A Quote by Steve Rushin

Sam Snead had perhaps the most stylish solution to the balding golfer: A snappy fedora that became his signature style, so much so that many never knew he was tonsorially bereft.
My grandpa got me a set of Wilson clubs, Sam Snead models, when I was 12. Many years later, when I'd become well known, I got to know Sam, and we played a lot of golf together.
Sam Snead was born with a natural ability to keep his bar bills as low as his golf scores.
I don't think I'm intentionally rejecting anything for the sake of rejecting it. I do think though that my style is hard to define around a certain signature. Perhaps the haphazard style will itself become a signature?
It's inevitable that everyone's first drawing they draw is much like their fingerprint. It's inescapable that one has an identifiable style. It's not a major issue with me, but I never wanted to have a distinctive signature style so much.
Sam Snead will fly anywhere in my plane with me. Sam's not as worried about the danger as he is about saving money.
Denis Healey refused to contribute an article to the 'Guardian' about his intentions, and was punished by the electorate - and then all Labour MPs - for his presumption in assuming they already knew everything about him. He became famously the best prime minister we never had. Perhaps.
I never thought I am a stylish. For me, style is always a representation of what you want to wear but doing it in a unique way and expressing yourself. Every girl loves to be stylish.
Many times in my life when things were not going as I had planned, I would try to take control and fix it. The harder I tried to fix things the harder the situation or the stress from the situation became. As I learned to trust that God had the best solution, my life became much more peaceful and I was able to get through problems much quicker.
It had become boring to write: 'I like Clare Balding'. To say: 'I don't like Clare Balding' is much more newsworthy.
Knowing that I inspired SAM SMITH is one of the most powerful experiences I've had as an artist. I was Sam. I still am Sam.
I knew Bill Cunninghamn personally, in the way that most people know him - you don't really know that much about him. So I had never been in his apartment, as most people hadn't. I really had no idea how he lived. I knew he lived in Carnegie Hall, but that was it, and I didn't really understand. I knew that he worked hard, I just didn't realize that that was what he does, that's basically all he does
If I was ever going to become a good designer, I had to leave America. My own culture was inhibiting me. Too much style in America is tacky. It's looked down upon to be too stylish. Europeans, however, appreciate style.
When I came on board, it was halfway through his [Frank Sinatra] 72nd year, and when he did his last show he was gaining on 80. He knew it, the audience knew it, and there was never any attempt to conceal such a thing. His vision wasn't what it had once been. His hearing wasn't. His memory was fading. He knew these things. He was very much in need of help, and I was so happy to be able, in a small way, to render that help.
You can't try to be somebody you're not; that's not style. If someone says, 'Buy this - you'll be stylish,' you won't be stylish because you won't be you. You have to learn who you are first, and that's painful.
Style. People talk about it being stylish and beautiful, that's at the service of the story. Style for me means nothing without substance and there are moments and things about the film that are stylish but hopefully at the service of the story.
Even when disco went out, I could still make hits. Once I had so much success, every idea became concentrated. I had so much confidence. I knew how the bass should sound, what rhythms would work. The tempos I knew: 110 to 120 BPM. I knew they would dance in the clubs in New York or anywhere.
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