I think I can pinpoint the one moment when the American style of dressing first appeared. It was in an appalling 1933 movie called Dancing Lady during an otherwise forgettable dance number. It also just happened to be Fred Astaire's first on-camera dance. But don't look at the steps. Look at the outfit: Astaire is wearing a single-breasted, soft flannel suit with two-tone spectator shoes and a turtleneck. You wish you could look that stylish! Later that year, in Flying Down to Rio, we get the full Astaire impact. The muted plaid suit is not all that striking, but Fred is wearing it with a soft button-down shirt, a pale woven tie, silk pocket square, bright horizontally striped hose and white bucks. Whoa! Now that's different. This melange of the classic and the sporty was an American innovation. As we approach the impeccable Astaire's 100th birthday on May 10, it's worth remembering that he remains the greatest exemplar of that style.
Fred AstaireRelated topics
american appalling approach birthday bright classic dancing dance different dressing exemplar flannel flying fred full hose impact impeccable innovation lady later melange moment now number outfit pale plaid pocket remembering shirt shoes silk soft spectator square striking style suit think tie wearing woven white wish worth year remains movie astaire turtleneck pinpoint button-down bucks rioRelated quotes
The word addiction is used far too liberally in our society and I shy away from it. If I have any addiction, it would be nicotine. I would say alcohol is more of a compulsive habit for me. I have used different narcotics for roughly 20 years and I have always used them socially, sporadically and usually sparingly. I use cocaine occasionally and sometimes medicinally - before a third show Saturday, a bump of coke can make the difference between a strong performance and just phoning it in - and I've never developed any type of habit, never craved it the next day. I will use hallucinogens a few times a year as well, always in a safe environment. So far as an "early grave," I'm more concerned with quality of life. No sense in having a mint condition classic car if you're afraid to take it out of the garage. I look as sadly at people awash in hand-sanitizer and surgical masks in elevators as they might see me when I'm pouring booze down my head on stage.
Doug Stanhope
Take a moment to remember the times on your own spiritual quest when you felt most enthusiastic. We want to pinpoint the times in which we felt more God conscious and devotional than ever before. Conversely, look at the times when you felt unenthused and do a similar analysis. These questions might help stimulate your thought process: Are you enthusiastic about your existence as a servant of the Lord? Are you enthusiastic to follow the basic principles that will help elevate your consciousness? Are you enthusiastic in the association of saintly people? Are you enthusiastic about what you can experience in your purest state? We must examine our spiritual life on a daily, weekly, and even yearly basis. This examination will help us recognize how various activities and thoughts affect us. We should note how the quality of our experiences varies according to our absorption in the process of bhakti.
Bhakti Tirtha Swami
The major difference between Astaire and Kelly is a difference, not of talent or technique, but of levels of sophistication. On the face of it, Kelly looks the more sophisticated. Where Kelly has ideas, Astaire has dance steps. Where Kelly has smartly tailored, dramatically apt Comden and Green scripts, Astaire in the Thirties made do with formulas derived from nineteenth-century French Farce. But the Kelly film is no longer a dance film. It's a story film with dances, as distinguished from a dance film with a story. When Fred and Ginger go into their dance, you see it as a distinct formal entity, even if it's been elaborately built up to in the script. In a Kelly film, the plot action and the musical set pieces preserve a smooth community of high spirits, so that the pressure in a dance number will often seem too low, the dance itself plebeian or folksy in order to "match up" with the rest of the picture.
Fred Astaire
[My] approach recognizes the basic principle of a written Constitution. We "the people" adopted a written Constitution precisely because it has a fixed meaning, a meaning that does not change. Otherwise we would have adopted the British approach of an unwritten, evolving constitution. Aside from amendment according to Article V, the Constitution's meaning cannot be updated, or changed, or altered by the Supreme Court, the Congress, or the President. Of course, even when strictly interpreted as I believe it should be, the Constitution remains a modern, "breathing" document as some like to call it, in the sense that the Court is constantly required to interpret how its provisions apply to the Constitutional questions of modern life. Nevertheless, strict interpretation must never surrender to the understandably attractive impulse towards creative but unwarranted alterations of first principles.
Clarence Thomas
In the aftermath of the war, we find one of the most hidden eras of US history; and that is the period of radical reconstruction. It certainly remains the most radical era in the entire history of the United States of America. And this is an era that is rarely acknowledged in historical texts. ... There were progressive laws passed challenging male supremacy. This is an era that is rarely acknowledged. During that era of course we had the creation of what we now call historically black colleges and universities and there was economic development. This period didn't last very long. From the aftermath of the abolition of slavery, we might take 1865 as that day until 1877 when a radical reconstruction was overturned-and not only was it overturned but it was erased from the historical record-and so in the 1960s we confronted issues that should have been resolved in the 1860s. One hundred years later.
Angela Davis
