Suits Iconic Quotes

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.

Did you know ‪#‎Leprechauns‬ didn't start out in Ireland as those short little redheaded guys sporting green felt suits? #Leprechauns were once fierce warriors who protected the coast from marauders and defended the land. Then Christianity showed up and decided to do away with all that, and they downplayed the heroic actions of those warriors to the extent that we see them as the iconic little guys with pots of gold today. Nothing quite like a group of gossiping Christians to turn the tide on historical events, huh? Have a look at my story and see how magic reveals the true nature of one Michael McKnight, the ‪#‎Leprechaun‬ of Three Wishes. Treat yourself to a St. Patrick's Day Lunchbox Romance

It becomes more and more difficult to credit Lisa with being a quarter Russian. Somewhere and within and behind this quintessentially middle-class middle- England figure in her Jaeger suit and floppy-bowed silk shirt and her neat polished shoes lies the most tormented people in the history of the world. Somewhere in Lisa's soul, though she knows little of it and cares less, are whispers of St Petersburg, of the Crimea, of Pushkin, of Turgenev, of million upon million enduring peasants, of relentless winters and parched summers, of the most glorious language ever spoken, of samovars and droshkys and the sad sloe-eyed faces of a thousand icons. Lisa carried in her spirit matters she knows not of. I look at Lisa and wolves howl across the steppe, the blood flows at Borodino, Irina sighs for Moscow. All derivative, all in the mind - the confection of fact and fantasy that is how we know the world.

Barnaby Fanning was the lone offspring of a marriage between two of New Orleans’ finest families. Growing up in a Garden District mansion so iconic it was a stop on all the tours, the future heir to sugar and cotton fortunes both, his adolescence spent at debutante balls during the season and trips abroad during the summer: it was the stuff of true Southern gentlemen. But Bucky always refused the first table at a restaurant. He carried a pocket calculator so he could tip a strict twelve percent. When his father nudged him out of the nest after graduating Vanderbilt (straight Cs), Bucky fluttered only as far as the carriage house because no other address would suit. He sported head-to-toe Prada bought on quarterly pilgrimages to Neiman Marcus in Dallas, paid for by Granny Charbonneau. At the slightest perceived insult, Bucky would fly into rages, becoming so red-faced and spitty in the process that even those on the receiving end of his invective grew concerned for his health. During the holidays, Bucky would stand over the trash and drop in Christmas cards unopened while keeping mental score of who’d sent them. He never accepted a dinner invitation without first asking who else would be there. Bucky Fanning had never been known to write a thank-you note.

Between 1970 and 1971, the feminist movement made significant strides. In 1970, the Equal Rights Amendment was forced out of the House Judiciary Committee, where it had been stuck since 1948; the following year, it passed in the House of Representatives. In response to a sit-in led by Susan Brownmiller, Ladies' Home Journal published a feminist supplement on issues of concern to women. Time featured Sexual Politics author Kate Millett on its cover, and Ms., a feminist monthly, debuted as an insert in New York magazine. Even twelve members of a group with which Barbie had much in common—Transworld Airlines stewardesses—rose up, filing a multimillion-dollar sex discrimination suit against the airline. Surprisingly, Barbie didn't ignore these events as she had the Vietnam War; she responded. Her 1970 "Living" incarnation had jointed ankles, permitting her feet to flatten out. If one views the doll as a stylized fertility icon, Barbie's arched feet are a source of strength; but if one views her as a literal representation of a modern woman—an equally valid interpretation— her arched feet are a hindrance. Historically, men have hobbled women to prevent them from running away. Women of Old China had their feet bound in childhood; Arab women wore sandals on stilts; Palestinian women were secured at the ankles with chains to which bells were attached; Japanese women were wound up in heavy kimonos; and Western women were hampered by long, restrictive skirts and precarious heels. Given this precedent, Barbie's flattened feet were revolutionary. Mattel did not, however, promote them that way. Her feet were just one more "poseable" element of her "poseable" body. It was almost poignant. Barbie was at last able to march with her sisters; but her sisters misunderstood her and pushed her away.

Supertech Supernova Spira is a splendid, spectacular project located in Sector 94, Noida. This is the biggest in North India; having mixed use development spread over 5 million square feet (75 acres approx.) offering tallest buildings of 300 meters with 70% open area with each plot. The staggering 5 million sq ft of fabulous city redefines extravagance and has lavish living spaces which satisfy your desire to have an opulent home, high-tech offices that create awesome workplaces. It houses contemporary amenities and green living and stands out in the NCR. This iconic 80 storey tower has a Helipad, Observation Desk, Luxury Hotel, Serviced Suites, High End Luxury Apartments, Exclusive Club House, Sky Lounge and Bar, along with a panoramic never ending view and view of the bird sanctuary.

KIRKUS REVIEWS BOOK REVIEW A retired professor explores the life and writings of Carl Sandburg in this debut book. “During the first half of the twentieth century,” Quinley writes, “Carl Sandburg seemed to be everywhere and do everything.” Though best known for his Pulitzer Prize–winning poetry and multivolume biography of Abraham Lincoln, Sandburg had a wide-ranging career as a public intellectual, which included stints in journalism as a columnist and investigative reporter, in musicology as a leading advocate and performer of folk music, and in the nascent movie industry as a consultant and film critic. He also dabbled in political activism, children’s literature, and novels. Not only does Quinley, a retired college administrator and professor, hail Sandburg as a 20th-century icon (“If my grandpa asks you a question,” his grandchildren joke, “the answer is always Carl Sandburg”), but much of his own life has been adjacent to that of the poet as well. Born in Maywood, Illinois, a “few blocks” from Sandburg’s home 30 years prior, Quinley would eventually move to the Appalachian Mountains. He lived just a few miles from Sandburg’s famed residence in Hendersonville, North Carolina. As a docent for the Carl Sandburg Home National Historic Site, the author was often asked for literature about the luminary’s life. And though much has been written about Sandburg, biographies on the iconoclast are either out of print or are tomes with more than 800 pages. Eschewing comprehensiveness for brevity, Quinley seeks to fill this void in the literary world by offering readers a short introduction to Sandburg’s life and writings. At just 122 pages, this accessible book packs a solid punch, providing readers with not just the highlights of Sandburg’s life, but also a sophisticated analysis of his passions, poetry, and influence on American culture. This engaging approach that’s tailored to a general audience is complemented by an ample assortment of historical photographs. And while its hagiographic tone may annoy some readers, this slim volume is backed by more than 260 endnotes and delivers an extensive bibliography for readers interested in learning more about the 20th century’s “voice of America.” A well-written, concise examination of a literary legend Kirkus Indie, Kirkus Media LLC, 2600 Via Fortuna Suite 130 Austin, TX 78746 indie@kirkusreviews.com

I will give you NOTHING! Shall I tell you what I believe, Thagus?...I believe you are likewise trapped in the storm. I believe the Warp aided your pursuit of us, then cut you adrift in our wake, leaving you becalmed and with no idea why. I believe that the malignant essences we call Gods have brought us together in the heart of this storm to play out a game of kings and pawns, just to see where their favour should fall...I believe, most of all, that you are frightened of us. You fear us because despite your raving speeches that we are betraying the Legions, and despite your petty crusades to destroy us, we not only survive, but THRIVE. We grow with every conflict. The icons of the failed Legions are sheared from ever more suits of armour, and the colours of shame are eclipsed in numbers no other warband can match. You fear that we are right and you are wrong. You fear us, more than any other reason, because you had to chase us. Because we were here first. Because we are the ones on the verge of breaking free, despite all your attempts in these last decades to hinder us. We have been working towards this fate, while you have done nothing but seek to stop us. We've fought for true unity, all brothers beneath the black banner, while you've fought against it in the guise of preserving the old, failed ways. We, Thagus, have acted. You have reacted. And here we stand at our prison's edge. Even now you have no answers to give your men. Instead, you force this meeting with us, praying you can glean insight into our plans and scavenge victory through threats. You'll lose this war, Thagus. You'll lose because you desire the Gods' favour and you fear it falling upon anyone else.

Not every brand name will suit the same language-centric idea, but keep it in mind, because it’s one more tool to use when the time is right.

Now, I regarded my opponent carefully, as if we were sitting across from each other over a chessboard. Zagaev had a round head, a double chin that his beard obscured pretty well and bristly hair that couldn’t decide to be gray or less gray. His age, duBois had reported, was only forty-three. His head was large, his pallor anemic. He nervously gripped and ungripped his hands every few seconds. I knew this only because I heard the tinkle of cuffs behind his back. He wore a thick gold chain around his neck and an amulet on which was an unlikely icon. I was pretty sure it was Tsar Alexander II, who I knew from my studies was a moderate reformer—by absolute-ruler standards—in mid-nineteenth-century Russia. Still, it was curious that a Chechnyan would choose this particular image. Zagaev’s clothes were expensive, more than I could afford, more than I wanted to. His suit was cut from vibrant blue silk, the color of the sky in a child’s fantasy book. His snakeskin shoes glittered in the jarring overhead light. His sweat was repulsive; I could smell body odor and onions from across the table. I

Anita had a huge influence on the style of the times. She could put anything together and look good. I was beginning to wear her clothes most of the time. I would wake up and put on what was lying around. Sometimes it was mine, and sometimes it was the old lady’s, but we were the same size so it didn’t matter. If I sleep with someone, I at least have the right to wear her clothes. But it really pissed off Charlie Watts, with his walk-in cupboards of impeccable Savile Row suits, that I started to become a fashion icon for wearing my old lady’s clothes.

For Microsoft’s productivity applications, the break came when the world transitioned from text-based DOS applications to graphical user interfaces, in the mid-1980s. But as the industry shifted from text to graphical interfaces, it created an opening, as every application needed to be rewritten to support the new paradigm of dropdown menus, icons, toolbars, and the mouse. While Microsoft redesigned and rethought their applications, their competitors were too stuck in the old world, and so Word and Excel leapfrogged their competitors. Then in an ensuing stroke of product marketing genius, it was combined into the Microsoft Office suite, which promptly became a colossus. Much effort was put toward making each application within the suite work with each other. For example, an Excel chart would be embedded within a Microsoft Word document—this was called Object Linking and Embedding (OLE)—which made the combination of the products more powerful. In other words, the product really matters, and bundling can provide a huge distribution advantage, but it can only go so far. It’s an echo of what we now see in the internet age, where Twitter might drive users to its now-defunct livestreaming platform Periscope, or Google might push everyone to use Google Meet. It can work, but only when the product is great. This is part of why the concept of bundling as been around forever—the McDonald’s Happy Meal was launched in the 1970s, and cable companies have been bundling TV channels since their start. But at the heart of these bundling stories are important, iconic products that reinvent the market.

Lincoln was sent a letter by an eleven-year-old girl called Grace Bedell, in which she’d dissed his weird face and suggested he grow some whiskers if he wanted people’s votes. Lincoln did as he was told, and met her in her hometown a few months later, whispering: ‘Gracie, look at my whiskers. I have been growing them for you.’ It’s extraordinary that his iconic look was the result of a hilariously blunt child stylist.* However, though news of Lincoln’s new beard quickly spread, he didn’t immediately pose for an updated portrait, so newspaper artists were initially forced to improvise what they thought his bearded face looked like, making him a sort of e-fit president better suited to a ‘Wanted!’ poster.40

Joker Tattoos: Who Gets The Last Laugh? Every few years, interest in DC’s iconic character ‘Joker’ resurfaces. Sometimes it’s a new movie or comic that finds its way into the public sphere, shedding new light upon the twisted psyche of a character that has terrified Gotham and fans alike. Most recently, Joaquin Phoenix’s take on the role has gotten people talking – a lot! Other times, it might just be a guy in a clown suit terrorizing local towns, causing media outlets to run wild with theories on whether The Joker is a bad influence on the youth.

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.

With the arrival of TV and its iconic mosaic image, the everyday life situations began to seem very square, indeed. Al Capp suddenly found that his kind of distortion no longer worked. He felt that Americans had lost their power to laugh at themselves. He was wrong. TV simply involved everybody in everybody more deeply than before. This cool medium, with its mandate of participation in depth, required Capp to refocus the Li’l Abner image. His confusion and dismay were a perfect match for the feelings of those in every major American enterprise. From Life to General Motors, and from the classroom to the Executive Suite, a refocusing of aims and images to permit ever more audience involvement and participation has been inevitable. Capp said: “But now America has changed. The humorist feels the change more, perhaps, than anyone. Now there are things about America we can’t kid.

San Hironimo was a military commander. Some call him the ‘Jeanne d’Arc of Nippon’–a charismatic young leader who fought for justice but met martyrdom before his prime. Perhaps it was his military background that made the authorities decide his statue was better suited here than the Pietà. Funny, isn’t it? Symbols can so easily have their meaning changed over time. One generation’s icon of resistance becomes the next generation’s tool of authority. Michelangelo didn’t anticipate his Pietà would inspire rebellion, nor could San Hironimo imagine being glorified one day by a military dictatorship centuries after his death in a land he’d never set his eyes on.