Trademark Sayings And Quotes

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Hey, guys,” I say as we stop in front of them. “Have a good summer?” “I had an awesome summer,” Jack says with his trademark smirk. “I got together with the ex-girlfriend I dumped more than a year ago because I’m a miserable fuck who never stopped pining for her. Oh, wait, that was you, Holt, wasn’t it?
Leisa Rayven (Broken Juliet (Starcrossed, #2))
People are taking the piss out of you everyday. They butt into your life, take a cheap shot at you and then disappear. They leer at you from tall buildings and make you feel small. They make flippant comments from buses that imply you’re not sexy enough and that all the fun is happening somewhere else. They are on TV making your girlfriend feel inadequate. They have access to the most sophisticated technology the world has ever seen and they bully you with it. They are The Advertisers and they are laughing at you. You, however, are forbidden to touch them. Trademarks, intellectual property rights and copyright law mean advertisers can say what they like wherever they like with total impunity. Fuck that. Any advert in a public space that gives you no choice whether you see it or not is yours. It’s yours to take, re-arrange and re-use. You can do whatever you like with it. Asking for permission is like asking to keep a rock someone just threw at your head. You owe the companies nothing. Less than nothing, you especially don’t owe them any courtesy. They owe you. They have re-arranged the world to put themselves in front of you. They never asked for your permission, don’t even start asking for theirs.
Banksy
I receive letters from readers who lost money thinking they bought my series. I’m protecting them and that’s what trademarks are meant for.
Faleena Hopkins
You go first," Four says. Eric shrug. "Edward." Four leans against the door frame and nods. The moonlight makes his eyes bright. He scans the group of transfer initiates briefly, without calculation and says, "I want the Stiff." .... Heat rushes into my cheeks and I don't know whether to be angry at the people laughing at me or flattered by the fact that he chose me first. "Got something to prove?" asks Eric, with his trademark smirk. "Or you just picking the weak ones, so that if you lose, you'll have someone to blame it on?" Four shrugs. "Something like that." Angry. I should be angry. I scowl at my hands. Whatever Four's strategy is, it's based on the idea that I am weaker than the other initiates. And it gives me a bitter taste in my mouth. i have to prove him wrong-- I have to.
Veronica Roth (Divergent (Divergent, #1))
He shrugged happily. “Let’s make plaid, canvas and compasses my absolute trademarks. Dustin McHugh. All plaid. All canvas. All the time. And I’m never lost. What say you, dork judge?
Anne Eliot (Unmaking Hunter Kennedy)
You feel ownership over your creation, your invention, and your ideas. But if you don’t legally claim them, you’re donating them to the public—or to competitors. Say you’ve come up with a solution to a problem. Protecting that potentially valuable IP creates a limited monopoly to keep people out. It’s like zone defense in basketball. IP rights help you own your zone—your competitive space where no one else can score. If the best offense is a great defense, then no offense is the worst.
JiNan George (The IP Miracle: How to Transform Ideas into Assets that Multiply Your Business)
You are a beacon for us. One of the most powerful." "I'm not," I say softly. "Not anymore." Smiling, my grandmother presses my hand. "Always, Tamsin. Because of you, we have a future. That's why you will always be a beacon for us." Still holding my hand, she turns toward the house, toward the sound of laughter and music spilling out from the lit windows. Looking back at her, I mile, close my eye in her trademark wink, and say, "Ah.
Carolyn MacCullough (Always a Witch (Witch, #2))
In 1991, Disney forced a group of New Zealand parents in a remote country town to remove their amateur renditions of Pluto and Donald Duck from a playground mural; and Barney has been breaking up children's birthday parties across the U.S., claiming that any parent caught dressed in a purple dinosaur suit is violating its trademark. The Lyons Group, which owns the Barney character, "has sent 1,000 letters to shop owners" renting or selling the offending costumes. "They can have a dinosaur costume. It's when it's a purple dinosaur that it's illegal, and it doesn't matter what shade of purple, either," says Susan Elsner Furman, Lyons' spokesperson.
Naomi Klein (No Logo)
Indoors, the evening gets you’d say festive, with Maxine riding Horst for the better part of an hour, not that it’s anybody’s business of course, and coming a number of times, at last fiercely in sync with Horst, not long after which, owing to some extrasensory cue from the television, whose mute feature has been engaged, they surface from their post-orgy daze in time to witness Derek Jeter’s clutch tenth-inning homer and another trademark Yankee win. “Yes!” Horst beginning to scream in delighted disbelief. “And it better be Keanu Reeves in the biopic!
Thomas Pynchon (Bleeding Edge)
I think that the trademark of the Devil in this world, is the awful rift between women. Women backbiting other women, women envying other women and so on and so forth. And then there is the telltale sign of God in this world, which is the intoxicating potion of joy that is concocted when a woman reaches out to another woman, when women will take an extra step, go an extra mile, or just go out of their way an inch for their fellow woman, regardless of the varying degrees of things we hold important such as beauty, intelligence, status and so on and so forth. Beautiful acts of God are seen in the kindness of women towards other women. And when I say this, I am also thinking about gay men in the same light.
C. JoyBell C.
Bwahahahahaha! Happy Halloweeeeen!” I turn away from the closet—where I was just in the process of trying to find a Halloween-esque outfit that’s not a costume because I fucking hate dressing up—and gawk at the creature gracing my doorway. I can’t make heads or tails of what Allie is wearing. All I see is a skintight blue bodysuit, lots of feathers, and…are those cat ears? I steal Allie’s trademark phrase by demanding, “What on God’s green planet are you supposed to be?” “I’m a cat-bird.” Then she gives me a look that says, uh-doy. “A cat bird? What is…okay…why?” “Because I couldn’t decide if I wanted to be a cat or a bird, so Sean was like, just be both, and I was like, you know what? Brilliant idea, boyfriend.” She grins at me. “I’m pretty sure he was being a smartass, but I decided to treat the suggestion as gospel.” I have to laugh. “He’s going to wish he suggested something less ridiculous, like sexy nurse, or sexy witch, or—” “Sexy ghost, sexy tree, sexy box of Kleenex.” Allie sighs. “Gee, let’s just throw the word sexy in front of any mundane noun and look! A costume! Because here’s the thing, if you want to dress like a ho-bag, why not just go as a ho-bag? You know what? I hate Halloween.
Elle Kennedy (The Deal (Off-Campus, #1))
Speaking of high-end shoe designers, in 2011 it was fascinating to see the design company of Christian Louboutin try to stop the company Yves Saint Laurent from producing high heels with red soles, claiming that Louboutin was the originator of the red sole. Louboutin lost, and I was glad. He was not the first person to paint a sole, and I am wary of patenting a color, like Tiffany blue. Why should we grant that entire history to Louboutin and say there are no predecessors and should be no successors?
Tim Gunn (Tim Gunn's Fashion Bible)
SOPHIE WASN’T SURE HOW LONG she sat there staring blankly at her empty doorway. Could’ve been minutes. Could’ve been hours. It didn’t matter. No amount of time was going to quiet the chaos in her head. All it did was raise a whole lot of terrifying questions. Because even if Ro was right about Keefe’s feelings—and Sophie decided she wanted to see what would happen—this was so much bigger than just the two of them. Like… What would Grady and Edaline think? Sophie still didn’t know if she was actually allowed to date—much less date That Boy. And even if she was, there would surely be all kinds of annoying new rules and restrictions to deal with. Plus, Edaline would probably follow them around with a sappy, embarrassing smile, and Grady would make them sit through a series of horrifying Dad Talks. And what would her friends say when they found out? There’d been a time when Sophie had wondered if Biana had a crush on Keefe—and even though it seemed like Biana had gotten over it… what if she hadn’t? Better question: How would Fitz react? Keefe was Fitz’s best friend—and Fitz’s temper could be… challenging. The possibilities for drama were endless. Sophie’s insides twisted into knots on top of knots as she imagined the awkward conversations. And the stares. And the gossip. There would be So. Much. Gossip. She wanted to hide just thinking about it—and Keefe would probably love the attention. Did that prove they weren’t compatible? Or was she just looking for an excuse because she was scared? And why was she so scared? Keefe would honestly be… … … …a really awesome boyfriend. He was thoughtful. And supportive. And he could be incredibly sweet—when he was actually being serious instead of joking around with everybody. Though… maybe some of his jokes with her hadn’t just been teasing. Had some of it also been… flirting? If Ro were still there, she probably would’ve been nodding and shouting about the Great Foster Oblivion. And maybe she was right. Maybe Sophie had been too insecure to let herself see what was right in front of her. Or too distracted by her crush on Fitz. The last thought made her inner knots twist so much tighter. She’d liked Fitz for so long that she’d never even thought about liking someone else—and she was still trying to get over all of that. But… Did she want to risk missing out on something that might be… really great? Keefe’s face filled her mind, flashing his trademark smirk.
Shannon Messenger (Stellarlune (Keeper of the Lost Cities, #9))
ULTIMATE BETRAYALS: [OH GOODY—ANOTHER SECTION ON MOMMY DEAREST. WE GET IT. SHE’S CREEPY. I DIDN’T FIGURE IT OUT FAST ENOUGH, AND SHE USED ME FOR A WHILE. BUT THAT’S ALL DONE NOW, AND IT’S ONLY A MATTER OF TIME BEFORE I TAKE HER DOWN. LET’S MOVE ON, SHALL WE?] A FOOLISHLY DANGEROUS PLAN: [I SHOULD PROBABLY BE OFFENDED BY THAT TITLE. BUT… RUNNING OFF TO JOIN THE NEVERSEEN DEFINITELY WASN’T MY SMARTEST MOVE. I THOUGHT I COULD TAKE THEM DOWN FROM THE INSIDE. AND YEAH, IT PRETTY MUCH BACKFIRED.] [I DID LEARN SOME STUFF, THOUGH!] [SORT OF…] [I’M STILL PIECING IT ALL TOGETHER. I MEAN, I WOULDN’T DO IT AGAIN OR RECOMMEND IT TO ANYONE ELSE OR ANYTHING (HEAR THAT, BANGS BOY???), BUT IT WASN’T A TOTAL WASTE.] [OKAY, MAYBE IT WAS.] A WAY WITH ALICORNS: [IT’S TRUE. GLITTER BUTT LOVES ME.] [SAY IT WITH ME: KEEFE! KEEFE! KEEFE!] EMOTIONAL SUPPORT STUFFED ANIMAL: [YOU GUYS MADE AN OFFICIAL RECORD ABOUT MRS. STINKBOTTOM???? I CAN’T DECIDE IF THAT’S AWESOME, OR REALLY, REALLY SAD.…] [SAD FOR YOU GUYS—NOT ME. SLEEPING WITH A STUFFED ANIMAL IS THE BEST. YOU SHOULD TRY IT SOMETIME!] [ALSO: DOES THIS MEAN FITZY HAS A SECTION ON HIS SPARKLY RED DRAGON SNUGGLE BUDDY????????] A MERCADIR—WITH THE SCARS TO PROVE IT: [EESH—THANK GOODNESS I CAN REDACT THIS. I REALLY DON’T NEED ANYONE REMINDING FOSTER HOW MAD SHE WAS AT ME. THE POINT IS: I BEAT THE OGRE KING IN A SPARRING MATCH. I DOUBT EVEN GIGANTOR COULD DO THAT!] FINAL NOTE: [WHY IS THERE NOT A SECTION ON MY AMAZING HAIR????] [HERE, LET ME FIX THAT FOR YOU!] [IT’S DIFFICULT TO DESCRIBE THE ABSOLUTE PERFECTION OF KEEFE’S TRADEMARK HAIRSTYLE. COUNTLESS OTHERS HAVE TRIED TO EMULATE IT, BUT THEY’VE ALL FAILED. THERE CAN ONLY BE ONE LORD HUNKYHAIR. IT’S A RESPONSIBILITY THAT MUST BE TAKEN SERIOUSLY!] [HUNKYHAIR → OUT]
Shannon Messenger (Unlocked (Keeper of the Lost Cities, #8.5))
Then it was horn time. Time for the big solo. Sonny lifted the trumpet - One! Two! - He got it into sight - Three! We all stopped dead. I mean we stopped. That wasn't Sonny's horn. This one was dented-in and beat-up and the tip-end was nicked. It didn't shine, not a bit. Lux leaned over-you could have fit a coffee cup into his mouth. "Jesus God," he said. "Am I seeing right?" I looked close and said: "Man, I hope not." But why kid? We'd seen that trumpet a million times. It was Spoof's. Rose-Ann was trembling. Just like me, she remembered how we'd buried the horn with Spoof. And she remembered how quiet it had been in Sonny's room last night... I started to think real hophead thoughts, like - where did Sonny get hold of a shovel that late? and how could he expect a horn to play that's been under the ground for two years? and - That blast got into our ears like long knives. Spoof's own trademark! Sonny looked caught, like he didn't know what to do at first, like he was hypnotized, scared, almighty scared. But as the sound came out, rolling out, sharp and clean and clear - new-trumpet sound - his expression changed. His eyes changed: they danced a little and opened wide. Then he closed them, and blew that horn. Lord God of the Fishes, how he blew it! How he loved it and caressed it and pushed it up, higher and higher and higher. High C? Bottom of the barrel. He took off, and he walked all over the rules and stamped them flat. The melody got lost, first off. Everything got lost, then, while that horn flew. It wasn't only jazz; it was the heart of jazz, and the insides, pulled out with the roots and held up for everybody to see; it was blues that told the story of all the lonely cats and all the ugly whores who ever lived, blues that spoke up for the loser lamping sunshine out of iron-gray bars and every hop head hooked and gone, for the bindlestiffs and the city slicers, for the country boys in Georgia shacks and the High Yellow hipsters in Chicago slums and the bootblacks on the corners and the fruits in New Orleans, a blues that spoke for all the lonely, sad and anxious downers who could never speak themselves... And then, when it had said all this, it stopped and there was a quiet so quiet that Sonny could have shouted: 'It's okay, Spoof. It's all right now. You get it said, all of it - I'll help you. God, Spoof, you showed me how, you planned it - I'll do my best!' And he laid back his head and fastened the horn and pulled in air and blew some more. Not sad, now, not blues - but not anything else you could call by a name. Except... jazz. It was Jazz. Hate blew out of that horn, then. Hate and fury and mad and fight, like screams and snarls, like little razors shooting at you, millions of them, cutting, cutting deep... And Sonny only stopping to wipe his lip and whisper in the silent room full of people: 'You're saying it, Spoof! You are!' God Almighty Himself must have heard that trumpet, then; slapping and hitting and hurting with notes that don't exist and never existed. Man! Life took a real beating! Life got groined and sliced and belly-punched and the horn, it didn't stop until everything had all spilled out, every bit of the hate and mad that's built up in a man's heart. ("Black Country")
Charles Beaumont (American Fantastic Tales: Terror and the Uncanny from the 1940s to Now)
Young has a personal relationship with electricity. In Europe, where the electrical current is sixty cycles, not fifty, he can pinpoint the fluctuation --- by degrees. It dumbfounded Cragg. "He'll say, 'Larry, there's a hundred volts coming out of the wall, isn't there?' I'll go measure it, and yeah, sure --- he can hear the difference." Shakey's innovations are everywhere. Intent on controlling amp volume from his guitar instead of the amp, Young had a remote device designed called the Whizzer. Guitarists marvel at the stomp box that lies onstage at Young's feet: a byzantine gang of effects that can be utilized without any degradation to the original signal. Just constructing the box's angular red wooden housing to Young's extreme specifications had craftsmen pulling their hair out. Cradled in a stand in front of the amps is the fuse for the dynamite, Young's trademark ax--Old Black, a '53 Gold Top Les Paul some knot-head daubed with black paint eons ago. Old Black's features include a Bigsby wang bar, which pulls strings and bends notes, and Firebird picking so sensitive you can talk through it. It's a demonic instrument. "Old black doesn't sound like any other guitar," said Cragg, shaking his head. For Cragg, Old Black is a nightmare. Young won't permit the ancient frets to be changed, likes his strings old and used, and the Bigsby causes the guitar to go out of tune constantly. "At Sound check, everything will work great. Neil picks up the guitar, and for some reason that's when things go wrong.
Jimmy McDonough (Shakey: Neil Young's Biography)
Sometimes I imagine meeting the guy who designs raingear that can be neither donned nor doffed when wet. We both roll up at a gas station at about the same time. Of course, it’s raining. When I figure out what he does for a job, rain gear designer, or whatever, I stop him right there by holding up an index finger. “Just wait a minute,” I say. Then I struggle to remove a waterlogged glove, shaking my head and laughing a bit because I know what’s coming next. Holding the glove by the cuff, I soggy-slap him in the face. “That’s a sloggy!” I’d say (trademark), and I’d deliver it on behalf of us all.
Lois Pryce (Motorcycle Messengers: Tales from the Road by Writers who Ride.)
I walk down the very stairs on which they say the first rabbi’s only daughter was pushed to her death, and in her womb the child who stood to inherit the coveted Satmar dynasty, which others already had their eye on, was killed only weeks before he was expected to be born. I hate taking those steps on my own. I can feel her, Roize, the rabbi’s only, precious daughter, standing there with her large pregnant stomach, watching me with those trademark Teitelbaum eyes. Her pain lives within me. Unlike the others, I cannot forget. That was when Satmar was still a young community, hardly worth fighting over. Now the current rabbi’s sons are squabbling like children over a plastic throne. Where, I wonder, is the brotherly love that God commanded Jews to feel for each other, now, in this community that calls itself holy?
Deborah Feldman (Unorthodox: The Scandalous Rejection of My Hasidic Roots)
The communists didn’t release their grip until the late 1980s. Effective organisation kept them in power for eight long decades, and they eventually fell due to defective organisation. On 21 December 1989 Nicolae Ceaus¸escu, the communist dictator of Romania, organised a mass demonstration of support in the centre of Bucharest. Over the previous months the Soviet Union had withdrawn its support from the eastern European communist regimes, the Berlin Wall had fallen, and revolutions had swept Poland, East Germany, Hungary, Bulgaria and Czechoslovakia. Ceaus¸escu, who had ruled Romania since 1965, believed he could withstand the tsunami, even though riots against his rule had erupted in the Romanian city of Timis¸oara on 17 December. As one of his counter-measures, Ceaus¸escu arranged a massive rally in Bucharest to prove to Romanians and the rest of the world that the majority of the populace still loved him – or at least feared him. The creaking party apparatus mobilised 80,000 people to fill the city’s central square, and citizens throughout Romania were instructed to stop all their activities and tune in on their radios and televisions. To the cheering of the seemingly enthusiastic crowd, Ceauşescu mounted the balcony overlooking the square, as he had done scores of times in previous decades. Flanked by his wife, Elena, leading party officials and a bevy of bodyguards, Ceaus¸escu began delivering one of his trademark dreary speeches. For eight minutes he praised the glories of Romanian socialism, looking very pleased with himself as the crowd clapped mechanically. And then something went wrong. You can see it for yourself on YouTube. Just search for ‘Ceauşescu’s last speech’, and watch history in action.20 The YouTube clip shows Ceaus¸escu starting another long sentence, saying, ‘I want to thank the initiators and organisers of this great event in Bucharest, considering it as a—’, and then he falls silent, his eyes open wide, and he freezes in disbelief. He never finished the sentence. You can see in that split second how an entire world collapses. Somebody in the audience booed. People
Yuval Noah Harari (Homo Deus: A History of Tomorrow)
Thanks.” “For what?” “For everything.” I shrug and my smile wobbles a little. “Thanks for talking me into taking this trip instead of staying home and wallowing in self-pity. For sticking by my side, but also giving me space. For…being my best friend.” She gives the impression of being cool, clipped, controlled, but deep down Fanny is a smushy-mushy sentimental marshmallow. She grabs me and gives me a fierce hug. “It’s just my time,” she finally says, pulling away. “You know?” I shake my head. I don’t know. “Being best friends is like playing baseball. Right now, it’s my turn to step up to the plate and carry the team.” She lifts her chin and looks up at me with her trademark confidence. “Don’t worry. Your time at bat will come.” “I hope I will carry the team as well as you have.” “You will.” “Wait!” I laugh. “Did you just make a baseball analogy?” “Yeah. So?” “The Americanization of Fanny is complete.” I stroke my chin and chuckle maniacally. “Funny!” Fanny snaps. “I don’t think so!” “It starts with reality television binges and baseball analogies. Soon, you’ll be forgoing French chocolate for Hershey’s bars and baguettes for Wonder Bread.
Leah Marie Brown (Faking It (It Girls, #1))
And so, when I tell stories today about digital transformation and organizational agility and customer centricity, I use a vocabulary that is very consistent and very refined. It is one of the tools I have available to tell my story effectively. I talk about assumptions. I talk about hypotheses. I talk about outcomes as a measure of customer success. I talk about outcomes as a measurable change in customer behavior. I talk about outcomes over outputs, experimentation, continuous learning, and ship, sense, and respond. The more you tell your story, the more you can refine your language into your trademark or brand—what you’re most known for. For example, baseball great Yogi Berra was famous for his Yogi-isms—sayings like “You can observe a lot by watching” and “When you come to a fork in the road, take it.” It’s not just a hook or catchphrase, it helps tell the story as well. For Lean Startup, a best-selling book on corporate innovation written by Eric Ries, the words were “build,” “measure,” “learn.” Jeff Patton, a colleague of mine, uses the phrase “the differences that make a difference.” And he talks about bets as a way of testing confidence levels. He’ll ask, “What will you bet me that your idea is good? Will you bet me lunch? A day’s pay? Your 401(k)?” These words are not only their vocabulary. They are their brand. That’s one of the benefits of storytelling and telling those stories continuously. As you refine your language, the people who are beginning to pay attention to you start adopting that language, and then that becomes your thing.
Jeff Gothelf (Forever Employable: How to Stop Looking for Work and Let Your Next Job Find You)
It's hard to form a lasting connection when your permanent address is an eight-inch mailbox in the UPS store. Still,as I inch my way closer, I can't help the way my breath hitches, the way my insides thrum and swirl. And when he turns,flashing me that slow, languorous smile that's about to make him world famous,his eyes meeting mine when he says, "Hey,Daire-Happy Sweet Sixteen," I can't help but think of the millions of girls who would do just about anything to stand in my pointy blue babouches. I return the smile, flick a little wave of my hand, then bury it in the side pocket of the olive-green army jacket I always wear. Pretending not to notice the way his gaze roams over me, straying from my waist-length brown hair peeking out from my scarf, to the tie-dyed tank top that clings under my jacket,to the skinny dark denim jeans,all the way down to the brand-new slippers I wear on my feet. "Nice." He places his foot beside mine, providing me with a view of the his-and-hers version of the very same shoe. Laughing when he adds, "Maybe we can start a trend when we head back to the States.What do you think?" We. There is no we. I know it.He knows it.And it bugs me that he tries to pretend otherwise. The cameras stopped rolling hours ago, and yet here he is,still playing a role. Acting as though our brief, on-location hookup means something more. Acting like we won't really end long before our passports are stamped RETURN. And that's all it takes for those annoyingly soft girly feelings to vanish as quickly as a flame in the rain. Allowing the Daire I know,the Daire I've honed myself to be, to stand in her palce. "Doubtful." I smirk,kicking his shoe with mine.A little harder then necessary, but then again,he deserves it for thinking I'm lame enough to fall for his act. "So,what do you say-food? I'm dying for one of those beef brochettes,maybe even a sausage one too.Oh-and some fries would be good!" I make for the food stalls,but Vane has another idea. His hand reaches for mine,fingers entwining until they're laced nice and tight. "In a minute," he says,pulling me so close my hip bumps against his. "I thought we might do something special-in honor of your birthday and all.What do you think about matching tattoos?" I gape.Surely he's joking. "Yeah,you know,mehndi. Nothing permanent.Still,I thought it could be kinda cool." He arcs his left brow in his trademark Vane Wick wau,and I have to fight not to frown in return. Nothing permanent. That's my theme song-my mission statement,if you will. Still,mehndi's not quite the same as a press-on. It has its own life span. One that will linger long after Vane's studio-financed, private jet lifts him high into the sky and right out of my life. Though I don't mention any of that, instead I just say, "You know the director will kill you if you show up on set tomorrow covered in henna." Vane shrugs. Shrugs in a way I've seen too many times, on too many young actors before him.He's in full-on star-power mode.Think he's indispensable. That he's the only seventeen-year-old guy with a hint of talent,golden skin, wavy blond hair, and piercing blue eyes that can light up a screen and make the girls (and most of their moms) swoon. It's a dangerous way to see yourself-especially when you make your living in Hollywood. It's the kind of thinking that leads straight to multiple rehab stints, trashy reality TV shows, desperate ghostwritten memoirs, and low-budget movies that go straight to DVD.
Alyson Noel (Fated (Soul Seekers, #1))
He could mentally picture, in great detail, some of the grand, intricately detailed pastries and cakes Lani had constructed at Gateau. Her inspired creations had drawn raves. She hadn't been a Beard nominee during her first year of eligibility for nothing. She'd worked tirelessly to perfect even the tiniest detail, not because the client- or an awards committee- would have noticed, but because it mattered to her that each effort be her best. In fact, it was her work ethic and dedication that had first caught his attention. She wasn't a grandstander, like most with her natural ability, behaving in whatever manner it took to stick out and be noticed. She let her work speak for her. And speak it did. It fairly shouted, in fact. Once he'd noticed, he couldn't help being further captivated by how different her demeanor was from most budding chefs. Bravado, with a healthy dose of self-confidence bordering on arrogance, was a trademark of the profession. Some would say it was a requirement. Leilani's quiet charm, and what he'd come to describe as her relentless calm and ruthless optimism had made an indelible mark on him. She wasn't like any baker he'd ever met, much less any top-notch chef. She cared, she labored- hard- and she lived, breathed, ate, and slept food, as any great chef did. But she was never frantic, never obsessed, never... overwrought, as most great chefs were. That teetering-off-the-cliff verve was the atmosphere he'd lived in, thrived on, almost his entire life. Leilani had that same core passion in spades, but it resided in a special place inside her. She simply allowed it to flow outward, like a quietly rippling stream, steady and true. As even the gentlest flowing stream could wear away the sturdiest stone, so had Leilani worn down any resistance he'd tried to build up against her steady charm... and she'd done it without even trying.
Donna Kauffman (Sugar Rush (Cupcake Club #1))
Taking quick looks behind him on the trail, Lew Basnight was apt to see things that weren’t necessarily there. Mounted figure in a black duster and hat, always still, turned sidewise in the hard, sunlit distance, horse bent to the barren ground. No real beam of attention, if anything a withdrawal into its own lopsided star-shaped silhouette, as if that were all it had ever aspired to. It did not take long to convince himself that the presence behind him now, always just out of eyeball range, belonged to one and the same subject, the notorious dynamiter of the San Juans known as the Kieselguhr Kid. The Kid happened to be of prime interest to White City Investigations. Just around the time Lew was stepping off the train at the Union Station in Denver, and the troubles up in the Coeur d’Alene were starting to bleed over everywhere in the mining country, where already hardly a day passed without an unscheduled dynamite blast in it someplace, the philosophy among larger, city-based detective agencies like Pinkerton’s and Thiel’s began to change, being as they now found themselves with far too much work on their hands. On the theory that they could look at their unsolved cases the way a banker might at instruments of debt, they began selling off to less-established and accordingly hungrier outfits like White City their higher-risk tickets, including that of the long-sought Kieselguhr Kid. It was the only name anybody seemed to know him by, “Kieselguhr” being a kind of fine clay, used to soak up nitroglycerine and stabilize it into dynamite. The Kid’s family had supposedly come over as refugees from Germany shortly after the reaction of 1849, settling at first near San Antonio, which the Kid-to-be, having developed a restlessness for higher ground, soon left, and then after a spell in the Sangre de Cristos, so it went, heading west again, the San Juans his dream, though not for the silver-mine money, nor the trouble he could get into, both of those, he was old enough by then to appreciate, easy enough to come by. No, it was for something else. Different tellers of the tale had different thoughts on what. “Don’t carry pistols, don’t own a shotgun nor a rifle—no, his trade-mark, what you’ll find him packing in those tooled holsters, is always these twin sticks of dynamite, with a dozen more—” “Couple dozen, in big bandoliers across his chest.” “Easy fellow to recognize, then.” “You’d think so, but no two eyewitnesses have ever agreed. It’s like all that blasting rattles it loose from everybody’s memory.” “But say, couldn’t even a slow hand just gun him before he could get a fuse lit?” “Wouldn’t bet on it. Got this clever wind-proof kind of striker rig on to each holster, like a safety match, so all’s he has to do’s draw, and the ‘sucker’s all lit and ready to throw.” “Fast fuses, too. Some boys down the Uncompahgre found out about that just last August, nothin left to bury but spurs and belt buckles. Even old Butch Cassidy and them’ll begin to coo like a barn full of pigeons whenever the Kid’s in the county.” Of course, nobody ever’d been sure about who was in Butch Cassidy’s gang either. No shortage of legendary deeds up here, but eyewitnesses could never swear beyond a doubt who in each case, exactly, had done which, and, more than fear of retaliation—it was as if physical appearance actually shifted, causing not only aliases to be inconsistently assigned but identity itself to change. Did something, something essential, happen to human personality above a certain removal from sea level? Many quoted Dr. Lombroso’s observation about how lowland folks tended to be placid and law-abiding while mountain country bred revolutionaries and outlaws. That was over in Italy, of course. Theorizers about the recently discovered subconscious mind, reluctant to leave out any variable that might seem helpful, couldn’t avoid the altitude, and the barometric pressure that went with it. This was spirit, after all.
Thomas Pynchon (Against the Day)
We know the economics of these startups,” Eb says. “We begin with nothing but the idea. That’s what the NDA is for—to protect your idea. We work on the idea together—put our brainpower into it—and get stock in return. The result of this work is software. The software is copyrightable, trademarkable, perhaps patentable. It is intellectual property. It is worth some money. We all own it in common, through our shares. Then we sell some more shares to an investor. We use the money to hire more people and turn it into a product, to market it, and so on. That’s how the system works,
Neal Stephenson (Cryptonomicon)
Okay,” he says, nodding. Then he looks past me, meeting Maddoc’s eyes with his trademark lazy grin back in place and a hint of a challenge in his bright green eyes. “So much for none of us fucking her.” “And this is why,” Maddoc growls. “It’s a fucking distraction. She kissed me to divert my attention. Got me to fuck her so she could try to kill me.” “Kill you?” Dante asks, looking down at me with a flash of surprise on his face. I lift my chin in defiance and he quickly covers up his real expression with the laid-back mask he wears so often and so well, dragging his eyes back up to meet Maddoc’s. “If she tried to kill you,” he drawls, “it sounds like you were doing it wrong, Madd.” A teasing smile hovers around Dante’s lips, but it doesn’t quite reach his eyes.
Callie Rose (Pretty Wicked Secrets (Ruthless Hearts, #2))
His name is C. J. Skender, and he is a living legend. Skender teaches accounting, but to call him an accounting professor doesn’t do him justice. He’s a unique character, known for his trademark bow ties and his ability to recite the words to thousands of songs and movies on command. He may well be the only fifty-eight-year-old man with fair skin and white hair who displays a poster of the rapper 50 Cent in his office. And while he’s a genuine numbers whiz, his impact in the classroom is impossible to quantify. Skender is one of a few professors for whom Duke University and the University of North Carolina look past their rivalry to cooperate: he is in such high demand that he has permission to teach simultaneously at both schools. He has earned more than two dozen major teaching awards, including fourteen at UNC, six at Duke, and five at North Carolina State. Across his career, he has now taught close to six hundred classes and evaluated more than thirty-five thousand students. Because of the time that he invests in his students, he has developed what may be his single most impressive skill: a remarkable eye for talent. In 2004, Reggie Love enrolled in C. J. Skender’s accounting class at Duke. It was a summer course that Love needed to graduate, and while many professors would have written him off as a jock, Skender recognized Love’s potential beyond athletics. “For some reason, Duke football players have never flocked to my class,” Skender explains, “but I knew Reggie had what it took to succeed.” Skender went out of his way to engage Love in class, and his intuition was right that it would pay dividends. “I knew nothing about accounting before I took C. J.’s class,” Love says, “and the fundamental base of knowledge from that course helped guide me down the road to the White House.” In Obama’s mailroom, Love used the knowledge of inventory that he learned in Skender’s class to develop a more efficient process for organizing and digitizing a huge backlog of mail. “It was the number-one thing I implemented,” Love says, and it impressed Obama’s chief of staff, putting Love on the radar. In 2011, Love left the White House to study at Wharton. He sent a note to Skender: “I’m on the train to Philly to start the executive MBA program and one of the first classes is financial accounting—and I just wanted to say thanks for sticking with me when I was in your class.
Adam M. Grant (Give and Take: Why Helping Others Drives Our Success)
Before she could say a word or throw herself in front of the oncoming disaster that was quickly becoming her life, a nude, Adonis-inspired statue slid down the ramp of the truck, landing gracefully on her lawn with a small thud. “Oh my,” Nora sighed with an expression of sheer appreciation. “Isn’t that an eyeful?” Eyeful indeed. Standing well over six feet tall, and except for the embellished bulge and generous amount of hair, the marble statue was a spot-on replica of her ex. Even down to the smarmy smile and trademarked wink.
Marina Adair (From the Moment We Met (St. Helena Vineyard, #5))
Though she looks slightly stunned, she gives me her trademark smile: small, grim, determined. “I’m fine,” she says. Just as, from behind her, a pair of talons grasp her head— And twist. The crack shoots through the room. There is no blood. No gore. Only an abrupt dimming of light in those astute, tawny eyes, and the off-kilter tilt of Chenna’s lovely head on her broken neck. Blood pumps in my ears as I lift my gaze to meet Madam Himura’s piercing yellow eyes. She’s incensed, her feathers sticking on end. She drops Chenna unceremoniously—and comes for me.
Natasha Ngan (Girls of Fate and Fury (Girls of Paper and Fire, #3))
© INCARNATES I recommend that you should read these books too. ‘Minecraft Ninja’ series tells about the adventures of Steve and ‘Minecraft Agent’ series tells about the adventures of Jack. As this book is a clash of both these series, you will relate better tothe characters. It will help.☺ NINJA SERIES If you haven’t read the first FOUR books, grab THEM before starting this one. Otherwise, you’ll be confused. GRAB THEM FREE WITH KINDLE UNLIMITED SUBSCRIPTION OTHER SERIES BY ME AGENT SERIES GRAB THEM FREE WITH KINDLE UNLIMITED SUBSCRIPTION!! All rights reserved. No part of this work may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any informational storage and retrieval system, without the prior permission of the publisher. This book is in no way authorized by, endorsed by, or affiliated with Minecraft or its subsidiaries. All references to Minecraft and other trademarked properties are used in accordance with the Fair use of Doctrine and are not meant to imply that this book is a Minecraft product for advertising or other commercial purposes. TABLE OF CONTENTS Chapter 1 – History Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 DON’T WAIT ONE WORD Chapter 1 – History Before you go any further,Just to say thank you for purchasing this book, I want to give you a FREE gift, a great, adventurous and an action pack book for you.
Alex Anderson (Minecraft: Battle of Legends Book 1 (An Unofficial Minecraft Book))
Medieval Armed Combat as Universal Metaphor and All-Purpose Protocol Interface Schema (MACUMAPPIS). Since Medieval Armed Combat was the oxygen they breathed, even mentioning it seemed gratuitous, so this got shortened to UMAPPIS and then, since the “metaphor” thing made some of the businesspeople itchy, it became APPIS, which they liked enough to trademark. And since APPIS was one letter away from APIS, which was the Latin word for bee, they then went on to create and trademark some bee- and hive-related logo art. As Corvallis patiently told Richard, it was all a kind of high-tech in-joke. In that world, API stood for “application programming interface,” which meant the software control panels that tech geeks slapped onto their technologies in order to make it possible for other tech geeks to write programs that made use of them. All of which was one or two layers of abstraction beyond the point where Richard could give a shit. “All I am trying to say with this memo,” he told Corvallis, “is that anyone who feels like it ought to be able to grab hold of our game by the technological short hairs and make it solve problems for them.” And Corvallis assured him that this was precisely synonymous with having an API and that everything else was just marketing. The problems Richard had in mind were not game- or even entertainment-related ones. Corporation 9592 had already covered as many of those bases as their most imaginative people could think of, and then they had paid lawyers to pore over the stuff that they’d thought of and extrapolate whole abstract categories of things that might be thought of later. And wherever they went, they found that the competition had been there five years earlier and patented everything that was patentable and, in one sense or another, pissed on everything that wasn’t. Which explained a lot about Phase 3.
Neal Stephenson (Reamde)
In Xenophon's summary of the allegory [Prodicus' "Choice of Heracles'' ] the young Heracles has sat down at a crossroads, not knowing which path to follow through life. As he sits deliberating, two women appear to him. Their physical appearance is a study in contrasts, and they are clearly villainness and heroine. Evil (Kakia) is overfed, plump, rouged, and all powdered up. She wears revealing clothes and is vain, viewing herself in a mirror and turning around to see if she is being admired. Virtue (Arete), on the other hand, wears simple white; her only adornments are purity, modesty, and temperance. These apparitions proceed to give speeches in praise of the life that they can give Heracles. Evil speaks first-an ominous choice, since in such debates, the first speaker typically loses. She offers Heracles a life of free, effortless pleasure. There will be no delights that he will not taste, no difficulties that he will not avoid. He need never worry about wars and affairs. All he need trouble himself about will be what food or drink to take; what to look at, hear, smell or touch for his pleasure; what partner he might enjoy, how he might sleep softest, and how he can obtain all these with the least toil (aponOtata). If ever there are shortages, he will not suffer ponos or hardship either in body or soul. Rather "you will enjoy those things that others work to produce, and you will not hold back from profiting everywhere." Evil tells Heracles her name, but adds confidentially that to her friends she is known as Happiness (Eudaimonia). Very different is the tone and substance of Virtue's argument. For while Evil would have Heracles live for himself alone and treat others as means to his self-gratification, Virtue begins by saying that she knows Heracles' parents and nature: Heracles must live up to his Olympian heritage. Therefore she will not deceive him with "hymns to pleasure." Evil's enticements are in fact contrary to the divine ordering, "for the gods have given men nothing good without ponos and diligence." There follows a series of emphatic verbal nouns to hammer home this truth: if you want divine favor, you must worship the gods; if you want to be admired, you must do good works for your friends; if you want to be honored, you must benefit your city and Greece; if you want the earth to bear crops, you must cultivate the land. Flocks require tending, war demands practice. And if you want strength (Heracles' trademark), you must accustom your body to serve your will, and you must train "with ponoi and sweat:' At this point, Evil bursts in to deplore such a harsh lifestyle. She is immediately silenced, however, as Virtue argues that duality is essential to a sense of fulfillment and even to pleasure itself. For paradoxically, ponos (pain, struggle) makes pleasure pleasurable. Evil's vision of happiness is one of continual and languid orgy-food without hunger, drink without thirst, sex without desire, sleep without weariness. But as experience shows, continual partying soon loses its zest, even if one goes so far as to cool expensive drinks "with snow" in summertime. By contrast, Virtue's own followers have no real trouble in satisfying their desires. They do so not by committing violence against others or living off others' labor, but by simply "holding off until they actually do desire" food or drink. Hunger is the best sauce, and it is free. Furthermore, Virtue appeals to Heracles' native idealism. What hedonists have ever accomplished any "fine work" (ergon kalon)? None, for no beautiful or divine deed is ever done "without me [Virtue] ." Therefore, wherever there are energetic, effective people, Virtue is present: she is a helper to craftsmen, a guard of the household, a partner in peacetime ponoi, an ally for the works (erga) of war, the best support of friendship. To choose Evil would be shameful and not even extremely pleasurable, while with Virtue one will lead the most varied and honorable life.
Will Desmond (The Greek Praise of Poverty: Origins of Ancient Cynicism)
In the Aeneid, Vergil depicts Cleopatra as a frenzied queen (regina) holding a rattle (sistrum).62 The rattle is a trademark attribute of the goddess Isis, and so, without saying it, Vergil linked the Egyptian queen with the goddess. Since the expulsion of the last king (rex) from Rome and the formation of the Republic in 509 BCE, rex, the sources tell us, was a loathed term as monarchy was a reviled form of government. The feminine form of rex is regina. Using regina in this passage, Vergil, without any need for elaboration, suggests deep aversion. This new Isis opposed the Roman gods, especially Apollo, whom Augustus chose as his guardian deity. In Vergil’s passage, Dionysian fury opposes Apollonian rationality; or Marc Antony’s excesses and un-Roman behavior stood in opposition to Augustus’ temperance and behavior grounded in the mos maiorum.
Sarolta A. Takács (Vestal Virgins, Sibyls, and Matrons: Women in Roman Religion)
1. After dark, stars glisten like ice, and the distance they span Hides something elemental. Not God, exactly. More like Some thin-hipped glittering Bowie-being—a Starman Or cosmic ace hovering, swaying, aching to make us see. And what would we do, you and I, if we could know for sure That someone was there squinting through the dust, Saying nothing is lost, that everything lives on waiting only To be wanted back badly enough? Would you go then, Even for a few nights, into that other life where you And that first she loved, blind to the future once, and happy? Would I put on my coat and return to the kitchen where my Mother and father sit waiting, dinner keeping warm on the stove? Bowie will never die. Nothing will come for him in his sleep Or charging through his veins. And he’ll never grow old, Just like the woman you lost, who will always be dark-haired And flush-faced, running toward an electronic screen That clocks the minutes, the miles left to go. Just like the life In which I’m forever a child looking out my window at the night sky Thinking one day I’ll touch the world with bare hands Even if it burns. 2. He leaves no tracks. Slips past, quick as a cat. That’s Bowie For you: the Pope of Pop, coy as Christ. Like a play Within a play, he’s trademarked twice. The hours Plink past like water from a window A/C. We sweat it out, Teach ourselves to wait. Silently, lazily, collapse happens. But not for Bowie. He cocks his head, grins that wicked grin. Time never stops, but does it end? And how many lives Before take-off, before we find ourselves Beyond ourselves, all glam-glow, all twinkle and gold? The future isn’t what it used to be. Even Bowie thirsts For something good and cold. Jets blink across the sky Like migratory souls. 3. Bowie is among us. Right here In New York City. In a baseball cap And expensive jeans. Ducking into A deli. Flashing all those teeth At the doorman on his way back up. Or he’s hailing a taxi on Lafayette As the sky clouds over at dusk. He’s in no rush. Doesn’t feel The way you’d think he feels. Doesn’t strut or gloat. Tells jokes. I’ve lived here all these years And never seen him. Like not knowing A comet from a shooting star. But I’ll bet he burns bright, Dragging a tail of white-hot matter The way some of us track tissue Back from the toilet stall. He’s got The whole world under his foot, And we are small alongside, Though there are occasions When a man his size can meet Your eyes for just a blip of time And send a thought like SHINE SHINE SHINE SHINE SHINE Straight to your mind. Bowie, I want to believe you. Want to feel Your will like the wind before rain. The kind everything simply obeys, Swept up in that hypnotic dance As if something with the power to do so Had looked its way and said: Go ahead.
Tracy K. Smith (Life on Mars: Poems)
His soft voice was his trademark and he had a saying: You can do more with a soft voice than a big stick.
Martina Cole (The Runaway)
Here is the tragedy of the thug. From all we know of his treatment of his own people, military and civilian, he is the perfect picture of the tyrant. His policy is not steady, but based on urgently felt desires of the moment. He has attacked on all sides. He has opportunistically killed communists. He has attacked Western interests. He has persecuted Kurds and Shiites, he has invaded Iran and Kuwait. It is all according to his momentary hopes and fears. There is no solid thing, no guiding principle other than tyrannical selfishness underlying his state. It is all false and rotten. And now he is surrounded and isolated. He is being used by Russia and China and yet, he is not really supported by them. As for his military prowess, he cannot hope to win any future war. In Zhuge Liang and Liu Ji's commentaries on Sun Tzu, eight kinds of decadence are listed for generals. "First is to be insatiably greedy." Look at Saddam's personal wealth, his many palaces, to see how closely he fits this description. "Second is to be jealous and envious of the wise and able." In Saddam's many purges the wise and able fell, leaving incompetent lackeys to run the army. "Third is to believe slanderers and make friends with the treacherous." His friendship treaty with Moscow and his belief in a Western conspiracy against the Arab world has landed him in a fatal fix. "Fourth is to assess others without assessing oneself." For Saddam, this is a psychological imperative. "Fifth is to be hesitant and indecisive." And what of his decisive recklessness? "Sixth is to be heavily addicted to wine and sex." Consider the behavior of Saddam's eldest son, Uday, who is known for rape as well as drunkenness. "Seventh is to be a malicious liar with a cowardly heart." Here we do not say that Saddam has a cowardly heart, but he lies all the same. "Eighth is to talk wildly, without courtesy." This was Saddam's trademark from the first.
J.R. Nyquist
I’ve also been pleasantly surprised how this proposition—the message that Jesus shows us what God is like—is often well received by those who don’t profess Christian faith. If I say, “God is love and Jesus was love incarnate,” no problem! Jesus is seldom the issue, even for a rabid, self-avowed ‘non-Christian’ such as satirist Bill Maher. His primary attacks are not against Jesus at all, but against Christians whose religion does violence in the name of the Prince of Peace. He castigates: If you’re a Christian that supports killing your enemy and torture, you have to come up with a new name for yourself. …‘Capping thy enemy’ is not exactly what Jesus would do. For almost two thousand years, Christians have been lawyering the Bible to try to figure out how ‘Love thy neighbor’ can mean ‘Hate thy neighbor.’ … Martin Luther King Jr. gets to call himself a Christian, because he actually practiced loving his enemies. And Gandhi was so f-ing Christian, he was Hindu. But if you’re endorsing revenge, torture or war, …you cannot say you’re a follower of the guy who explicitly said, ‘Love your enemy’ and ‘Do good to those who hate you.’ … And not to put too fine a point on it, but nonviolence was kind of Jesus’ trademark—kind of his big thing. To not follow that part of it is like joining Greenpeace and hating whales. There’s interpreting, and then there’s just ignoring. It’s just ignoring if you’re for torture—as are more Evangelical* Christians than any other religion. You’re supposed to look at that figure of Christ on the Cross and think, “how could a man suffer like that and forgive?” … I’m a non-Christian. Just like most Christians. If you ignore every single thing Jesus commanded you to do, you’re not a Christian—you’re just auditing. You’re not Christ’s followers, you’re just fans. And if you believe the Earth was given to you to kick ass on while gloating, you’re not really a Christian—you’re a Texan.[3]
Bradley Jersak (A More Christlike God: A More Beautiful Gospel)
Did you get what you wanted?” I manage to ask through my shredded vocal cords. “You’re smuggling weapons,” Dain says slowly, searching my eyes. “Stealing our weapons to aid another kingdom?” My stomach sinks at my complete, absolute failure. Out of everything I showed him, that’s what he took? I wrench my gaze from his to look at Liam, memorizing the lines of his face and those trademark blue eyes. “I’m so sorry I failed you.” “You never failed me. Not once,” he whispers, shaking his head. “We pulled you into our war. If anyone’s sorry, it’s me.
Rebecca Yarros (Iron Flame (The Empyrean, #2))
The scientific project starts by rejecting the fantasy of infallibility and proceeding to construct an information network that takes error to be inescapable. Sure, there is much talk about the genius of Copernicus, Darwin, and Einstein, but none of them is considered faultless. They all made mistakes, and even the most celebrated scientific tracts are sure to contain errors and lacunae. Since even geniuses suffer from confirmation bias, you cannot trust them to correct their own errors. Science is a team effort, relying on institutional collaboration rather than on individual scientists or, say, a single infallible book. Of course, institutions too are prone to error. Scientific institutions are nevertheless different from religious institutions, inasmuch as they reward skepticism and innovation rather than conformity. Scientific institutions are also different from conspiracy theories, inasmuch as they reward self-skepticism. Conspiracy theorists tend to be extremely skeptical regarding the existing consensus, but when it comes to their own beliefs, they lose all their skepticism and fall prey to confirmation bias. The trademark of science is not merely skepticism but self-skepticism, and at the heart of every scientific institution we find a strong self-correcting mechanism. Scientific institutions do reach a broad consensus about the accuracy of certain theories—such as quantum mechanics or the theory of evolution—but only because these theories have managed to survive intense efforts to disprove them, launched not only by outsiders but by members of the institution itself.
Yuval Noah Harari (Nexus: A Brief History of Information Networks from the Stone Age to AI)