Vague Famous Quotes

There are objects made up of two sense elements, one visual, the other auditory—the colour of a sunrise and the distant call of a bird. Other objects are made up of many elements—the sun, the water against the swimmer's chest, the vague quivering pink which one sees when the eyes are closed, the feeling of being swept away by a river or by sleep. These second degree objects can be combined with others; using certain abbreviations, the process is practically an infinite one. There are famous poems made up of one enormous word, a word which in truth forms a poetic object, the creation of the writer. The fact that no one believes that nouns refer to an actual reality means, paradoxically enough, that there is no limit to the numbers of them.

But I didn't know where I wanted to go. Or what I wanted to do when I got there. I had dreams, but they were vague things with no real substance. I wanted to be famous, or really rich, or wildly successful, but that was as far as the dream went. My whole life was a fill-in-the-blank.

But I couldn't relate to this widely held notion of community. We hear the word community all the time. Often it sounds like wishful thinking. Queer community is just as vague - just piling a confusing identity onto an elusive concept. Maybe community, as Famous says, excludes inherently.

When you get famous, dinner isn’t food anymore; it’s twenty ounces of protein, ten ounces of carbohydrates, salt-free, fat-free, sugar-free fuel. This is a meal every two hours, six times a day. Eating isn’t about eating anymore. It’s about protein assimilation. It’s about cellular rejuvenation cream. Washing is about exfoliation. What used to be breathing is respiration. I’d be the first to congratulate anybody if they could do a better job of faking flawless beauty and delivering vague inspiring messages: Calm down. Everyone, breathe deep. Life is good. Be just and kind. Be the love.

Even if you are not a religious person by nature or training—even if you are an out-and-out skeptic—prayer can help you much more than you believe, for it is a practical thing. What do I mean, practical? I mean that prayer fulfills these three very basic psychological needs which all people share, whether they believe in God or not: 1. Prayer helps us to put into words exactly what is troubling us. We saw in Chapter 4 that it is almost impossible to deal with a problem while it remains vague and nebulous. Praying, in a way, is very much like writing our problems down on paper. If we ask help for a problem—even from God—we must put it into words. 2. Prayer gives us a sense of sharing our burdens, of not being alone. Few of us are so strong that we can bear our heaviest burdens, our most agonizing troubles, all by ourselves. Sometimes our worries are of so ultimate a nature that we cannot discuss them even with our closest relatives or friends. Then prayer is the answer. Any psychiatrist will tell us that when we are pent-up and tense, and in an agony of spirit, it is therapeutically good to tell someone our troubles. When we can’t tell anyone else—we can always tell God. 3. Prayer puts into force an active principle of doing. It’s a first step toward action. I doubt if anyone can pray for some fulfillment, day after day, without benefiting from it—in other words, without taking some steps to bring it to pass. The world-famous scientist, Dr. Alexis Carrel, said: “Prayer is the most powerful form of energy one can generate.” So why not make use of it? Call it God or Allah or Spirit—why quarrel with definitions as long as the mysterious powers of nature take us in hand?

Cinematographer.” Such an ornate term, yet still so vague. I often wonder if that’s to blame for how overlooked we are as a profession. Or even worse, that dry title, “Director of Photography.” But we are the true artists. A director may quite literally call the shots, but it is the cinematographer that makes them. We choose the angles, the lighting, pretty much everything that you see on the screen. The camera is a brush, and we are the hand, the arm, the eye. The director’s basically just the mouth, making pointless noise while the hand does the actual work. Almost every famous director that you know who has a distinctive visual style has simply managed to lock down a talented DoP.

They thought, or Peter at any rate thought, that she enjoyed imposing herself; liked to have famous people about her; great names; was simply a snob in short. Well, Peter might think so. Richard merely thought it foolish of her to like excitement when she knew it was bad for her heart. It was childish, he thought. And both were quite wrong. What she liked was simply life. “That's what I do it for," she said, speaking aloud, to life. ... But suppose Peter said to her, "Yes, yes, but your parties—what's the sense of your parties?" all she could say was (and nobody could be expected to understand): They're an offering; which sounded horribly vague. ... And she felt quite continuously a sense of their existence; and she felt what a waste; and she felt what a pity; and she felt if only they could be brought together; so she did it. And it was an offering; to combine, to create; but to whom?

With Eva, I had given no though to the world of adulthood that awaited us. But she had crossed some secret threshold while I was facing the other way, absorbed still by the childish fantasies she had cultivated for us: our talk of traveling the world together; of having a salon in Paris or on the Riviera, where all the famous writers and artists were; of becoming artists ourselves, marrying exotic European strangers and always living close to one another; of how, when our husbands died, we would move together into a great crumbling mansion and be visited by amazing people from around the world. Now, I saw so clearly that all of that had been a silly game. She had a lover, presumably, while I did not even truly know what this vague and glamorous term entailed. She had become a woman, with no thought to warn me that I should be packing away my own childhood, dismantling it piece by piece like a rotten tree house, and preparing myself for the new world.

And when you are foolish enough to identify yourself as a poet, your interlocutors will often ask: A PUBLISHED Poet? And when you tell them that you are, indeed, a published poet, they seem at least vaguely impressed. Why is that? Its not like they or anybody they know reads poetry journals. And yet there is something deeply right, I think, about this knee-jerk appeal to publicity. It's as if to say: Everybody can write a poem, but has your poetry, the distillation of your innermost being, been found authentic and intelligible by others? Can it circulate among persons, make of its readership, however small, a People in that sense? This accounts for the otherwise bafflingly persistent association of Poetry and fame - baffling since no poets are famous among the general population. To demand proof of fame is to demand proof that your songs made it back intact from the dream in the stable to the social world of the fire, that your song is at once utterly specific to you and exemplary for others.

Beyoncé and Rihanna were pop stars. Pop stars were musical performers whose celebrity had exploded to the point where they could be identified by single words. You could say BEYONCÉ or RIHANNA to almost anyone anywhere in the industrialized world and it would conjure a vague neurological image of either Beyoncé or Rihanna. Their songs were about the same six subjects of all songs by all pop stars: love, celebrity, fucking, heartbreak, money and buying ugly shit. It was the Twenty-First Century. It was the Internet. Fame was everything. Traditional money had been debased by mass production. Traditional money had ceased to be about an exchange of humiliation for food and shelter. Traditional money had become the equivalent of a fantasy world in which different hunks of vampiric plastic made emphatic arguments about why they should cross the threshold of your home. There was nothing left to buy. Fame was everything because traditional money had failed. Fame was everything because fame was the world’s last valid currency. Beyoncé and Rihanna were part of a popular entertainment industry which deluged people with images of grotesque success. The unspoken ideology of popular entertainment was that its customers could end up as famous as the performers. They only needed to try hard enough and believe in their dreams. Like all pop stars, Beyoncé and Rihanna existed off the illusion that their fame was a shared experience with their fans. Their fans weren’t consumers. Their fans were fellow travelers on a journey through life. In 2013, this connection between the famous and their fans was fostered on Twitter. Beyoncé and Rihanna were tweeting. Their millions of fans were tweeting back. They too could achieve their dreams. Of course, neither Beyoncé nor Rihanna used Twitter. They had assistants and handlers who packaged their tweets for maximum profit and exposure. Fame could purchase the illusion of being an Internet user without the purchaser ever touching a mobile phone or a computer. That was a difference between the rich and the poor. The poor were doomed to the Internet, which was a wonderful resource for watching shitty television, experiencing angst about other people’s salaries, and casting doubt on key tenets of Mormonism and Scientology. If Beyoncé or Rihanna were asked about how to be like them and gave an honest answer, it would have sounded like this: “You can’t. You won’t. You are nothing like me. I am a powerful mixture of untamed ambition, early childhood trauma and genetic mystery. I am a portal in the vacuum of space. The formula for my creation is impossible to replicate. The One True God made me and will never make the like again. You are nothing like me.

Every human being with normal mental and emotional faculties longs for more. People typically associate their longing for more with a desire to somehow improve their lot in life—to get a better job, a nicer house, a more loving spouse, become famous, and so on. If only this, that, or some other thing were different, we say to ourselves, then we’d feel complete and happy. Some chase this “if only” all their lives. For others, the “if only” turns into resentment when they lose hope of ever acquiring completeness. But even if we get lucky and acquire our “if only,” it never quite satisfies. Acquiring the better job, the bigger house, the new spouse, or world fame we longed for may provide a temporary sense of happiness and completeness, but it never lasts. Sooner or later, the hunger returns. The best word in any language that captures this vague, unquenchable yearning, according to C. S. Lewis and other writers, is the German word Sehnsucht (pronounced “zane-zookt”).[9] It’s an unusual word that is hard to translate, for it expresses a deep longing or craving for something that you can’t quite identify and that always feels just out of reach. Some have described Sehnsucht as a vague and bittersweet nostalgia and/or longing for a distant country, but one that cannot be found on earth. Others have described it as a quasi-mystical sense that we (and our present world) are incomplete, combined with an unattainable yearning for whatever it is that would complete it. Scientists have offered several different explanations for this puzzling phenomenon—puzzling, because it’s hard to understand how natural processes alone could have evolved beings that hunger for something nature itself doesn’t provide.[10] But this longing is not puzzling from a biblical perspective, for Scripture teaches us that humans and the entire creation are fallen and estranged from God. Lewis saw Sehnsucht as reflective of our “pilgrim status.” It indicates that we are not where we were meant to be, where we are destined to be; we are not home. Lewis once wrote to a friend that “our best havings are wantings,” for our “wantings” are reminders that humans are meant for a different and better state.[11] In another place he wrote: Our lifelong nostalgia, our longing to be reunited with something in the universe from which we now feel cut off, to be on the inside of some door which we have always seen from the outside is . . . the truest index of our real situation.[12] With Lewis, Christians have always identified this Sehnsucht that resides in the human heart as a yearning for God. As St. Augustine famously prayed, “You have made us for yourself, and our hearts are restless till they find their rest in you.”[13] In this light, we might think of Sehnsucht as a sort of homing device placed in us by our Creator to lead us into a passionate relationship with him.

I consider myself a student of colours and shades and hues and tints. Crimson lake, burnt umber, ultramarine … I was too clumsy as a child to paint with my moistened brush the scenery that I would have liked to bring into being. I preferred to leave untouched in their white metallic surroundings my rows of powdery rectangles of water-colours, to read aloud one after another of the tiny printed names of the coloured rectangles, and to let each colour seem to soak into each word of its name or even into each syllable of each word of each name so that I could afterwards call to mind an exact shade or hue from an image of no more than black letters on a white ground. Deep cadmium, geranium lake, imperial purple, parchment … after the last of our children had found employment and had moved out of our home, my wife and I were able to buy for ourselves things that had previously been beyond our means. I bought my first such luxury, as I called it, in a shop selling artists’ supplies. I bought there a complete set of coloured pencils made by a famous maker of pencils in England: a hundred and twenty pencils, each stamped with gold lettering along its side and having at its end a perfectly tapered wick. The collection of pencils is behind me as I write these words. It rests near the jars of glass marbles and the kaleidoscope mentioned earlier. None of the pencils has ever been used in the way that most pencils are used, but I have sometimes used the many-striped collection in order to confirm my suspicion as a child that each of what I called my long-lost moods might be recollected and, perhaps, preserved if only I could look again at the precise shade or hue that had become connected with the mood – that had absorbed, as it were, or had been permeated with, one or more of the indefinable qualities that constitute what is called a mood or a state of feeling. During the weeks since I first wrote in the earlier pages of this report about the windows in the church of white stone, I have spent every day an increasing amount of time in moving my pencils to and fro among the hollow spaces allotted to them in their container. I seem to recall that I tried sometimes, many years ago, to move my glass marbles from place to place on the carpet near my desk with the vague hope that some or another chance arrangement of them would restore to me some previously irretrievable mood. The marbles, however, were too variously coloured, and each differed too markedly from the other. Their colours seemed to vie, to compete. Or, a single marble might suggest more than I was in search of: a whole afternoon in my childhood or a row of trees in a backyard when I had wanted back only a certain few moments when my face was brushed by a certain few leaves. Among the pencils are many differing only subtly from their neighbours. Six at least I might have called simply red if I had not learned long ago their true names. With these six, and with still others from each side of them, I often arrange one after another of many possible sequences, hoping to see in the conjectured space between some or another unlikely pair a certain tint that I have wanted for long to see.

Brian Chesky sends to all Airbnb employees is a powerful one. “You have to continue to repeat things” Brian told our class at Stanford. “Culture is about repeating, over and over again, the things that really matter for your company.” Airbnb reinforces these verbal messages with visual impact as well. Brian hired an artist from Pixar to create a storyboard of the entire experience of an Airbnb guest, from start to finish, emphasizing the customer-centered design thinking that is a hallmark of its culture. Even Airbnb conference rooms tell a story; each one is a replica of a room that’s available for rent on the service. Every time Airbnb team members hold a meeting in one of those rooms, they are reminded of how guests feel when they stay there. At Amazon, Jeff Bezos famously bans PowerPoint decks and insists on written memos, which are read in silence at the beginning of each meeting. This memo policy is one of the ways that Amazon encourages a culture of truth telling. Memos have to be specific and comprehensive, and those who read the memos have to respond in kind rather than simply sit through some broad bullet points on a PowerPoint deck and nod vague agreement. Bezos believes that memos encourage smarter questions and deeper thinking. Plus, because they’re self-contained (rather than requiring a person to present a deck), they are more easily distributed and consumed by a wider population within Amazon. The late Steve Jobs used architecture as a core part of his deliberate communications strategy at Pixar. He designed Pixar headquarters so that the front doors, main stairs, main theater, and screening rooms all led to the atrium, which contained the café and mailboxes, ensuring that employees from all departments and specialties would see people from other groups on a regular basis, thus reinforcing Pixar’s collaborative, inclusive culture.

I would rather be vaguely right than precisely wrong.

Of course, television is not alone in being confronted with this destiny - this vicious circle: the destiny of all those things which , no longer having an objective purpose, take themselves for their own ends. In so doing, they escape all responsibility, but also become bogged down in their own insoluble contradictions. This is, however, more particularly the critical situation of all the current media. Opinion polls themselves are a good example. They have had their moment of truth (as, indeed, did television), when they were the representative mirror of an opinion, in the days when such a thing still existed, before it became merely a conditioned reflex. But perpetual harassment by opinion polls has resulted in their being no longer a mirror at all; they have, rather, become a screen. A perverse exchange has been established between polls which no longer really ask questions and masses who no longer reply. Or rather they become cunning partners, like rats in laboratories or the viruses pursued in experiments. They toy with the polls at least as much as the polls toy with them. They play a double game. It is not, then, that the polls are bogus or deceitful, but rather that their very success and automatic operation have made them random. There is the same double game, the same perverse social relationship between an all-powerful, but wholly self-absorbed, television and the mass of TV viewers, who are vaguely scandalized by this misappropriation, not just of public money, but of the whole value system of news and information. You don't need to be politically aware to realize that, after the famous dustbins of history, we are now seeing the dustbins of information. Now , information may well be a myth, but this alternative myth, the modern substitute for all other values, has been rammed down our throats incessantly. And there is a glaring contrast between this universal myth and the actual state of affairs. The real catastrophe of television has been how deeply it has failed to live up to its promise of providing information- its supposed modern function. We dreamed first of giving power - political power- to the imagination, but we dream less and less of this, if indeed at all. The fantasy then shifted on to the media and information. At times we dreamed (at least collectively, even if individually we continued to have no illusions) of finding some freedom there — an openness, a new public space. Such dreams were soon dashed: the media turned out to be much more conformist and servile than expected, at times more servile than the professional politicians. The latest displacement of the imagination has been on to the judiciary. Again this has been an illusion, since, apart from th e pleasing whiff of scandal produced, this is also dependent on the media operation. We are going to end up looking for imagination in places further and further removed from power - from any form of power whatever (and definitely far removed from cultural power, which has become the most conventional and professional form ther e is). Among the excluded, the immigrants, the homeless. But that will really take a lot of imagination because they, who no longer even have an image, are themselves the by-products of a whole society's loss of imagination, of the loss of any social imagination. And this is indeed the point. We shall soon see it is no use trying to locate the imagination somewhere. Quite simply, because there no longer is any. The day this becomes patently obvious, the vague collective disappointment hanging over us today will become a massive sickening feeling.

I tweak one of my favorite recipes for chocolate mousse to match Natasha's vague description, using both rum and crème de cacao, along with a dash of coffee, to heighten the chocolate flavor. I'd originally developed the recipe with François Bardon back in Chicago as the filling to his famous chocolate charlotte, a towering confection of velvety chocolate mousse surrounded by fluffy ladyfingers, the whole thing capped off with a billowy layer of whipped cream. But for this version, I streamline the process and adjust the ratios of chocolate, cream, and eggs so that it's more in line with what Natasha's grandmother might have made.

Sometimes the strength will be less obvious. Consider Charles Darwin's finches, a subject you may vaguely remember from high school biology class. When Darwin first encountered these birds on the Galapagos Islands, he gathered numerous specimens, not quite realizing what he had discovered. Upon his return, he presented these specimens to the famous English ornithologist John Gould for identification. Gould's analysis revealed that the specimens Darwin had submitted were in fact highly variable. What at first glance were all just "finches" turned out to be twelve different species. There were similarities, but evolution had allowed each to develop a distinctive strength. Each species had a novel beak structure that allowed it to exploit a specific food resource. Some evolved to eat seeds, others fruit, others insects, and others grubs. In business terms, they all had similar core competencies (feathers, wings, feet, beak), but it was a distinctive, seemingly subtle strength—the type of beak—that allowed the finches to effectively compete for a specific type of food.

No matter what anyone in North Star thought of my mom, everyone agreed on one thing: she was the best cook in the Texas Hill Country. She was known for her barbecue and fried pies. But she was most famous for one particular dish. The dish people people would drive hundreds of miles for was simply called the Number One. I imagine Momma was going to make a list of specials. The trouble was, she never got past the Number One. So there it sat at the top of the menu, alone, all by itself. The Number One: Chicken fried steak with cream gravy, mashed potatoes, green beans cooked in bacon fat, one buttermilk biscuit, and a slice of pecan pie With Brad's words ringing in my head about my vague culinary vision, I decide to make the Number One for tonight's supper. After leaving the salon, I drive to various farm stands, grocery stores, and butchers. I handpick the top-round steak with care, choose fresh eggs one by one, and feel an immense sense of home as I pull Mom's cast-iron skillet from the depths of Merry Carole's cabinets. My happiest memories involve me walking into whatever house we were staying in at the time to the sounds and smells of chicken fried steak sizzling away in that skillet. This dish is at the very epicenter of who I am. If my culinary roots start anywhere, it's with the Number One. As I tenderize the beef, my mind is clear and I'm happy. I haven't cooked like this- my recipes for me and the people I love- in far too long. If ever. Time flies as I roll out the crust for the pecan pie. I'm happy and contented as I cut out the biscuit rounds one by one. I haven't a care in the world. Being in Merry Carole's kitchen has washed away everything I left in the whirlwind of being back in North Star.

At first glance, few writers embody this intense solipsism like Lesley Blanch (1904–2007): travel writer, novelist, painter, Vogue editor, socialite, and unashamed orientalist. Blanch’s writing—be it travel narrative, history or biography—was always a form of autobiography. And the women she profiled in her most famous work, 1954’s The Wilder Shores of Love, were Westerners who found themselves drawn to a lushly, if vaguely, drawn East; they always had something of the self-portrait in them. But Blanch’s brilliance lies in her honesty about the subjectivity of her work. For her, travel carries none of Crispin’s “masculine force”: it’s neither an act of discovery nor an explication by an “expert witness,” but the endless attempt to bridge that vast land of otherness with the worlds we’ve created in our own minds, the interior place where our experiences, from the books we’ve read to the people we’ve loved, came to reside long before we first set foot there.

rarely do the advocates of cleanses explain what is meant by toxins. It is one of those nebulous pseudoscientific terms rolled out by people deliberately avoiding the specificity required for a science-based analysis. It’s the modern-day equivalent of “evil spirits,” vague enough to mean just about anything while retaining the ring of scientific legitimacy.

Walking along the pavement overlooking the biggest basilica and down the famous steps to a fountain and many picked flowers of so many colours, crossing the crowded square, we went along a narrow one-way street [via Marguttal, quiet, with not too many cars; there in that dimly lit street, with few unfashionable shops, suddenly and most unexpectedly, that otherness came with such intense tenderness and beauty that ones body and brain became motionless. For some days now, it had not made its immense presence felt; it was there vaguely, in the distance, a whisper but there the immense was manifesting itself, sharply and with waiting patience. Thought and speech were gone and there was peculiar joy and clarity. It followed down the long, narrow street till the roar of traffic and the overcrowded pavement swallowed us all. It was a benediction that was beyond all image and thoughts.

and thought to tart it up with a few Shakespeare quotations, having a vague recollection from my undergraduate days that the Bard was fond of joking about the great pox. I dusted off my battered copy of the Riverside Shakespeare and started leafing through it. Holy crap, I thought, there is a lot of stuff here on syphilis. My curiosity was piqued, and I did some more digging. Was there a connection between Shakespeare’s syphilitic obsession, contemporary gossip about his sexual misadventures, and the only medical fact known about him with certainty—that his handwriting became tremulous in late middle age? I wrote an article that appeared in Clinical Infectious Diseases, supposing it to be of scant interest beyond its immediate specialty audience. To my surprise, it generated a fair amount of Internet buzz, and inspired a segment on The Daily Show. I began to think that there might be interest in a book on the topic of writers and disease, written from a medical perspective.

Mark Zuckerberg. That’s the name I was introduced to when I first encountered the cryptocurrency mining platform, WHATS Invest. A person claiming to be Zuckerberg himself reached out to me, saying that he was personally backing the platform to help investors like me earn passive income. At first, I was skeptical—after all, how often do you get a direct connection to one of the world’s most famous tech entrepreneurs? But this individual seemed convincing and assured me that many people were already seeing substantial returns on their investments. He promised me a great opportunity to secure my financial future, so I decided to take the plunge and invest $10,000 into WHATS Invest. They told me that I could expect to see significant returns in just a few months, with payouts of at least $1,500 or more each month. I was excited, believing this would be my way out of financial struggles. However, as time passed, things didn’t go according to plan. Months went by, and I received very little communication. When I finally did receive a payout, it was nowhere near the $1,500 I was promised. Instead, I received just $200, barely 13% of what I had expected. Frustrated, I contacted the support team, but the responses were vague and unhelpful. No clear answers or solutions were offered, and my trust in the platform quickly started to erode. It became painfully clear that I wasn’t going to get anywhere with WHATS Invest, and I began to worry that my $10,000 might be lost for good. That's when I discovered Cyber Constable Intelligence. Desperate to recover my funds, I decided to reach out to them for help. In just 24 hours, they worked tirelessly to recover the majority of my funds, successfully retrieving $8,500 85% of my initial investment. I couldn’t believe how quickly and efficiently they worked to get my money back. I'm extremely grateful for Cyber Constable Intelligence’s fast and professional service. Without them, I would have been left with a significant loss, and I would have had no idea how to move forward. If you find yourself in a similar situation with WHATS Invest or any other platform that isn’t delivering as promised, I highly recommend reaching out to Cyber Constable Intelligence. They were a lifesaver for me, helping me recover nearly all of my funds. It's reassuring to know that trustworthy services like this exist to help people when things go wrong. They also specialize in recovering money lost to online scams, so if you’ve fallen victim to such a scam, don’t hesitate to contact Cyber Constable Intelligence they can help! Here's Their info below What Sapp Info: 1 (252) 378-7611 Website Info : www cyberconstableintelligence com Email Info: cyberconstable(@)coolsite net

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