Mbti Types as The Great Gatsby Quotes

ISFJ: “I was within and without, simultaneously enchanted and repelled by the inexhaustible variety of life.”

ESTJ: “But I can still read the gray names, and they will give you a better impression than my generalities of those who accepted Gatsby’s hospitality and paid him the subtle tribute of knowing nothing about him.”

ISFP: “The exhilarating ripple of her voice was a wild tonic in the rain.”

ENFJ: “There must have been moments even that afternoon when Daisy tumbled short of his dreams- not through her own fault, but because of the colossal vitality of his illusion.” 

INTP: “I tried to go then, but they wouldn’t hear of it; perhaps my presence made them feel more satisfactorily alone.”

INFP: “No amount of fire or freshness can change what a man will store up in his ghostly heart.”

ENTP: “’You see, I think everything’s terrible anyhow,’ she went on in a convincing way. ‘Everybody thinks so- the most advanced people. And I know. I’ve been everywhere and seen everything and done everything.’” 

ESFP: ”It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced- or seemed to face- the whole external world for an instant, and then concentrated on you with an irresistible prejudice in your favor.”

ESFJ: “The bottle of whiskey- a second one- was now in constant demand by all present, excepting Catherine, who ‘felt just as good on nothing at all.’”

ENTJ: “The mouth was wide open and ripped at the corners, as though she had choked a little in giving up the tremendous vitality she had stored for so long.”

INTJ: ”Though I was curious to see her, I had no desire to meet her- but I did. I went up to New York.”

ISTJ: “he saw himself standing alone on the last barrier of civilization.”

ISTP: “’I am careful.’ 

‘No you’re not.’

‘Well, other people are.’”

ENFP: “Daisy began to sing with the music in a husky, rhythmic whisper, bringing out a meaning in each word that it had never had before and would never have again.”

ESTP: “They were at least agonizingly aware of the easy money in the vicinity and convinced it was theirs for a few words in the right key.” 

INFJ: “and for a second I thought I loved her. But I am slow-thinking and full of interior rules that act as breaks on my desires,”

In New York I see these extremes of the people on the streets, the workers, and then the very wealthy. But I love the way everyone just lives on the streets here and dresses just how they want. I’m wearing this knitwear all the time. I want strange shapes, new propositions.
In other cities I’ve lived in these kind of shapes, these interesting forms, wouldn’t be so accepted. The mix of the very high and the very everyday that you see in this city is inspiring me deeply.
The tape came from Martin Margiela’s second show. It’s a very subtle tribute, I wasn’t going to tell anyone. Martin sent out one look in that show with the tape, do you remember? I was going to have the models walk in a tray of blood before they came out too. But then I thought, ‘this is going to be too much’…
But I don’t know, maybe it’s never too much? We all need to be far more fearless. Do whatever it takes. I want those younger people who were outside on the street getting inside my shows. I want them to photocopy tickets, do whatever it takes. The fashion people are acting like nothing’s happening and they go right around, avoiding the issue. I want the people on the outside now on the inside. I want change.
—  Pop Magazine No. 36, S/S 2017

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A really [un]subtle tribute to @studywithinspo , one of my very, very favorite study blogs. I just love his style, so I thought I’d try and recreate it with my west coast lighthouses sweater and some of my Korean and world history notes! Now, I know this is nowhere near as good as Brian’s…but hey, I thought I’d try.

dsaucedo  asked:

I'm a big fan of your costume designs, particularly your liberal use of knee-pads and belts. The details, the stitching, the cut all give the characters a certain weight and feel that sometimes differs from the mainline image of those characters, but in a great way. With something like Age of Ultron, how much freedom were you given with those character designs (which are killer, btw)? Was there anything you wanted to do that was deemed a step too far? I look forward to seeing more of your work!

Thanks very much. Kneepads are super overlooked in superhero designs. As a fan of pro wrestling, its one of those things that you’d think would be super obvious for dudes to wear if they’re running around and shit and even the overly practical designs for characters seem to not have them which rings false to me.

To answer your question in regards to how much creative freedom Marvel gave me with What If? Age of Ultron, it probably was a lot more easy going for me because this was an out of continuity thing and aside from a handful of other artists in issue 5, nobody else was really going to draw these things so I think as long as I didn’t wildly overstep my bounds, they were really cool about letting me kind of do whatever.

These are the design sketches I sent to Joe Keatinge and our editor, Jon Moisan,before we started the book: 

Early on I asked Joe if we could have a new, younger Ghost Rider instead of having an aged version of the Ghost Rider that was on the original New Fantastic Four team. From the jump he only thing I really wanted to try and sneak into this design was the Air Yeezy 2’s Ghost Rider has in the book. Something about the design feels super appropriate for a futuristic Ghost Rider and I believe at the time Kanye was doing his podcast/interview tour to explain his grievances with the fashion industry so that sort of thing was definitely on my mind.

This was the design for the hulk which remained pretty much the same except at some point I added slippers and just rolled with it. Early on Joe told me he was thinking of maybe making the Hulk a Buddhist monk which sounded rad to me so I drew this fairly quick before he had time to change his mind.  

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Spider-man was also fairly unchanged. My buddy Dennis Culver took a look at it and gave me some good notes, primarily making the web cartridges bigger as not to get too busy around the wrists. I also took the gloves from a different Spider-man costume for variety. Joe had asked for this costume to be made up of different pieces of other costumes peter would have gathered over the years. Some people asked if Walter White at the end of Breaking Bad informed the look of Peter out of the costume and it definitely did. Before I got the script, Joe sent me a clip of Walt from the B.B. finale and said that was the mindset of Peter Parker. He was a lot more suburban than i initially thought he’d be which is why he wears a nice sweater in the comic and a dirty old one here.

Also, one thing that was in from the beginning was the scarf. Last year , my good buddy Mike Dimayuga passed away shortly before I was approached about doing this book. Mike was a great artist and constantly entered the Project: Rooftop contest with me and I was constantly telling him that he needed to add a scarf to his designs to give them a little more flair. Ironically, he did just that on his Spider-man design and won first place so this was a subtle tribute to him. There was a nice poetic moment at the end of the book that Joe wrote where Peter Parker hands off his scarf to Wolverine who wears it as a tribute. 

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As you can see, this Wolverine is the most radically different than what was in the book. Joe and my editor were cool with the design but as he wrote the script, Joe had the idea of having Wolverine look a little more like Corto Maltese so I lengthened the jacket, turned it blue and put the pants over the boots and gave him a nice captain’s hat. That’s why Joe is a genius. I definitely would have not thought to do that in a million years.

So that was what I started off with and this is a splash page I sent to the colorist Ruth Redmond as a color guide for the book:

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Aside from Wolverine, not a whole lot changed.

Anyhow, thanks again for the question. I held off answering it until I felt like writing all this out for posterity.


Studio in the Rue de Furstenberg (1865). Frédéric Bazille (French, 1841-1870). Oil on canvas. Musée Fabre, Montpellier, France.

Bazille shared the studio with Monet. Although Bazille is absent, his box of paints, palette, and brushes are visible. He depicts his daily world with great economy. The work pays subtle tribute to Monet whose Honfleur landscapes painted in 1864 adorn the walls.


Fare Thee Well: Celebrating 50 Years of Grateful Dead at Soldier Field, Chicago, July 4, 2015

For three hours, 15 minutes Saturday, the Dead kept a steady high and turned in one of those concerts - the kind that’s kept the faithful coming back for more for 50 years.

On Independence Day, the second of three Fare Thee Well shows in Chicago started with a bang in the form of a funky, Bob Weir-sung “Shakedown Street” and ended with many bangs courtesy of a fireworks display over Soldier Field.

In between, the Dead played a well-executed, high-energy, 18-song concert with a few major spikes and fewer minor dips - a consistent show so full of spark that even “Me and My Uncle,” the most-played song in Grateful Dead history, was crackling. The sound in the sold-out stadium was dialed in with Bruce Hornsby’s piano, Jeff Chimenti’s playing on the late Brent Mydland’s B3 and Weir’s guitar all high in the mix.

Set one was steeped in Americana for the nation’s 239th birthday. In addition to the obvious references in “Liberty,” the band told tales of Colorado gamblers, hard-working, low-wage-earning miners (“Cumberland Blues”) and outlaws on the lam (a Phil Lesh-led “Friend of the Devil,” complete with Robert Hunter’s long-lost last verse).

Weir was the man of the hour-and-25-minute set taking lead vocals on nearly all the tunes. Trey Anastasio, whose playing has been superb over the Chicago shows, sang “Standing on the Moon” and “Deal,” and although his voice is in Jerry Garcia’s range, it has little soul and the guitarist’s vocal performances come off as perfunctory. Conversely, when Hornsby shared vocal duties with Weir on “Tennessee Jed,” his animated singing style and dominant playing drove the crowd into a frenzy.

Hornsby, playing a Steinway grand piano, has done yeoman’s work, egging the band on and playing licks that harken back to the Keith Godchaux era and his own 1990-‘92 stint with the original band.

Set break again featured Neal Casal’s infectious, Grateful Dead-inspired instrumental soundtrack, augmented with Chicago’s 4th of July fireworks in the sky and on the big screen above the stage. Throughout the evening, the DIRECTV blimp circled the stadium and flashed Steal Your Face and dancing bear logos and messages like “thank you for a real good time” to the crowd below.

Lesh paid tribute to his fallen band mate when he intoned, “all I know is something like a bird within him sang” during the last verse of the breezy, way-mellow second-set opener “Bird Song.” It was a nice, subtle tribute to the man in black T-shirts. And just in case anyone missed it, the Dead drove the point home on a hard-charging, rendition “The Golden Road (To Unlimited Devotion),” one of Grateful Dead’s earliest original compositions.

In an odd and cool twist, the Dead turned to Hornsby and Anastasio to take the lead vocals on this chestnut and Weir and Lesh chimed in for the party-invitation that is the chorus.

Weir’s Go to Heaven-era “Lost Sailor/Saint of Circumstance” couplet sounded much like the original band while the slinky, sinewy “West LA Fadeaway” that followed, with Hornsby on vocals, featured the GD spirit in a brand-new musical body.

“Drumz” and “Space” were long - 25 minutes - and fun to watch on the huge back-of-the-house Jumbotron. Bill Kreutzman and Mickey Hart turned in a bone-shaking, tribal-sounding drum duet from the jungle and the full band followed with a “Space” from the farthest depths - one featuring loud, electronic-generated bleeps and bloops popping out of the PA on a bed of feedback and punctuated by discordant notes from Hornsby’s acoustic piano.

The Dead’s terrific, trippy light show and video enhancements were wonderful visual companions to the aural cacophony.

Weir’s voice is ill-suited for delicate ballads like “Stella Blue,” and last night, despite wonderful instrumental accompaniment, it sounded, as always, awkward. He’s more at home on the obvious set closer and encore, “One More Saturday Night” and “U.S. Blues,” and these rockers filled their respective roles perfectly.

Five decades in to a very long - and very strange - musical trip, the Dead could very easily phone it in and the ‘Heads would gladly accept it. But last night, these elderly psychedelic warriors, in their penultimate performance together, put on a display of musical excellence and physical endurance that demonstrated, leaving no doubt, that the Dead is still full of life.

Grade card: Fare Thee Well at Soldier Field - 7/4/15 - A-

Setlist: 1: Shakedown Street/Liberty/Standing on the Moon/Me and My Uncle/Tennessee Jed/Cumberland Blues/Little Red Rooster/Friend of the Devil/Deal 2: Bird Song/The Golden Road (To Unlimited Devotion)/Lost Sailor/Saint of Circumstance/West LA Fadeaway/Foolish Heart/Drumz/Space/Stella Blue/One More Saturday Night E: U.S. Blues