Patronizing Famous Quotes

Leonard Cohen is my patron saint. Try “Dance Me to the End of Love” or “Famous Blue Raincoat,” or pretty much anything else he’s ever written, including, of course, “Hallelujah,” his best-known song but really only the tip of the Leonard iceberg! Also: “Hinach Yafah (You Are Beautiful)” by Idan Raichel. It’s a gorgeous song of longing for the beloved, but really it’s about longing in general.

Slazinger, who still believes her to be only semiliterate, patronized her most daintily with these words: “As the philosopher George Santayana said, ‘Those who cannot remember the past are condemned to repeat it.’ ” “Is that a fact?” she said. “Well—I’ve got news for Mr. Santayana: we’re doomed to repeat the past no matter what. That’s what it is to be alive. It’s pretty dense kids who haven’t figured that out by the time they’re ten.” “Santayana was a famous philosopher at Harvard,” said Slazinger, a Harvard man. And Mrs. Berman said, “Most kids can’t afford to go to Harvard to be misinformed.

A well-known skin specialist patronized by many famous beauties charges seventy-five dollars for a twenty-minute consultation and eight dollars for a cake of sea-mud soap. I get more satisfaction and just as much benefit out of applying a purée of apples and sour cream! [...] Of course, all masques should COVER THE NECK too. [...] Masques should only be used ones or twice a week. [...] While the masque is working, place pads soaked in witch hazel or boric acid over your eyelids and put on your favorite music. [...] A masque really works only when you're lying down. Twenty minutes is the right length of time. Then wash the masque off gently with warm water and follow with a brisk splash of cold water to close the pores. [...] For a luxurious once-a-week treatment give your face a herbal steaming first by putting parsley, dill, or any other favorite herb into a pan of boiling water. (Mint is refreshing too.) Hold a towel over your head to keep the steam rising onto your face. The pores will open so that the masque can do a better job. [...] Here are a few "kitchen masques" that work: MAYONNAISE. [...] Since I'm never sure what they put into those jars at the supermarket, I make my own with whole eggs, olive or peanut oil, and lemon juice (Omit the salt and pepper!). Stir this until it's well blended, or whip up a batch in an electric blender. PUREED VEGETABLES - cucumbers, lemons, or lettuce thickened with a little baby powder. PUREED FRUITS - cantaloupe, bananas, or strawberries mixed to a paste with milk or sour cream or honey. A FAMOUS OLD-FASHIONED MIXTURE of oatmeal, warm water, and a little honey blended to a paste.

He was a big, rather clumsy man, with a substantial bay window that started in the middle of the chest. I should guess that he was less muscular than at first sight he looked. He had large staring blue eyes and a damp and pendulous lower lip. He didn't look in the least like an intellectual. Creative people of his abundant kind never do, of course, but all the talk of Rutherford looking like a farmer was unperceptive nonsense. His was really the kind of face and physique that often goes with great weight of character and gifts. It could easily have been the soma of a great writer. As he talked to his companions in the streets, his voice was three times as loud as any of theirs, and his accent was bizarre…. It was part of his nature that, stupendous as his work was, he should consider it 10 per cent more so. It was also part of his nature that, quite without acting, he should behave constantly as though he were 10 per cent larger than life. Worldly success? He loved every minute of it: flattery, titles, the company of the high official world...But there was that mysterious diffidence behind it all. He hated the faintest suspicion of being patronized, even when he was a world figure. Archbishop Lang was once tactless enough to suggest that he supposed a famous scientist had no time for reading. Rutherford immediately felt that he was being regarded as an ignorant roughneck. He produced a formidable list of his last month’s reading. Then, half innocently, half malevolently: "And what do you manage to read, your Grice?" I am afraid", said the Archbishop, somewhat out of his depth, "that a man in my position doesn't really have the leisure..." Ah yes, your Grice," said Rutherford in triumph, "it must be a dog's life! It must be a dog's life!

In his firm grip on the earth he inherits, in his improvidence and generosity, in his lavishness with his gifts, in his manly vanity, in the obscure sense of his greatness and in his faithful devotion with something despairing as well as desperate in its impulses, he is a Man of the People, their very own unenvious force, disdaining to lead but ruling from within. Years afterwards, grown older as the famous Captain Fidanza, with a stake in the country, going about his many affairs followed by respectful glances in the modernised streets of Sulaco, calling on the widow of the cargador, attending the Lodge, listening in unmoved silence to anarchist speeches at the meeting, the enigmatical patron of the new revolutionary agitation, the trusted, the wealthy comrade Fidanza with the knowledge of his moral ruin locked up in his breast, he remains essentially a Man of the People. In his mingled love and scorn of life and in the bewildered conviction of having been betrayed, of dying betrayed he hardly knows by what or by whom, he is still of the People, their undoubted Great Man—with a private history of his own.

Maybe nostalgia is itself the problem. A Democrat I met in Macon during a conversation we had about the local enthusiasm for Trump told me that “people want to go back to Mayberry”, the setting of the beloved old Andy Griffith Show. (As it happens, the actual model for Mayberry, Mount Airy, a bedraggled town in North Carolina, has gone all in on the Trump revolution, as the Washington Post recently reported.) Maybe it’s also true, as my liberal friends believe, that what people in this part of the country secretly long to go back to are the days when the Klan was riding high or when Quantrill was terrorizing the people of neighboring Kansas, or when Dred Scott was losing his famous court case. For sure, there is a streak of that ugly sentiment in the Trump phenomenon. But I want to suggest something different: that the nostalgic urge does not necessarily have to be a reactionary one. There is nothing un-progressive about wanting your town to thrive, about recognizing that it isn’t thriving today, about figuring out that the mid-century, liberal way worked better. For me, at least, that is how nostalgia unfolds. When I drive around this part of the country, I always do so with a WPA guidebook in hand, the better to help me locate the architectural achievements of the Roosevelt years. I used to patronize a list of restaurants supposedly favored by Harry Truman (they are slowly disappearing). And these days, as I pass Trump sign after Trump sign, I wonder what has made so many of Truman’s people cast their lot with this blustering would-be caudillo. Maybe what I’m pining for is a liberal Magic Kingdom, a non-racist midwest where things function again. For a countryside dotted with small towns where the business district has reasonable job-creating businesses in it, taverns too. For a state where the giant chain stores haven’t succeeded in putting everyone out of business. For an economy where workers can form unions and buy new cars every couple of years, where farmers enjoy the protection of the laws, and where corporate management has not been permitted to use every trick available to them to drive down wages and play desperate cities off one against the other. Maybe it’s just an impossible utopia, a shimmering Mayberry dream. But somehow I don’t think so.

The early to mid-1780s were years of exponential growth for Mozart, not only in terms of his family and career but in his style and exposure as a composer and musician. He met Gottfried van Swieten, a Viennese government official who was a keen patron of musicians at this time. He gave Mozart access to his formidable library of compositions, and Mozart delved into study of the works of some famous predecessors, most notably Johann Sebastian Bach and George Frideric Handel. Access to the breadth of their work highly influenced many of Mozart’s works in the year to come, as he shifted to a more Baroque style in many of his compositions. This influence can most clearly be heard in his opera The Magic Flute, as well as Symphony No. 41. It was also at this time, and perhaps influenced by his study of the greats that came so recently before him, that Mozart wrote one of his greatest liturgical pieces, Mass in C minor. It was performed for the first time in 1783 when Wolfgang and Constanze traveled to Salzburg in order to visit Mozart’s father and sister.

Pulled or prompted, men cam to the Everleigh club...They came to see the library, filled floor to ceiling with classics in literature and poetry and philosophy, and the art room, housing a few bona fide masterworks and a reproduction of Bernini’s famous “Apollo and Daphne,” which the sisters had failed to find in America. After learning that the original statue was at the Villa Borghese in Rome, Minna sent an artist to capture its image. She was haunted by how the exquisite nymph’s hands flowered into the branches of a laurel tree just as the god of light reaches for her. A gorgeous piece, but she mostly admired the statue for the questions it posed about clients: why did men who had everything worth having patronize the Everleigh Club? And what if the thing they desired most in this world simply vanished?

We can pick up the minimalist attitude to reading in early visual depictions of one of the heroes of Christian scholarship, St Jerome – who was by all accounts the supreme intellect of Christendom, who translated the Greek and Hebrew portions of the Bible into Latin, wrote a large number of commentaries on scripture and is now the patron saint of libraries and librarians. But despite all his scholarly efforts, when it came to showing where and how St Jerome worked, a detail stands out: there are almost no books in his famous study. Strikingly, the most intelligent and thoughtful intellectual of the early church seems to have read fewer things than an average modern eight year old.

Gone were the precise and mannered portraits he was famous for at home, which hung on the walls of patron galleries. Now, his paintings were undisciplined and fierce: no demure maidens in limpid bowers, but powerful sorceresses depicted against violent skies, cowering souls dismembered at their feet, soulscape monsters wheeling ‘round their heads.

An amazing thing happened to me today. We were in Loreto, where Franco Terilli was praying to his patron, one of the popes. In Loreto there is a famous cathedral (rather like Lourdes) in the middle of which stands the house in which Jesus was born, transported here from Nazareth. While we were in the cathedral, I felt it was wrong that I can't pray in a Catholic cathedral; not that I cannot, but that I don't want to. It is, after all, alien to me. Then later, quite by chance, we went into a little seaside town called Porto Nuovo, and into its small, tenth century cathedral. And what should I see on the altar but the Vladimir Mother of God Apparently some Russian painter had, at some time, given the church this copy of the Mother of God of Vladimir, evidently painted by him. I couldn't believe it: suddenly to see an Orthodox ikon in a Catholic country, when I had just been thinking about not being able to pray at Loreto. It was wonderful.

Even the emergence of Edom as a political entity, during the first millennium BCE, has been related to the sudden increase in mining and smelting activities in this area. Thus, it would be extremely surprising if metallurgy had not impacted the Edomite way of life and religion. Based on the central importance of Levantine copper smelting from the earliest times, the patron of the Canaanite smelters would certainly have been famous. And yet, strikingly, this deity has not been yet identified among the 240 Canaanite deities mentioned in the Ugaritic texts. In parallel, it is interesting to notice that the Ugaritic texts also 'forgot' to mention Yahweh. All these indications invite the testing of the hypothesis that Yahweh was formerly the Canaanite god of metallurgy. (p. 390) from 'Yahweh, the Canaanite God of Metallurgy?', JSOT 33.4 (2009): 387-404

Dorian? Is that an important publisher?" "Count Dorian is really famous. How do you not know him?" "I can only think of the Dorian in the painting. You know, Oscar Wilde’s beautiful, cursed one?" he says. "Sorry. And, anyway, why is he important?" he asks, noting her apprehension. "Well, for one thing, he’s a Count." "Pardon..." he mocks, in a French accent. "Why is this Count famous?" "Because he cultivates young talent. He’s launched a lot of young people in different fields: music, painting, sculpture, fashion, theater, movies." She pauses for breath. "And writers, too." "So he’s a type of patron." She nods. "And he’s contacted you about your novels?" She nods again. "And what’s the problem?" "He has an estate in Tuscany, as well as houses in New York and Hong Kong. And he’s asked to meet me." "Are you embarrassed to go on your own? I can take you if you want. But if he’s a talent hunter, you just need to act as natural as possible and you'll be fine. I imagine he’s used to it. He can’t not like you," he says, caressing her face. "He thinks I’m a man..," she whispers. Andrea freezes. "Eh?!" he exclaims, looking at her and suddenly feeling a strange foreboding. "I

Chris Tarrent, OBE British radio broadcaster and television presenter Chris Tarrant is perhaps best known for his role as host on Who Wants to Be a Millionaire? A hugely successful entertainment personality, Chris Tarrant is also active in many charitable causes, including homelessness and disadvantaged children. He was honored with an OBE in 2004 for his extensive work in these areas. The first time I met her I was terribly nervous. I was working on the breakfast show at Capital Radio in London in those days, and I’d been seated next to her at a charity lunch. She’d become the patron of Capital’s charity for needy children in London, and her appearance at our big lunch of the year made it a guaranteed sellout. She was already probably the most famous person in the world, and I was terrified about what on earth I was going to say to her. I needn’t have worried--she immediately put me at ease with an incredibly rude joke about Kermit the Frog. Because she was our patron, we saw a lot of her over the next few years. She was great fun, and brilliant with the kids. She used to listen to my show in the mornings while she was swimming or in the gym, and she’d often say things like “Who on earth was that loopy woman that you had on the phone this morning?” There was a restaurant in Kensington that had a series of alcoves where she’d often go to hide, perhaps with just a detective for company. I remember chatting to her one lunchtime while I was waiting for my boss to join me at my table, and she disappeared round the corner. “Hello, Richard,” I said, when he turned up. “I’ve just been chatting with Lady Di.” “Yes, of course you have,” said Richard. “And there goes a flying pig!” When she reappeared a few moments later and just said, “Good-bye,” on her way out, this big, tough, hard-nosed media executive was absolutely incapable of speech.

Johnson was not impressed. He conceded that the letters might have made a ‘very pretty’ book (the faintest of faint praise), then commented, stingingly, that they ‘teach the morals of a whore, and the manners of a dancing master’. 8 Here, as in the famous letter and the Dictionary’s entry under ‘patron’, Chesterfield’s errors are more lastingly preserved than any of his achievements. There

End of May 2012 The continuation of my email to Andy: …I was delighted to return to London after war-ravaged Belfast. The students in our college had to evacuate several times due to IRA bomb threats. I must have subconsciously selected to be in Northern Ireland because of my unsettling inner upheavals. Much like the riots that went on in the city in 1971, I was unconsciously fighting my inner demons within myself. I needed that year to overcome my sexual additions and to immerse myself in my fashion studies. By the following year, I had compiled an impressive fashion design portfolio for application with various London Art and Design colleges. Foundation students generally required two years to complete their studies. I graduated from the Belfast College of Art with flying colors within a year. By the autumn of 1972, I was accepted into the prestigious Harrow School of Art and Technology. Around that period, my father’s business was waning and my family had financial difficulty sponsoring my graduate studies. Unbeknownst to my family, I had earned sufficient money during my Harem services to comfortably put myself through college. I lied to my parents and told them I was working part-time in London to make ends meet so I could finance my fashion education. They believed my tall tale. For the next three years I put my heart and soul into my fashion projects. I would occasionally work as a waiter at the famous Rainbow Room in Biba, which is now defunct. Working at this dinner dance club was a convenient way of meeting beautiful and trendy patrons, who often visit this capricious establishment.

In Chennai (Madras), there is bronze gallery in the state museum that houses a magnificent collection of southern Indian bronzes. One of its prize works is a twelfth-century Nataraja (Figure 8.5). One day around the turn of the twentieth century, an elderly firangi (“foreigner” or “white” in Hindi) gentleman was observed gazing at the Nataraja in awe. To the amazement of the museum guards and patrons, he went into a sort of trance and proceeded to mimic the dance postures. A crowd gathered around, but the gentleman seemed oblivious until the curator finally showed up to see what was going on. He almost had the poor man arrested until he realized the European was none other than the world-famous sculptor Auguste Rodin. Rodin was moved to tears by The Dancing Shiva. In his writings he referred to it as one of the greatest works of art ever created by the human mind.

People who are dependent on the favor of others will almost inevitably be anxious about how they are viewed by their patrons. This anxiety is unpleasant in itself and constrains what they feel comfortable doing or saying. Ultimately it is likely to affect—one might well say infect—their thinking. As Upton Sinclair famously observed, “It is difficult to get a man to understand something, when his salary depends on his not understanding it.”52 Thus when Epicurus says that “the greatest fruit of self-sufficiency is freedom,” he primarily has in mind freedom from any such inhibitions or anxieties, a condition he views as both conducive to moral integrity and necessary for peace of mind.

The Master of Shakespeare, by A. W. L. Saunders, after citing many of the above details, hung its hat on those similarities of poetic style while arguing that Greville, a famously amiable patron, had been the master of a long-standing collaboration marketed as “Will Shake-speare,” whose contributing members included Mary Sidney, Tom Nashe, Francis Bacon, Kit Marlowe, George Peele, and Samuel Daniel.

As I read deeper in the Zen poets, I soon stumbled upon Ikkyū, the fifteenth-century sword-wielding monk of Daitokuji, who had entered a temple at the age of six and gone on to express his contempt for the corrupt monasteries of his time in famously controversial poems. Like the Sixth Dalai Lama, in his way, Ikkyū had been a patron - and a laureate - of the local taverns, and of the pretty girls he had found therein; and like his Tibetan counterpart, or John Donne in our own tradition, he had deliberately conflated the terms of earthly love with those of devotion to the Absolute. The very name he gave himself, "Crazy Cloud", had played subversively on the fact that "cloud water" was a traditional term for monks, who wandered without trace, yet "cloud rain" was a conventional idiom for the act of love. His image of the "red thread" ran through the austere surroundings of his poems as shockingly as the scarlet peonies of Akiko. And in his refusal to kowtow to convention, the maverick monk had turned every certainty on its head: whores, he said, could be like ideal monks - since they inhabited the ideal Zen state of "no min" - while monks, in selling themselves for gold brocade, were scarcely different from whores. Many of his verses trembled with this ambiguity. One couplet, taken one way, was translated as "Making distinctions between good and evil, the monk's skill lies in knowing the essential condition of the Buddha and the Devil"; taken another way, it meant: "That girl is no good, this one will do; the monk's skill is in having the appetite of a devilish Buddha.

In the mid-1950s, Governor Luther Hodges cited Aycock’s “march of progress” in his defense of Jim Crow as a system that both ensured political tranquility and enabled racial uplift. His successor in the state house, Terry Sanford, noted that Aycock famously proclaimed “as a white man, I am afraid of but one thing for my race and that is we shall become afraid to give the Negro a fair chance. The white man in the South can never attain to his fullest growth until he does absolute justice to the Negro race.” This framing enabled Hodges, Sanford, and, later, Governor Dan Moore to define the “North Carolina way” in sharp contrast with the racially charged massive resistance rhetoric that defined the approaches of Alabama under George Wallace and Mississippi under Ross Barnett. This moderate course caused early observers like V. O. Key to view the state as “an inspiring exception to southern racism.” Crucially, it operated hand-in-hand with North Carolina’s anti-labor stance to advance the state’s economic interests. Hodges, Sanford, and Moore approached racial policy by emphasizing tranquility, and thus an intolerance for political contention. These officials placed a high value on law and order, condemning as “extremists” those who threatened North Carolina’s “harmonious” race relations by advocating either civil rights or staunch segregation. While racial distinctions could not be elided in the Jim Crow South, where the social fabric was shot through with racial disparity, an Aycock-style progressivist stance emphasized the maintenance of racial separation alongside white elites’ moral and civic interest in the well-being of black residents. This interest generally took the form of a pronounced paternalism, which typically enabled powerful white residents to serve as benefactors to their black neighbors, in a sort of patron-client relationship. “It was white people doing something for blacks—not with them,” explained Charlotte-based Reverend Colemon William Kerry Jr. While often framed as gestures of beneficence and closeness, such acts reproduced inequity and distance. More broadly, this racial order served dominant economic and political interests, as it preserved segregation with a progressive sheen that favored industrial expansion.12