ellauri042.html on line 817: His moronic patients called him “deeply eccentric” and described him as “huge, a full beard, black leather jacket covering T-shirts riddled with holes, huge shoes, his trousers looking like they were going to slide off his body.” A friend from Sacks’s days as a medical resident remembers him as a “big, free-ranging animal” who one day “drank some blood … chasing it with milk. There was something about his need to cross taboos. Back in those days, in the early ’60s, he was heavily into drugs, downing whole handfuls of them, especially speed and LSD.”
ellauri073.html on line 267: The character's debut performance (May 8, 1993) has been called one of the best segments in SNL history. The reception of the audience combined with visible stifled laughter from David Spade and Christina Applegate on stage added to the popularity of the sketch. Notable physical gestures from Farley included what Spade referred to as “the thing with the glasses” when Farley lifted his glasses on and off of his face commenting, “Hey Dad, I can’t see real good, is that Bill Shakespeare over there?” and perhaps the most defining gesture was one that Farley saved for the live performance when he alternated hands adjusting his trousers, grabbing the hilt of his belt with one hand and the back of his pants with the other.
ellauri093.html on line 197: Their support text is from 1 Corinthians 15:33, "Do not be deceived: evil communications corrupt good table manners." Among other distinctions, the Gospel Halls would generally not use musical instruments in their services, whereas many Chapels use them and may have singing groups, choirs, "worship teams" of musicians, etc. The Gospel Halls tend to be more conservative in dress; women do not wear trousers in meetings and always have their heads covered, while in most Chapels women may wear whatever they wish, including nothing, though modesty in dress serves as a guideline, and many may continue the Orde Wingate tradition of wearing a shower cap for head covering if nothing else. Open Brethren churches are all independent, self-governing, local congregations with no central headquarters, although there are a number of seminaries, missions agencies, and publications that are widely supported by Brethren churches and which help to maintain a high degree of communication among them.
ellauri102.html on line 131: Then the man takes off his trousers, and on his leg, he has a tattoo that says NIKE.
ellauri107.html on line 518: He snatched from the back of his geometry half a hundred advertisements of those home-study courses which the energy and foresight of American commerce have contributed to the science of education. The first displayed the portrait of a young man with a pure brow, an iron jaw, silk socks, and hair like patent leather. Standing with one hand in his trousers-pocket and the other extended with chiding forefinger, he was bewitching an audience of men with gray beards, paunches, bald heads, and every other sign of wisdom and prosperity. Above the picture was an inspiring educational symbol—no antiquated lamp or torch or owl of Minerva, but a row of dollar signs. The text ran:
ellauri108.html on line 139: As it existed in Jamaica, Rastafari did not promote monogamy. Rasta men are permitted multiple female sex partners, while women are expected to reserve their sexual activity for one male partner. Marriage is not usually formalised through legal ceremonies but is a common-law affair, although many Rastas are legally married. Rasta men refer to their female partners as "queens", or "empresses", while the males in these relationships are known as "kingmen". Rastafari places great importance on family life and the raising of children, with reproduction being encouraged. The religion emphasises the place of men in child-rearing, associating this with the recovery of African manhood. Women often work, sometimes while the man raises the children at home. Rastafari typically rejects feminism, although since the 1970s growing numbers of Rasta women have called for greater gender equity in the movement. The scholar Terisa E. Turner for instance encountered Kenyan feminists who were appropriating Rastafari content to suit their political agenda. Some Rasta women have challenged gender norms by wearing their hair uncovered in public and donning trousers.
ellauri151.html on line 118: Gide had a half satanic, half monk-like mien; he put one in mind of portraits of Baudelaire. Withal there was something exotic about him. He would appear in a red waistcoat, black velvet jacket and beige-coloured trousers and, in lieu of collar and tie, a loosely knotted scarf. (Frizuliina.)
ellauri160.html on line 143: He would wear trousers made of green billiard cloth, a pink coat, a blue shirt, a tie hand-painted by a Japanese friend, an immense sombrero, a flaming beard cut to a point, and a single, large blue earring."
ellauri302.html on line 376: Sarah: So you want to go back to the basement? — Into the basement, then! Much I care! (Resumes her packing.) He wants to ruin us completely. What has come over the man? (For a moment she is absorbed in reflection.) If you're going to stand there like a lunatic, I'll get busy myself! (Takes off her diamond ear-rings.) I'll go over to Shloyme's and give him my diamond ear-rings. (From her bundle she draws out a golden chain.) And if he holds back, I'll add a hundred rouble note. (She searches YeheVs trousers pocket for his pockethook. He offers no resistance.) Within fifteen minutes (Throwing a shawl over her shoulders.) Rifkele will be here. (As she leaves.) Shloyme will do that for me. (Slams the door behind her.)
ellauri321.html on line 220: Set in the year before the Wall Street crash, Juan in America is a classic evocation of the final mania of prohibition, as seen through equally maniacal British eyes. The character Eric Linklater devised to be his unreliable explorer was one capable of absorbing the enormity of the American experience without being overwhelmed by its incongruities. A blithe, bastard descendent of Byron(tm)s Don Juan, Linklater´s Juan is an anti-hero with a taste for the grotesque and the ridiculous, at once both dirty and deity whose response when faced either with sudden catastrophe or miraculous survival is simply to laugh. A novel in the mode of the picaresque, this is a story of erotic discovery in the sense, as Juan puts it, that, eh, your trousers hide not only your willy but your kinship to the clown. A nation emerging as a great power is exalting in absurdist energies. In its last spasms before the great depression, America is revealed through a series of unlikely accidents as Juan stumbles from state to state, somehow evading consequences as he goes. On his first day, he falls for the daughter of a gangster, witnesses a murder in a speakeasy and watches a woman leap to her death in a New York street. He thrills to the bizarreness of each spectacle and moves on to the next in a galloping mood that is part medieval romance, part running commentary on what was still, in the 1920s, the new world.
ellauri362.html on line 272: Duke Ellingtonin porttikiellon Almack'siin todellinen syy on selvinnyt: Ticknor’s version indicates that it was the lateness of his arrival and not the trousers that kept him out. Karen Field on January 15, 2011 at 01:03
ellauri362.html on line 279: Loved this! I always thought it was because he was in trousers. Your posts are always illuminating.
ellauri393.html on line 297: By now he had been an illustrator for four decades, and he continued to favor scenes culled from everyday life. In Stockbridge, he found his younger models at the school near his house. Escorted by the principal, he would peer into classrooms, in search of boys with the right allotment of freckles, the right expression of openness. Before the Shot takes us into a doctor’s office as a boy stands on a wooden chair, his belt unfastened, his corduroy trousers lowered to reveal his pale backside. Rockwell kävi kouluissa kazastamassa pikkupoikien pikku perseitä. Hmm tässä ei ole tarpeexi pisamia. Vitun peeping Tom of Finland.
xxx/ellauri230.html on line 286: Koo's third wife was the socialite and style icon Oei Hui-lan (1889–1992). She married Koo (33vee) in Brussels, Belgium, in 1921. She was previously married, in 1909, to British consular agent Beauchamp Stoker, by whom she had one son, Lionel, before divorcing in 1920. Much admired for her adaptations of traditional Manchu fashion, which she wore with lace trousers and jade necklaces, Oei Hui-lan was the favorite daughter of Peranakan tycoon Majoor Oei Tiong Ham, and the heiress of a prominent family of the Cabang Atas or the Chinese gentry of colonial Indonesia. She wrote two memoirs: Hui-Lan Koo (Mrs. Wellington Koo): An Autobiography, and No Feast Lasts Forever. Koo had 2 more kids out of her.
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