A Quote by Tsugumi Ohba

L shot Maki a disappointed look. But soon he forgot everything when Misa Amane appeared onstage. Enraptured he began to cheer with the girls in black lace and frilly skirts.
I don't like wearing frilly, puffy skirts.
I mess with white girls, Asian girls, Spanish girls, black girls, everything.
Anybody that shoots a hook shot, whatever hand, I jump up and cheer because it's the easiest shot, it's the best tweener shot.
Black and white players hadn't appeared together in public before Teddy Wilson and I began working with B.G.
As soon as man began considering himself the source of the highest meaning in the world and the measure of everything, the world began to lose its human dimension, and man began to lose control of it.
Go out there and try on everything - short skirts, long skirts, mid length, little jackets, men's clothing - and really look at yourself; really walk around in the clothes. Don't just take someone else's advice. You must feel you in these clothes and feel what it's like to live in them.
In L.A. summer's blistering heat, I've seen many girls wearing short skirts with Ugg boots. I like the boots, and the short skirts, but I've always wondered, don't their feet get hot?
My fashion icons are Audrey Hepburn, Grace Kelly and Ava Gardner. Their classic looks and clean lines should be the cornerstones of your wardrobe - white cotton shirts, black Capri pants, pencil skirts and ballerina skirts.
That is what I want to tell you about: the girls with their short skirts and bright eyes and big-city dreams. The girls of 1929.
It's a form of violence, in the way that we look at women and how we expect them to look and be - for what sake? Not health, not survival, no enjoyment of life but just so you could look pretty. I'm constantly telling girls all the time, 'Everything's airbrushed, everything's retouched. None of us look like that.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
To go within doesn't mean to become enraptured with who you are, or to become enraptured with ideas of who you are.
Scheele, it was said, never forgot anything if it had to do with chemistry. He never forgot the look, the feel, the smell of a substance, or the way it was transformed in chemical reactions, never forgot anything he read, or was told, about the phenomena of chemistry. He seemed indifferent, or inattentive, to most things else, being wholly dedicated to his single passion, chemistry. It was this pure and passionate absorption in phenomena-noticing everything, forgetting nothing-that constituted Scheele's special strength.
Little by little things began to assume a new aspect. The sense of insecurity vanished, words came of themselves, I was no longer so painfully conscious of everything I said. I drank on and felt the great soft wave approach and embrace me; the dark hour began to fill with pictures and stealthily the noiseless procession of dreams appeared again superimposed on the dreary, grey landscape of existence.
I will say that, I, being a Jew, experience unease before I go onstage; and after I go onstage, and in general. But luckily the forty-five minutes to an hour that I'm onstage I usually forget everything else and I just press play.
My performance outfits are very Marie Antoinette, sparkly corsets... and full skirts. And then we do another look that's '50s-inspired. Poufy skirts, big bows. Very fun, girlie and young, but otherwise, when I'm not in costume, I dress really normal.
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