The Strokes Famous Quotes

It is a well-known established fact throughout the many-dimensional worlds of the multiverse that most really great discoveries are owed to one brief moment of inspiration. There's a lot of spadework first, of course, but what clinches the whole thing is the sight of, say, a falling apple or a boiling kettle or the water slipping over the edge of the bath. Something goes click inside the observer's head and then everything falls into place. The shape of DNA, it is popularly said, owes its discovery to the chance sight of a spiral staircase when the scientist‘s mind was just at the right receptive temperature. Had he used the elevator, the whole science of genetics might have been a good deal different. This is thought of as somehow wonderful. It isn't. It is tragic. Little particles of inspiration sleet through the universe all the time traveling through the densest matter in the same way that a neutrino passes through a candyfloss haystack, and most of them miss. Even worse, most of the ones that hit the exact cerebral target, hit the wrong one. For example, the weird dream about a lead doughnut on a mile-high gantry, which in the right mind would have been the catalyst for the invention of repressed-gravitational electricity generation (a cheap and inexhaustible and totally non-polluting form of power which the world in question had been seeking for centuries, and for the lack of which it was plunged into a terrible and pointless war) was in fact had by a small and bewildered duck. By another stroke of bad luck, the sight of a herd of wild horses galloping through a field of wild hyacinths would have led a struggling composer to write the famous Flying God Suite, bringing succor and balm to the souls of millions, had he not been at home in bed with shingles. The inspiration thereby fell to a nearby frog, who was not in much of a position to make a startling contributing to the field of tone poetry. Many civilizations have recognized this shocking waste and tried various methods to prevent it, most of them involving enjoyable but illegal attempts to tune the mind into the right wavelength by the use of exotic herbage or yeast products. It never works properly.

She raised herself up on an elbow, stroked my forehead & said in a hushed half-whisper, 'You will be famous.' "The seed was planted. Ambition fed on the compost of my vanity.

Smiling victoriously, he crushed me against his chest and kissed me again. This time, the kiss was bolder and playful. I ran my hands from his powerful shoulders, up to his neck, and pressed him close to me. When he pulled away, his face brightened with an enthusiastic smile. He scooped me up and spun me around the room, laughing. When I was thoroughly dizzy, he sobered and touched his forehead to mine. Shyly, I reached out to touch his face, exploring the angles of his cheeks and lips with my fingertips. He leaned into my touch like the tiger did. I laughed softly and ran my hands up into his hair, brushing it away from his forehead, loving the silky feel of it. I felt overwhelmed. I didn’t expect a first kiss to be so…life altering. In a few brief moments, the rule book of my universe had been rewritten. Suddenly I was a brand new person. I was as fragile as a newborn, and I worried that the deeper I allowed the relationship to progress, the worse that the deeper I allowed the relationship to progress, the worse it would be if Ren left. What would become of us? There was no way to know, and I realized what a breakable and delicate thing a heart was. No wonder I’d kept mine locked away. He was oblivious to my negative thoughts, and I tried to push them into the back of my mind and enjoy the moment with him. Setting me down, he briefly kissed me again and pressed soft kisses along my hairline and neck. Then, he gathered me into a warm embrace and just held me close. Stroking my hair while caressing my neck, he whispered soft words in his native language. After several moments, he sighed, kissed my cheek, and nudged me toward the bed. “Get some sleep, Kelsey. We both need some.” After one last caress on my cheek with the back of his fingers, he changed into his tiger form and lay down on the mat beside my bed. I climbed into bed, settled under my quilt, and leaned over to stroke his head. Tucking my other arm under my cheek, I softly said, “Goodnight, Ren.” He rubbed his head against my hand, leaned into it, and purred quietly. Then he put his head on his paws and closed his eyes. Mae West, a famous vaudeville actress, once said, “A man’s kiss is his signature.” I grinned to myself. If that was true, then Ren’s signature was the John Hancock of kisses.

Paul Broca, for example, was a famous French craniologist in the nineteenth century whose name is given to Broca’s area, the part of the frontal lobe involved in the generation of speech (which is wiped out in many stroke victims). Among his other interests, Broca used to measure brains, and he was always rather perturbed by the fact that the German brains came out a hundred grams heavier than French brains. So he decided that other factors, such as overall body weight, should also be taken into account when measuring brain size: this explained the larger Germanic brains to his satisfaction. But for his prominent work on how men have larger brains than women, he didn’t make any such adjustments. Whether by accident or by design, it’s a kludge.

Some settlers began with no implements but an ax. In conversation, the subject of axes--their ideal weight, their proper helves--was more popular than politics or religion. A man who made good axes, who knew the secrets of tempering the steel and getting the center of gravity right, received the celebrity of an artist and might act accordingly. The best ax maker in southern Indiana was "a dissolute, drunken genius, named Richardson." Men who really knew how to chop became famous, too. An ax blow requires the same timing of weight shift and wrist action as a golf swing, and as in golf those who where good at it taught others; sometimes all the men in one district learned their stroke from the same axman extraordinaire. A good stroke had a "sweetness" similar to the sound of a well-struck golf or tennis ball, and gave a satisfaction which moved the work along.

Shura,” she whispered, “don’t you see? Our baby is a sign from God.” “It is?” “Absolutely,” she said, her face sparkling. Suddenly Alexander understood. “That’s the radiance,” he exclaimed. “That’s why you’re like a flame walking through this hospital. It’s the baby!” “Yes,” she said. “This is what is meant for us. Think about Lazarevo—how many times did we make love in those twenty-nine days?” “I don’t know.” He smiled. “How many? How many zeros follow the twenty-nine?” She laughed quietly. “Two or three. We made love to wake the dead, and yet I didn’t get pregnant. You come to see me for one weekend, and here I am—how do you say, up the stick?” Alexander laughed loudly. “Thank you for that. But, Tania, I want to remind you, we did make love quite a bit that weekend, too.” “Yes.” They stared at each other for a silent, unsmiling moment. Alexander knew. They had both felt too close to death that gray weekend in Leningrad. And, yet, here it was— As if to confirm what he was thinking, Tatiana said, “This is God telling us to go. Can’t you feel that, too? He is saying, this is your destiny! I will not let anything happen to Tatiana, as long as she has Alexander’s baby inside her.” “Oh?” said Alexander, his hands tenderly stroking her stomach. “God is saying that, is He? Why don’t you tell that to the woman in the Ladoga truck with you and Dasha, holding her dead baby all the way from the barracks across to Kobona?” “I feel stronger now than ever,” Tatiana said, hugging him. “Where is your famous faith, big man?

In 1931, Kurt Godel proved in his famous second incompleteness theorem that there could be no finitary proof of the consistency of arithmetic. He had killed Hilbert's program with a single stroke. So should you be worried that all of mathematics might collapse tomorrow afternoon? For what it's worth, I'm not. I do believe in infinite sets, and I find the proofs of consistency that use infinite sets to be convincing enough to let me sleep at night.

Chapter 1 A lot of people lounge by pools in L.A., but few of them are truly immortal, no matter how hard they pretend with plastic surgery and exercise. Doyle was truly immortal and had been for over a thousand years. A thousand years of wars, assassinations, and political intrigue, and he’d been reduced to being eye candy in a thong bathing suit by the pool of the rich and famous. He lay at the edge of the pool, wearing almost nothing. Sunlight glittered across the blue, blue water of the pool. The light broke in a jagged dance across his body, as if some invisible hand stirred the light, turning it into a dozen tiny spotlights that coaxed Doyle’s dark body into colors I’d never known his skin could hold. He wasn’t black the way a human being is black, but more the way a dog is black. Watching the play of light on his skin, I realized I’d been wrong. His skin gleamed with blue highlights, a shine of midnight blue along the long muscular sweep of his calf, a flare of royal blue like a stroke of deep sky touched his back and shoulder. Purple to shame the darkest amethyst caressed his hip. How could I ever have thought his skin monochrome? He was a miracle of colors and light, strapped across a body that rippled and moved with muscles honed in wars fought centuries before I was born.

We arrived from New York after a daylong slog through airports and planes and traffic. It was 10: 00 p.m. local time, but my body had no idea if it was night or day. Krishna was hungry, so I found some leftover dosa batter in the kitchen and started making one for her. Next thing I knew, my grandmother was by my side, commandeering the griddle. “Let me do it,” she said. “You don’t know where anything is.” I insisted, but she won, even though by then she cooked with only one arm, the other still paralyzed from the stroke. Then my aunt Papu came in and yelped, “You’re making your grandma cook?” She was appalled. “It’s ten at night!” Papu took over, my grandmother wouldn’t leave, and my uncle Ravi entered the fray. “Look at you,” he said. “You’re supposed to be this famous food person and you’re making these women cook at ten o’clock!” I quickly remembered how it felt to live with so many people. Every move you make is scrutinized. You get up and it’s “Where are you going?” You come back and it’s “Why are you wearing that blouse? I like the other one better.” You walk outside and someone calls from the veranda, “Don’t go that way, there’s too much sun!” It was exasperating and suffocating and God, I had missed it.

        Godzilla’s famous roar is from a wild animal. Most movie monsters sounds are from animals. King Kong’s roar is an edited lion roar and Jurassic Park’s T-Rex roar is from the ferocious….walrus… huh… Godzilla has the most iconic roar. Strangely, it isn’t from an animal. Akira Ifukube came up with the idea for the sound by stroking a violin chord with a leather glove. I don’t know if Akira has waaaaay too much time on his hands or if he is a genius.

For ‘philosophical’ we can read ‘scientific’; and when he adds, ‘The philosophers are now endeavouring to intercept the strokes of lightning’, he is referring to the recent work of Benjamin Franklin, who famously flew his kite under a thundercloud to prove that lightning was a form of electricity. Johnson later encountered Franklin at a meeting of a charity called the Associates for Founding Clerical Libraries and Supporting Negro Schools. What passed between them we sadly do not know,

Rodolphe Salis was a tall, red-headed bohemian with a coppery beard and boundless charisma. He had tried and failed to make a success of several different careers, including painting decorations for a building in Calcutta. But by 1881 he was listless and creatively frustrated, uncertain where his niche might lie. More pressingly, he was desperate to secure a steady income. But then he had the ingenious idea to turn the studio which he rented, a disused post office on the resolutely working-class Boulevard de Rochechouart, into a cabaret with a quirky, artistic bent. He was not the first to attempt such a venture: La Grande Pinte on the Avenue Trudaine had been uniting artists and writers to discuss and give spontaneous performances for several years. But Salis was determined that his initiative would be different – and better. A fortuitous meeting ensured that it was. Poet Émile Goudeau was the founder of the alternative literary group the Hydropathes (‘water-haters’ – meaning that they preferred wine or beer). After meeting Goudeau in the Latin Quarter and attending a few of the group’s gatherings, Salis became convinced that a more deliberate form of entertainment than had been offered at La Grande Pinte would create a venue that was truly innovative – and profitable. The Hydropathe members needed a new meeting place, and so Salis persuaded Goudeau to rally his comrades and convince them to relocate from the Latin Quarter to his new cabaret artistique. They would be able to drink, smoke, talk and showcase their talents and their wit. Targeting an established group like the Hydropathes was a stroke of genius on Salis’s part. Baptising his cabaret Le Chat Noir after the eponymous feline of Edgar Allan Poe’s story, he made certain that his ready-made clientele were not disappointed. Everything about the ambience and the decor reflected Salis’s unconventional, anti-establishment approach, an ethos which the Hydropathes shared. A seemingly elongated room with low ceilings was divided in two by a curtain. The front section was larger and housed a bar for standard customers. But the back part of the room (referred to as ‘L’Institut’) was reserved exclusively for artists. Fiercely proud of his locality, Salis was adamant that he could make Montmartre glorious. ‘What is Montmartre?’ Salis famously asked. ‘Nothing. What should it be? Everything!’ Accordingly, Salis invited artists from the area to decorate the venue. Adolphe Léon Willette painted stained-glass panels for the windows, while Théophile-Alexandre Steinlen created posters. And all around, a disorientating mishmash of antiques and bric-a-brac gave the place a higgledy-piggledy feel. There was Louis XIII furniture, tapestries and armour alongside rusty swords; there were stags’ heads and wooden statues nestled beside coats of arms. It was weird, it was wonderful and it was utterly bizarre – the customers loved it.

In the late summer of 2010, I visit Nowak at his home in Falls Church, Virginia. He is soft-spoken, slightly built, and a little stooped with age. Nowak has a cerebral demeanor, and in a Louisiana accent that softens his r’s, he might tell you he was born in the “fawties.” We sit in his living room, which is decorated with tiny statues of forest animals. Every few minutes, he darts down the hall to his desk - above which hangs a famous photo of a black-phase red wolf from the Tensas River - to retrieve books, graphs, and papers for reference. More than a decade after his retirement, Nowak remains engrossed by discussions of red wolf origins. Deep in conversation about carnassial teeth, he dives to grab his wife’s shitzsu, Tommy, to show me what they look like, then he thinks better of it. (Tommy had eyed him warily.) He hands me a copy of his most recent publication, a 2002 paper from Southeastern Naturalist. “When I wrote this, I threw everything I had at the red wolf problem,” he says. “This was my best shot.” He thumps an extra copy onto the coffee table between us. After a very long pause, he gazes at it and adds: “I’m not sure I have anything left to offer.” This is hard to accept, considering everything he has invested in learning about the red wolf: few people have devoted more time to understanding red wolves than the man sitting across the coffee table from me, absentmindedly stroking his wife’s dog. Nowak grew up in New Orleans, and as an undergraduate at Tulane University in 1962, he became interested in endangered birds. While reading a book on the last ivory-billed woodpeckers in the swamps along the Tensas River, his eyes widened when he found references to wolves. “Wolves in Louisiana! My goodness, I thought wolves lived up on the tundra, in the north woods, going around chasing moose and people,” Nowak recalls. “I did not know a thing about them. But when I learned there were wolves in my home state, it got me excited.

For perhaps a quarter of an hour they stayed like that while he stroked her head, slender neck, and delicate ears. As he did, joy bubbled through him like a fountain of light, and his mind rang with the words of Elizabeth Barrett Browning's famous sonnet. How do I love thee? Let me count the ways....

Clinton administration’s famous policy of “triangulation,” its grand effort to minimize the differences between Democrats and Republicans on economic issues. Among the nation’s pundit corps “triangulation” has always been considered a stroke of genius, signaling the end of liberalism’s old-fashioned “class warfare” and also of the Democrats’ faith in “big government.” Clinton’s New Democrats, it was thought, had brought the dawn of an era in which all parties agreed on the sanctity of the free market. As political strategy, though, Clinton’s move to accommodate the right was the purest folly. It simply pulled the rug out from under any possible organizing effort on the left.

This simple fact of sculpture making is as true today (Jeff Koons, anyone?) as it was in the nineteenth century. But critics of the Marmorean Flock used it to raise the ageless trope against women artist: they are not the authors of their own works. Marmorean Flock member Harriet Hosmer railed against such spiteful ignorance: "We women-artists have no objection to its being known that we employ assistants; we merely object to its being supposed that it is a system peculiar to ourselves." Nearly all sculptors of the time used stonecutters and other artisans in executing their works. Except, not Lewis. She famously wielded the chisel herself. Early on she probably couldn't afford assistants, but she no doubt continued because as a woman of color she could not afford any hint of fraud.

While the Wichita Cons worked hard to build their movement, they would not have succeeded so extravagantly had it not been for the simultaneous suicide of the rival movement, the one that traditionally spoke for working-class people. I am referring, of course, to the Clinton administration’s famous policy of “triangulation,” its grand effort to minimize the differences between Democrats and Republicans on economic issues. Among the nation’s pundit corps “triangulation” has always been considered a stroke of genius, signaling the end of liberalism’s old-fashioned “class warfare” and also of the Democrats’ faith in “big government.” Clinton’s New Democrats, it was thought, had brought the dawn of an era in which all parties agreed on the sanctity of the free market. As political strategy, though, Clinton’s move to accommodate the right was the purest folly. It simply pulled the rug out from under any possible organizing effort on the left. While the Cons were busily polarizing the electorate, the Dems were meekly seeking the center.

Long years ago we made a tryst with destiny,” he famously declared, “and now the time comes when we shall redeem our pledge, not wholly or in full measure, but very substantially. At the stroke of the midnight hour, when the world sleeps, India will awake to life and freedom. A moment comes, which comes but rarely in history, when we step out from the old to the new, when an age ends, and when the soul of a nation, long suppressed, finds utterance.”30

After Joe Kennedy’s stroke in December 1961, Rose Kennedy and the rest of the family discovered Rosemary’s whereabouts and the strict rules Joe had set in place. Mrs. Kennedy was shaken by what she learned about her husband’s edicts. Although she grieved for her wheelchair-bound husband, she was shocked by his beliefs. Rosie’s safety had been an issue, of course—Rosemary was part of the rich and famous Kennedy family. But she was convinced that Rosemary deserved a more fulfilling life.

The dementia that is caused by the same vascular problems that lead to stroke is clearly affected by diet. In a publication from the famous Framingham Study, researchers conclude that for every three additional servings of fruits and vegetables a day, the risk of stroke will be reduced by 22%.73

Several of the filmʼs key sound effects were accomplished musically, the most famous being the monsterʼs roars, which went beyond the sound departmentʼs capabilities.  Various animal noises were recorded and modified but nothing worked until Ifukube came to the rescue by using a contrabass (basically a large bass fiddle); however the only one in existence in all Japan was at the prestigious Tokyo Music Conservatoryʼs Music Department which was not about to loan-out their precious instrument for the purpose of making a monster movie.  So one night Ifukube “borrowedˮ it, removed its lowest string, then had pupil Sei Ikuno stroke the remaining strings with a coarse leather glove coated with resin.  The sound was then tape-recorded before being played backwards at a slower speed supplemented with echo-chamber mixing, and the different roars were achieved by changing the playback speeds, giving the monster a melodic quality (the sound of the monster using its radioactive ray was a sped-up cymbal roll).