton, twenty-six, the Suttons’ eldest daughter, married to Viscount Carrington, mother of Charles Lady Margaret “Margot” Sutton, twenty-three, the second daughter, now living in Paris Lady Pamela “Pamma” Sutton, twenty-one, the third daughter, currently working for a “government department” Lady Diana “Dido” Sutton, nineteen, the fourth daughter, a frustrated debutante Lady Phoebe “Feebs” Sutton, twelve, the fifth daughter, too smart and observant for her own good Servants at Farleigh (a skeleton staff) Soames, butler Mrs. Mortlock, cook Elsie, parlourmaid Jennie, housemaid Ruby, scullery maid Philpott, Lady Esme’s maid Nanny Miss Gumble, governess to Lady Phoebe Mr. Robbins, gamekeeper Mrs. Robbins, gamekeeper’s wife Alfie, a Cockney boy, now evacuated to the country Jackson, groom Farleigh Neighbours Rev. Cresswell, vicar of All Saints Church Ben Cresswell, the vicar’s son, now working for a “government department” At Nethercote Sir William Prescott, city financier Lady Prescott, Sir William’s wife Jeremy Prescott, Sir William and Lady Prescott’s son, RAF flying ace At Simla Colonel Huntley, formerly of the British Army Mrs. Huntley, the colonel’s wife Miss Hamilton, spinster Dr. Sinclair, doctor Sundry villagers, including an artist couple, a builder, and a questionable Austrian Officers of the Royal West Kent Regiment Colonel Pritchard, commanding officer Captain Hartley, adjutant Soldiers under command At Dolphin Square Maxwell Knight, spymaster Joan Miller, Knight’s secretary At Bletchley Park Commander Travis, deputy

Lydia the Tattooed Lady" Oh Lydia, oh Lydia, say have you met Lydia? Lydia, the Tattooed Lady She has eyes that folks adore so And a torso even more so Lydia, oh Lydia, that encyclopydia Oh Lydia the Queen of Tattoo On her back is the Battle of Waterloo Beside it the wreck of the Hesperus, too And proudly above waves the red, white, and blue You can learn a lot from Lydia La, La, La La, La, La When her robe is unfurled, she will show you the world If you step up and tell her where For a dime you can see Kankakee or Paris Or Washington crossing the Delaware La, La, La La, La, La Oh Lydia oh Lydia, say have you met Lydia? Oh Lydia the Tattooed Lady When her muscles start relaxin' Up the hill comes Andrew Jackson Lydia oh Lydia, that encyclopydia Oh Lydia the queen of them all For two bits she will do a mazurka in jazz With a view of Niagara that nobody has And on a clear day you can see Alcatraz You can learn a lot from Lydia La, La, La La, La, La Come along and see Buff'lo Bill with his lasso Just a little classic by Mendel Picasso Here is Captain Spaulding exploring the Amazon Here's Godiva but with her pajamas on La, La, La La, La, La Here is Grover Whalen unveilin' the Trilon Over on the West Coast we have Treasure Island Here's Najinsky a-doin' the rhumba Here's her social security numba Oh Lydia, oh Lydia that encyclopydia Oh Lydia the champ of them all She once swept an Admiral clear off his feet The ships on her hips made his heart skip a beat And now the old boy's in command of the fleet For he went and married Lydia I said Lydia (He said Lydia) They said said Lydia (We said Lydia) Groucho Marx, At the Circus (1939) Written by Yip Harburg and Harold Arlen

There was nothing quite like having a manicure in Paris. I felt like f#*king royalty.

—El amor lo puede todo —aseguró ella—. Mira a Helena y Paris. ¿Acaso permitieron que algo se interpusiera entre ellos? —Pero ¿no provocaron la guerra de Troya y causaron la muerte de miles de personas? —¡Pfff! Ésa no es la cuestión. Tú sigue a tu corazón.

Love conquers all,” Aphrodite promised. “Look at Helen and Paris. Did they let anything come between them?” “Didn’t they start the Trojan War and get thousands of people killed?” “Pfft. That’s not the point. Follow your heart.” “But…I don’t know where it’s going. My heart, I mean.” She smiled sympathetically. She really was beautiful. And not just because she had a pretty face or anything. She believed in love so much, it was impossible not to feel giddy when she talked about it. “Not knowing is half the fun,” Aphrodite said. “Exquisitely painful, isn’t it? Not being sure who you love and who loves you? Oh, you kids! It’s so cute I’m going to cry.

When he stepped off the train in Waverley Station yesterday, he had been expecting the 50 percent of his genes that were Scottish to recognize their heritage. He thought perhaps he would discover an emotional link with a past he’d never known, walk down a street and the faces would feel familiar, turn a corner or climb a stair and there would be an epiphany of sorts, but in fact Edinburgh felt more foreign to him than Paris did.

The experiment was successful, and on January 30, 1828, the first bus in Paris traveled from the Madeleine to the Bastille. By 1832 Baudry’s rudimentary transit system had been copied in Bordeaux, Lyons, and London. Essentially, the omnibus combined the functions of the hackney and the stagecoach.31

They don’t mention earthquakes in that one Mamas & Papas song and it’s a bummer cuz it’s the best part about living in california.

Not everybody is going to be happy with what you do. If you're not happy, that's a problem. If you're happy, who gives a fuck?