The videos conveyed the impression that these outsiders had brought chaos to Syria, and that the only path to peace was to put down the insurgency.
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You conveyed the impression that pastoral societies have become a prime source of political instability, human-trafficking, the drug trade, wildlife poaching, illegal migration and jihadist and religious extremism in the Sahel and the Horn of Africa.
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His assistant, Charles Meik, conveyed the impression that he "was aptly named", implying that he had no real influence over the design and construction.
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44–47: "As marketing categories, designations like race and hillbilly intentionally separated artists along racial lines and conveyed the impression that their music came from mutually exclusive sources. Nothing could have been further from the truth... In cultural terms, blues and country were more equal than they were separate." Garofalo claimed that "artists were sometimes listed in the wrong racial category in record company catalogues."Wolfe, Charles.
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Garofalo, pp. 44-47 As marketing categories, designations like race and hillbilly intentionally separated artists along racial lines and conveyed the impression that their music came from mutually exclusive sources. Nothing could have been further from the truth... In cultural terms, blues and country were more equal than they were separate. Garofalo claims that artists were sometimes listed in the wrong racial category in record company catalogues.
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Frozen Ice (1970) Tapio Wirkkala designed the original “Frozen Ice” bottle, which conveyed the impression of an ice-cold drink from Lapland in the Arctic North. The textured glass glittered like the surface of an icicle. The label featured two white reindeers sparring against the Midnight Sun low on the horizon. Hammered Ice (1998) Hansen Design of Design Philadelphia introduced “Hammered Ice” bottle design.
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Eberson specialized in the subgenre of "atmospheric" theatres. His first, of the five hundred in his career, was the 1923 Majestic in Houston, Texas. The atmospherics usually conveyed the impression of sitting in an outdoor courtyard, surrounded by highly ornamented asymmetrical facades and exotic flora and fauna, underneath a dark blue canopy; when the lights went out, a specially designed projector, the Brenograph, was used to project clouds, and special celestial effects on the ceiling. Lamb's style was initially based on the more traditional, "hardtop" form patterned on opera houses, but was no less ornate.
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All except Ginger. No, no, Ginger never cried". John Mueller summed up Rogers' abilities as: "Rogers was outstanding among Astaire's partners, not because she was superior to others as a dancer, but, because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began...the reason so many women have fantasized about dancing with Fred Astaire is that Ginger Rogers conveyed the impression that dancing with him is the most thrilling experience imaginable". Author Dick Richards, in his book Ginger: Salute to a Star, quoted Astaire saying to Raymond Rohauer, curator at the New York Gallery of Modern Art, "Ginger was brilliantly effective.
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In the summer of 1986 Eubanks and Turner recruited Tom Byers from Digital Research, to expand the Turner Hall Publishing product family and lead the Turner Hall effort. By the winter of 1986–87, the Turner Hall Publishing division had achieved success with NoteIt, the Turner Hall Card and SQZ!. The popularity of these products, while contributing a relatively small portion of revenues to Symantec, conveyed the impression that Symantec was already a diversified company, and indeed, many industry participants were under the impression that Symantec had acquired Turner Hall Publishing. In 1987, Byers recruited Ted Schlein into the Turner Hall Product Group to assist in building the product family and in marketing.
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For 37 of the 212 papers, the committee was unable to determine whether data had been fabricated. The investigators observed that Fujii seemed to have been deliberately ambiguous about details such as the dates of the studies and the names of the institutions where they were conducted, apparently to reduce the possibility that his fraud would be detected. Also, by listing co-authors from institutions other than his current employer, he conveyed the impression that the papers described studies done at multiple hospitals. Several scientists listed as co-authors were not aware that Fujii had included their names on his papers; two named co-authors said that their signatures had been forged on a cover letter submitting the paper to the journal.
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The video ends with a desperate and melancholy Madonna. Jim Glauner from MTV News commented that from the first scene of the video, the viewer discovers that this is not "Holiday" (1983). Matthias Groß of Madonna On the Couch: A psychoanalytic view on Madonna's music videos, argued that it is interesting to look at the video as a dream, and noted that in the video, Madonna was presented as a witch or an uncanny creature, by the technique of the central perspective. He concluded that the viewers find themselves in control of their view, of the situation in general, and are conveyed the impression to follow a realistic depiction of a mere melancholic woman in the desert, according to him.
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He and Occupation were next scheduled to meet in the Cowdin Stakes on September 19 but Count Fleet was scratched, presumably due to a sloppy track. Instead, he made his next start on September 24 in The Morello at Belmont Park, where he "conveyed the impression that he was out for a breeze, and merely beating the others as an incidental manner." He finally met up with Occupation again in the Belmont Futurity on October 3 in what was then the world's richest race for two-year- olds. Occupation won by five lengths with Count Fleet finishing third after grabbing his quarter (a situation where one of the hind legs cuts into the hoof of one of the front legs).
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Biographer Clinton Heylin believes the songs "'Vanlose Stairway' and 'She Gives Me Religion' [were] perhaps Morrison's most captivating love songs since the days of Veedon Fleece." "Cleaning Windows" is about Morrison's first full-time job and the last carefree days of his adolescence in the years 1961 to 1962, and is a metaphor for the idea that his music alters people's perceptions of life. Biographer Steve Turner believes in this song Morrison "captured the balance between his contentment at work and his aspirations to learn more about music. It conveyed the impression that his happiness with the mundane routine of smoking Woodbine cigarettes, eating Paris buns and drinking lemonade was made possible by the promise that at the end of the day he could enter the world of books and records ... ".
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Bat-Dori wrote most of her scripts and was a pioneer in "stagecraft and the combination of staging and choreography" which until then were unknown in Palestine. Her vision of kibbutz theatre was to effect "a kind of communal psychoanalysis by concentrating the efforts of an entire community on a real-life, historical topic with a meaning and a message especially suited to a particular time and place". For example, her adaptation of Howard Fast's My Glorious Brothers, staged for the 25th anniversary of Givat Brenner in 1953, sought to draw a parallel between Israel's recent War of Independence and the ancient Maccabean Revolt. In this way, it furthered the Kibbutz Movement's ideology of reframing ancient Jewish religious practices and holidays in a modern, secular context, and conveyed the impression of the "social and economic power" of the kibbutz.
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Cyd Charisse was a much finer technical dancer" by Hermes Pan and Stanley Donen. Film critic Pauline Kael adopts a more neutral stance,Kael: "That's a bit much," in an otherwise laudatory review of Croce's The Fred Astaire and Ginger Rogers Book, writing in The New Yorker, November 25, 1972 while Time magazine film critic Richard Schickel writes "The nostalgia surrounding Rogers–Astaire tends to bleach out other partners." Mueller sums up Rogers's abilities as follows: > Rogers was outstanding among Astaire's partners not because she was superior > to others as a dancer, but because, as a skilled, intuitive actress, she was > cagey enough to realize that acting did not stop when dancing began ... the > reason so many women have fantasized about dancing with Fred Astaire is that > Ginger Rogers conveyed the impression that dancing with him is the most > thrilling experience imaginable. According to Astaire, "Ginger had never danced with a partner before Flying Down to Rio.
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He was a tall, erect, distinguished- > looking man, who, with his white hair, blue eyes, ruddy complexion, white > mustache, and in his manner and dress, conveyed the impression that he might > have come from the English landed aristocracy. He was perfectly cordial, but > gave us clearly to understand that our rather similar views on such matters > as foreign policy and the administration in Washington were no basis for > familiarity. The New York Times wrote: > He did consider himself an aristocrat, and his imposing stature-- tall, with > a muscular body weighing over , his erect soldierly bearing, his reserved > manner and his distinguished appearance--made it easy for him to play that > role. But if he was one, he was an aristocrat, according to his friends, in > the best sense of the word, despising the idle rich and having no use for > parasites, dilettantes or mere pleasure-seekers, whose company, clubs and > amusements he avoided.
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