She has shared her husband's greatness, but only within the confines of their home ; ;

She has rarely been photographed with him and, except for Carl's seventy-fifth anniversary celebration in Chicago in 1953, she has not attended the dozens of banquets, functions, public appearances, and dinners honoring him -- all of this upon her insistence.

She has small, broad, capable hands and an enormous energy.

She has studied and observed and she is convinced that her young man is going to be endlessly enchanting.

She has the small, highly developed body of a prime athlete, and holds in contempt the `` girls who just move sex ''.

She has a pretty bad cold ''.

She hesitated, she hopped, she rolled and rocked, skipped and jumped, but in some two weeks she started to pace, From that time to this she has shown steady improvement and now looks like one of the classiest things on the grounds.

She has been acting as a prostitute.

She teamed up with another beauty, whose name has been lost to history, and commenced with some fiddling that would have made Nero envious.

She replied, `` I know of one man that has not been friendly with him.

`` She says she has to finish a story ''.

She gave a fine portrayal of Auntie Mame on Broadway in 1958 and has appeared in live television from `` Captain Brassbound's Conversion '' to `` Camille ''.

She has to have at least one car herself.

She is the most beautiful thing you ever laid eyes on, and her dancing has a feminine suavity, lightness, sparkle, and refinement which are simply incomparable.

) She has since turned to Bellini, whose opera `` Beatrice Di Tenda '' in a concert version with the American Opera Society introduced her to New York last season.

She has a good, firm delivery of songs and adds to the solid virtues of the evening.

She is just home from a sojourn in London where she has become the sweetheart of a young fellow named Ronnie ( we never do see him ) and has been subjected to a first course in thinking and appreciating, including a dose of good British socialism.

She also has a habit of constantly changing her hairstyle, and in every appearance by her much is made of the clothes and hats she wears.

She has a maid called Maria who prevents the public adoration from becoming too much of a burden on her employer, but does nothing to prevent her from becoming too much of a burden on others.

She has authored over fifty-six novels and she has a great dislike of people taking and modifying her story characters.

" She first met Poirot in the story Cards on the Table and has been bothering him ever since.

She also has a remarkable ability to latch onto a casual comment and connect it to the case at hand.

She also sang the jazz song " After You've Gone " for the end credits of the film The Cat's Meow ( 2001 ).

She also lent her voice to the end credits of The Cat's Meow, singing Henry Creamer and Turner Layton's jazz standard " After You've Gone.

She credits her brother, Todd, as one of her most important sources of inspiration, and her mother and grandmother as role models.

She also recorded a song called " Distant Storm " for the film China O ' Brien ; in the credits, the song is attributed to a band called Tess Makes Good.

She credits government with much of her success in public life.

She began to attract attention and finally landed larger film roles that began to win her screen credits.

She has provided voices for numerous films, television shows, video games and commercials, garnering over 200 credits.

She further credits such qualities as assisting her husband and her family to endure the suffering they experienced as a result of their political allegiance.

She credits her books as tangible examples of her contemplation and contrasts her self-proclaimed harmless ideas with wild thoughts which, she states, lead to indiscreet actions.

She also sings Marc Collin's " Lalala " over the closing credits of 2 Days in Paris, for which she also wrote all of the original score.

She was more than just a soloist, and this is why I have such a problem with specific credits.

Kuttner acknowledged “ de facto enroads ” before Glass-Steagall “ repeal ” but argued the GLBA ’ s “ repeal ” had permitted “ super-banks ” to “ re-enact the same kinds of structural conflicts of interest that were endemic in the 1920s ”, which he characterized as “ lending to speculators, packaging and securitizing credits and then selling them off, wholesale or retail, and extracting fees at every step along the way .” Stiglitz argued “ the most important consequence of Glass-Steagall repeal ” was in changing the culture of commercial banking so that the “ bigger risk ” culture of investment banking “ came out on top .” He also argued the GLBA “ created ever larger banks that were too big to be allowed to fail ”, which “ provided incentives for excessive risk taking .” Warren explained Glass-Steagall had kept banks from doing “ crazy things .” She credited FDIC insurance, the Glass-Steagall separation of investment banking, and SEC regulations as providing “ 50 years without a crisis ” and argued that crises returned in the 1980s with the “ pulling away of the threads ” of regulation.

Burke credits his grandmother as his primary spiritual and musical influence: " She was my mentor, a spiritual medium directly associated with Daddy Grace and Father Divine.

Additional credits include Miami Vice, Murder, She Wrote, the Showtime television movie Common Ground ( which he also wrote ), and Cheers, which earned him an Emmy Award nomination for Outstanding Supporting Actor in a Comedy Series.

She credits Murray Rothbard's book Man, Economy, and State: A Treatise on Economic Principles as being " solely responsible for turning from the advocacy of limited government to a lifetime of work within the individualist-anarchist tradition.

She added theatrical credits to her repertoire ; she understudied Leslie Uggams for the Broadway show Hallelujah Baby in 1967, and appeared with the Equity Theatre in a production of Lost in the Stars.

She is referred to thereafter, and in the closing credits, as Moneypenny.

She has a cameo appearance in the 2007 remake of the original cult-classic Hairspray as a William Morris talent agent, and teamed up with star Nikki Blonsky, who had played the role of Tracy Turnblad in the 2007 movie musical remake, and Marissa Jaret Winokur, who had played the role of Tracy Turnblad in the Broadway musical based on the original 1988 film, to record " Mama I'm a Big Girl Now " for the soundtrack, which is played at the film's end credits.

She credits her 1982 book Race to the Finish?

" She has been featured in television commercials and program opening credits sprinkling pixie dust with a wand in order to shower a magical feeling over various other Disney personalities, though the 1953 animated version of Tinker Bell never actually used a wand.

She joined the Bishop's Waltham Little Theatre Company when she was nine, and credits Angie Blackford as influential in her early stage career.

( She credits her interview technique to Gay Byrne, who hosted the contest when she was in Tralee.

She credits her decision to become a registered nurse as " one of the most practical, wonderful ones I ever made … because, aside from the science, you learn crisis management, decision making, prioritizing …"

She credits her teacher, Marilyn Frasca at The Evergreen State College, with teaching her these creativity and writing techniques.