Pretty women wonder where my secret lies. I'm not cute or built to suit a fashion model's size But when I start to tell them, They think I'm telling lies. I say, It's in the reach of my arms The span of my hips, The stride of my step, The curl of my lips. I'm a woman Phenomenally. Phenomenal woman, That's me.
I walk into a room Just as cool as you please, And to a man, The fellows stand or Fall down on their knees. Then they swarm around me, A hive of honey bees. I say, It's the fire in my eyes, And the flash of my teeth, The swing in my waist, And the joy in my feet. I'm a woman Phenomenally. Phenomenal woman, That's me.
Men themselves have wondered What they see in me. They try so much But they can't touch My inner mystery. When I try to show them They say they still can't see. I say, It's in the arch of my back, The sun of my smile, The ride of my breasts, The grace of my style. I'm a woman
Phenomenally. Phenomenal woman, That's me.
Now you understand Just why my head's not bowed. I don't shout or jump about Or have to talk real loud. When you see me passing It ought to make you proud. I say, It's in the click of my heels, The bend of my hair, the palm of my hand, The need of my care, 'Cause I'm a woman Phenomenally. Phenomenal woman, That's me.
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Most of the luxuries, and many of the so-called comforts of life, are not only indispensable, but positive hindrances to the elevation of mankind. Cultivate poverty like a garden herb, like sage. Do not trouble yourself much to get new things, whether clothes or friends. Turn the old; return to them. Things do not change; we change. The very simplicity and nakedness of man's life in the primitive ages imply this advantage, at least, that they left him still but a sojourner in nature. To be awake is to be alive. Time is but the stream I go a-fishing in. Every man is a builder of a temple, called his body, to the god he worships, after a style purely his own, nor can he get off by hammering marble instead. We are all sculptors and painters, and our material is our own flesh and blood and bones. Any nobleness begins at once to refine a man's features, any meanness or sensuality to imbrute them. Rather than love, than money, than fame, give me truth.
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A man is free to go up as high as he can reach up to; but I, with all my style and pep, can't get a man my equal because a girl is always judged by her mother.
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If I was telling that story in a '50s style, it would have been a melodrama, ... a story of 'An innocent girl falls into the seedy, sordid world of bondage and then sees the light and is born again.' If I were telling it now in an urban, sophisticated way, you would have a story about a girl who is a free spirit, who does these lighthearted bondage photos, then she crashes and she turns to religion which would be the tragedy in the modern view, because it's so polarized now that people see any religion as representing the horrible forces of puritanism. I was trying to comment on the sad confusion surrounding sex at that time, present it in a complex way, and give her religion a fair hearing too.
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I demand that my books be judged with utmost severity, by knowledgeable people who know the rules of grammar and of logic, and who will seek beneath the footsteps of my commas the lice of my thought in the head of my style.
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In matters of style, swim with the current; in matters of principle, stand like a rock.
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For a long time I found the celebrities of modern painting and poetry ridiculous. I loved absurd pictures, fanlights, stage scenery, mountebanks backcloths, inn-signs, cheap colored prints; unfashionable literature, church Latin, pornographic books badly spelt, grandmothers novels, fairy stories, little books for children, old operas, empty refrains, simple rhythms.
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Intense study of the Bible will keep any writer from being vulgar, in point of style.
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People don't have fortunes left them in that style nowadays; men have to work and women to marry for money. It's a dreadfully unjust world.
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There's some golf courses that fit my style of play, ... Thank God there's a couple of them left that we play. I can count on one hand how many like those are left.
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Ricky Here's what I'm gonna ask of you... We're going to be spending the night in New York, so it worked out well for all of us. I want you to take it back to the business class, I want you to round up a couple of honeys... At our hotel room we're gonna have kind of a pool party. California gangster-style, you know what I mean Kick ass pool party thing.
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The new sound-sphere is global. It ripples at great speed across languages, ideologies, frontiers and races. The economics of this musical Esperanto is staggering. Rock and pop breed concentric worlds of fashion, setting and life-style. Popular music has brought with it sociologies of private and public manner, of group solidarity. The politics of Eden come loud.
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We've just been a little more focused. We're not giving up easy baskets like we were. A lot of it was just we weren't paying attention to details. We just have a new fire. We just accepted playing a different style of basketball a little bit.
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I find it interesting that the meanest life, the poorest existence, is attributed to God's will, but as human beings become more affluent, as their living standard and style begin to ascend the material scale, God descends the scale of responsibility at a commensurate speed.
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Fashion changes, style remains.
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It often happens that the real tragedies in life occur in such an inarticulate manner that they hurt one by their crude violence, their absolute incoherence, their absurd want of meaning, their entire lack of style.
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It is the style of idealism to console itself for the loss of something old with the ability to gape at something new.
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Some people never say the words 'I love you' It's not their style to be so bold. Some people never say those words 'I love you' But, like a child, they're longing to be told.
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Beauty of style and harmony and grace and good rhythm depend on simplicity.
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'Tis beauty, so to speak, nor good talk necessarily. It's just IT. Some women will stay in a man's memory if they once walked down a street.
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Taste is the fundamental quality which sums up all the other qualities. It is the nec plus ultra of the intelligence. Through this alone is genius the supreme health and balance of all the faculties.
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Everyone in our culture wants to win a prize. Perhaps that is the grand lesson we have taken with us from kindergarten in the age of perversions of Dewey-style education: everyone gets a ribbon, and praise becomes a meaningless narcotic to soothe egoistic distemper.
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Here lies Jan Smith, wife of Thomas Smith, marble Cutter. This monument was erected by her husband as a tribute to her memory and a specimen of his work. Monuments of this same style are two hundred and fifty dollars.
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By and large the literature of a democracy will never exhibit the order, regularity, skill, and art characteristic of aristocratic literature; formal qualities will be neglected or actually despised. The style will often be strange, incorrect, overburdened, and loose, and almost always strong and bold. Writers will be more anxious to work quickly than to perfect details. Short works will be commoner than long books, wit than erudition, imagination than depth. There will be a rude and untutored vigor of thought with great variety and singular fecundity. Authors will strive to astonish more than to please, and to stir passions rather than to charm taste.
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There is one expanding horror in American life. It is that our long odyssey toward liberty, democracy and freedom-for-all may be achieved in such a way that utopia remains forever closed, and we live in freedom and hell, debased of style, not individual from one another, void of courage, our fear rationalized away.
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American universities are organized on the principle of the nuclear rather than the extended family. Graduate students are grimly trained to be technicians rather than connoisseurs. The old German style of universal scholarship has gone.
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What would you have me do? Search out some powerful patronage, and be Like crawling ivy clinging to a tree? No thank you. Dedicate, like all the others, Verses to plutocrats, while caution smothers Whatever might offend my lord and master? No thank you. Kneel until my knee-caps fester, Bend my back until I crack my spine, And scratch another’s back if he’ll scratch mine? No thank you. Dining out to curry favour, Meeting the influential till I slaver, Suiting my style to what the critics want With slavish copy of the latest can’t? No thanks! Ready to jump through any hoop To be the great man of a little group? Be blown off course, with madrigals for sails, By the old women sighing through their veils? Labouring to write a line of such good breeding Its only fault is that it’s not worth reading? To ingratiate myself, abject with fear, And fawn and flatter to avoid a sneer? No thanks, no thanks, no thanks! But just to sing, Dream, laugh, and take my tilt of wing, To cock a snook whenever I shall choose, To fight for yes and no, come win or lose, To travel without thought of fame or fortune Wherever I care to go to under the moon! Never to write a line that hasn’t come Directly from my heart: and so, with some Modesty, to tell myself: My boy, Be satisfied with a flower, a fruit, the joy Of a single leaf, so long as it was grown In your own garden. Then, if success is won By any chance, you have nothing to render to A hollow Caesar: the merit belongs to you. In short, I won’t be a parasite; I’ll be My own intention, stand alone and free, And suit my voice to what my own eyes see!
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Evidently there are plenty of people in journalism who have neither got what they liked nor quite grown to like what they get. They write pieces they do not much enjoy writing, for papers they totally despise, and the sad process ends by ruining their style and disintegrating their personality, two developments which in a writer cannot be separate, since his personality and style must progress or deteriorate together, like a married couple in a country where death is the only permissible divorce.
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Style is, above all, a system of forms with a quality and a meaningful expression through which the personality of the artist and the broad ou...
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Literary criticism can be no more than a reasoned account of the feeling produced upon the critic by the book he is criticizing. Criticism can never be a science: it is, in the first place, much too personal, and in the second, it is concerned with values that science ignores. The touchstone is emotion, not reason. We judge a work of art by its effect on our sincere and vital emotion, and nothing else. All the critical twiddle-twaddle about style and form, all this pseudoscientific classifying and analyzing of books in an imitation-botanical fashion, is mere impertinence and mostly dull jargon.
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