Quotes of All Topics . Occasions . Authors
When you look at me you don't immediately imagine a very very glamorous icon, so it's only in the theater that I get to do these experiments. I've been an actor about 51 years now. I've played everything from an 8-year-old black boy to a 72-year-old French matriarch, and they hardly hire you to do that on TV.
When I talk of primordial innocence, I hear it in Sufi music with the nay flute. I see it in Coptic icons, in most traditional art, particularly art of the American Indian. I find the texts extraordinarily beautiful and very childlike and very simple. I've been particularly interested in American Indian texts.
I see musicians like Bonnie Raitt and Emmylou Harris as more than just musical icons: they are planets, with a gravitational pull - from how they flip their hair just-so when they bow, right down to their hearty backstage banter. It takes decades to learn the innuendos of being gracious and genuine all at once.
I didn't really know anything about Margot Fonteyn. I'd never really been a ballet child, so I had no idea what an incredibly huge icon she was, not just in terms of a creative icon - she was also a style icon. I had no idea she was up there with Audrey Hepburn and Jackie Onassis in terms of that kind of image.
I object to the hypersexualization of all the superheroines. Most of them have been hypersexualized, but especially to Wonder Woman, because she is an icon. She is up there with Superman and Batman. And she is the one who is the big influence on women. Women who don't read comics still know who Wonder Woman is.
Celebrities were quick to understand that paparazzi could make icons of them. The more a star is followed and admired, the greater the adulation. So they raised the stakes, sometimes hiding when they don't even need to. Today, stardom is more ephemeral and it's photography that gives them their celebrity status.
Start by putting yourself in your users' shoes. Why are they coming to your site? If you look at most Web sites, you'd presume that the answer is "User is extremely bored and wishes to stare at a blank screen for several minutes while a flashing icon loads, then stare at the flashing icon for a few more minutes."
I can look back at it now as definitely like an initiation into adulthood. Almost overnight in the NFL, I was put on a pedestal and I was supposed to be this icon or this image of what a professional athlete was supposed to be. I felt like I just got stuck trying to be someone else and I forgot who I actually was.
I’m elated. I guess it’s better late than never. Welcome to the 21st century. It’s fantastic. I love Dior, and Rihanna is very much one of my style icons. I’m happy they got there in the end. I adore her style. She loves fashion, she’s unafraid. She uses her imagination, which is something we should all strive to do.
If Abstract Expression reached for the sublime, Pop turned ordinary imagery into icons. Roy Lichtenstein and Andy Warhol illuminated the transformative power of context and the process of reproduction. Claes Oldenburg's soft ice-cream cones and hamburgers changed sculpture from hard to soft, from stasis to transformation.
In the United States those bits of our history that remain are paved over, sanitized, packaged for easy consumption. At those sites not already lost to commercial development, we walk between velvet ropes, herded by guides, warned not to touch. Our icons are preserved under glass, their magic demystified in glossy brochures.
Here in the United States, hopefully, what we're building are not just pyramids, are not icons to one pharaoh. What we're building is a culture and a way of living together that we can look back on and say, [This] was good, was inclusive, was kind, was innovative, was able to fulfill the dreams of as many people as possible.
With high fashion, it's a performance. You're trying to interpret a fantasy in a very physical way, and you really are playing a character. I've played men, dead people, famous people, historical icons, and it's no mean feat. It's quite an insular experience even though the crowd is in front of you and there's an expectation.
Im an actor. The fact that Im involved in Jigsaw, I dont approach Jigsaw any differently than I approached The Nordic in The Firm or FBI Agent Stokes in Mississippi Burning. Its the same deal. Its just that the effect is sometimes different. So I say, people ask me, How does it feel to be a horror icon? Im thrilled. Its great.
Americans have a profound longing for heroes - now perhaps more than ever. We need our explorers, our sports icons, our Medal of Freedom winners, our Nobel laureates. We need our Greatest Generation warriors, our 'Sully' Sullenbergers, our Neil Armstrongs. On some level, we still subscribe to the myth of the man in the white hat.
There will be a wealth of facts revealed and revisited in [Underground] pertaining to Harriet Tubman. That is a huge part of my excitement, the fact that this generation will get such a beautifully-detailed introduction to a hero and icon that has largely lived in a few pages of our history books and in one-dimensional photographs.
There is a danger in becoming an icon, as people can see you as remote and untouchable, and they are less willing to tolerate you doing things that don't fit with their preconceived idea of you. Iconic status can be like a pair of handcuffs, especially if, like me, you wish to continually stretch yourself creatively, as Warhol did.
Imagine the first Burmese "giraffe woman"; she was probably a local icon in her village in the way she put the rings around her neck to sell her craft. Then she became a celebrity, so all of the wannabes started following her in that uncomfortable and unhealthy trend. But is that so different from Pamela Anderson? I don't think so.
I think because I've gotten permission from my style icons like Tim Gunn and André Leon Talley, who say to me, "You don't need to dress like anyone else, because you're your own fashion icon. You represent comfortable. And you do fashion your way, and you should be at Fashion Week." They gave me permission to enjoy it! And it's great!
It's a very, very interesting experience to be talking to people who are such icons in their own right. When Adele came to a show, I was just talking to her, and at the time, I thought, 'I'm just having a chat with somebody.' But then I heard myself say, 'Oh, I was talking to Adele the other day,' and it's as strange as you'd imagine.
In questioning initially whether I am a great investor, I open the door to question whether other similarly esteemed public icons like Bill Miller are as well. It seems, perhaps, that the longer and longer you keep at it in this business the more and more time you have to expose your Achilles heel - wherever and whatever that might be.
In terms of influence, my style icons have been a mixture of Julie Andrews and Olivia Newton-John. When I was little I used to watch 'Grease,' 'Mary Poppins' and 'The Sound of Music' a lot. If you put all those things together you do kind of get my outfits. A slightly tarty nanny in a second-hand outfit. That is pretty much what I wear.
Hello Kitty is an icon that doesn't stand for anything at all. Hello Kitty never has been, and never will be, anything. She's pure license; you can even get a Hello Kitty car! The branding thing is completely out of control, but it started as nothing and maintains its nothingness. It's not about the ego, and in that way it's very Japanese.
The superhero genre speaks to a vast swath of humanity these days, and studios are in the business of constantly renewing their money-printing licenses. I sense we're nearing a saturation point with some of these icons, where it becomes more about the action figures and Happy Meals than it does the mythological heartbeat of the core ideas.
1962 to 1965, where suddenly the guitar became this icon of youth culture all over the world, thanks mostly to the Beatles. Add to that, that I saw A Hard Day's Night 12 or 13 times, and that the guitar was the one instrument that my parents absolutely refused to let in the house. So you add it up and see that irresistible forces led me to the guitar.
When you look at that nature world it becomes an icon, it becomes a holy picture that speaks of the origins of the world. Almost every mythology sees the origins of life coming out of water. And, curiously, that's true. It's amusing that the origin of life out of water is in myths and then again, finally, in science, we find the same thing. It's exactly so.
European militants recognize Mumia Abu-Jamal, and the Mexican militants followed their example and legitimated his work because the Europeans said, "Hey, Mumia Abu-Jamal is relevant in the US. I, the European, am telling you. I am your political guide, your icon, your mentor for political references. I am telling you that you should support the relevant causes."
We take it for granted that Jesus was not interested in political life: his mission was purely religious. Indeed we have witnessed . . . the 'iconization' of the life of Jesus: 'This is a Jesus of hieratic, stereotyped gestures, all representing theological themes. In this way, the life of Jesus is no longer a human life, submerged in history, but a theological life -- an icon.
American culture has a lot of great moustaches in its history. Mark Twain had a great moustache, Charlie Chaplin, Ben Turpin ... but Zappa, he's got the best moustache in American history. Got the moustache, right, and he's got that little thing on his chin, I think it's called an imperial, that is, like, the coolest thing. That's like one of the great icons of the twentieth century.
In retrospect, it's ridiculous that anyone saw me as a fashion icon, since all I was trying to do was to dumb down my middle-class look by messing with my hair. Throughout the eighties I was invariably half-sure and half-confident about whatever it was I wore…Still, I've always believed—still do—that the radical is far more interesting when it looks benign and ordinary on the outside.
An icon means nothing to me. I don't understand what it means to anybody actually. It seems like a word of convenience. It seems to attend to the huge success of certain kinds of movies that I did, but there's no personal utility in being an icon. I don't know what an icon does, except stand in a corner quietly accepting everyone's attention. I like to work, so there's no utility in being an icon.
It is true that one was not allowed at the time to really ask, what would lead people to do this, from what sense of political outrage or injury? And in that way, the possibility of sympathetic identification was foreclosed. That does not mean that some people took quiet pleasure in certain icons of US capitalism coming down, even though they would oppose such action on moral and political grounds.
I didn't know I was a gay icon. I get a lot of mail - but I don't get many bad letters - but I got a woman the other day that was so upset with me because they said, 'How do you feel about the gay marriage thing?' and my answer to that is, 'I really don't care with whom you sleep, I just care what kind of a decent human being you are.' I figure all the rest of it is your business and not mine. And not hers, incidentally.
Jonathan Wells has done us all - the scientific community, educators, and the wider public - a great service. In Icons of Evolution he has brilliantly exposed the exaggerated claims and deceptions that have persisted in standard textbook discussions of biological origins for many decades, in spite of contrary evidence. these claims have been so often repeated that they seem unassailable - that is, until one reads Wells's book.
Still, there is a basic reticence about his approach that feels refreshing in today's culture of maximum exposure. Brandt did not go to great lengths to turn people into icons, nor did he presume to show their “true nature” in something so transient as a photograph. Instead, he used photography's special qualities to suggest intimate things about his subjects, things that cannot be put into words, and may not even be possible to put into pictures.
Yes, you can have art films about the triumph of the human spirit and all of that, but you'll have it done with a big-budget icon with a $20 million salary. You'll have Julia Roberts, you'll have Robert Redford, you'll have Russell Crowe doing those films, because if they're going to cost $90 million, they're going to make that movie for a public that's very large and mainstream. They're not going to make it for three or four million black people.
Another form of prayer, called cataphatic, honors and reverences images and feelings and goes through them to God. This form of prayer also has an ancient and well-attested history in the world of religions. Any sort of prayer that highlights the mediation of creation can be called cataphatic. So, praying before icons or images of saints; the mediation of sacraments and sacramentals; prayer out in creation - all these are cataphatic forms of prayer
The whole earth is a living icon of the face of God. ... I do not worship matter. I worship the Creator of matter who became matter for my sake, who willed to take His abode in matter, who worked out my salvation through matter. Never will I cease honoring the matter which wrought my salvation! I honor it, but not as God. Because of this I salute all remaining matter with reverence, because God has filled it with his grace and power. Through it my salvation has come to me.
McWorld is a product of popular culture driven by expansionist commerce. Its template is American, its form style. Its goods are as much images as matériel, an aesthetic as well as a product line. It is about culture as commodity, apparel as ideology. Its symbols are Harley-Davidson motorcycles and Cadillac motorcars hoisted from the roadways, where they once represented a mode of transportation, to the marquees of global market cafés like Harley-Davidson's and the Hard Rock where they become icons of lifestyle.
Many aspects of our screen-bound lives are bad for our social skills simply because we get accustomed to controlling the information that comes in, managing our relationships electronically, deleting stuff that doesn't interest us. We edit the world; we select from menus; we pick and choose; our social 'group' focuses on us and disintegrates without us. This makes it rather confusing for us when we step outdoors and discover that other people's behaviour can't be deleted with a simple one-stroke command or dragged to the trash icon.
I am firmly of the opinion that the Macintosh is Catholic and that DOS is Protestant. Indeed, the Macintosh is counterreformist and has been influenced by the methodical path of the Jesuits.... It is catechistic: the essence of revelation is dealt with via simple formulae and sumptuous icons. Everyone has a right to salvation. DOS is Protestant, or even Calvinistic. It allows free interpretation of scripture, demands difficult personal decisions, imposes a subtle hermeneutics upon the user, and takes for granted the idea that all can reach salvation.
As a matter of fact, I constantly tell audiences all over the world that the single greatest icon of American culture from the publication of "To Kill A Mockingbird" was that novel so that if we say, what conversation can we have that would lead us on a road of tolerance, and teachers have decided that if you're going to teach values in a school in America, the answer that American teachers at all kinds of schools have come up with, just let Harper Lee teach "To Kill A Mockingbird." And then all the teacher has to do is stand back and guide the discussion.
