Bills Picture Quotes

You know what I think?" she says. "That people's memories are maybe the fuel they burn to stay alive. Whether those memories have any actual importance or not, it doesn't matter as far as the maintenance of life is concerned. They're all just fuel. Advertising fillers in the newspaper, philosophy books, dirty pictures in a magazine, a bundle of ten-thousand-yen bills: when you feed 'em to the fire, they're all just paper. The fire isn't thinking 'Oh, this is Kant,' or 'Oh, this is the Yomiuri evening edition,' or 'Nice tits,' while it burns. To the fire, they're nothing but scraps of paper. It's the exact same thing. Important memories, not-so-important memories, totally useless memories: there's no distinction--they're all just fuel.

You know what I think?" she says. "That people's memories are maybe the fuel they burn to stay alive. Whether those memories have any actual importance or not, it doesn't matter as far as the maintenance of life is concerned. They're all just fuel. Advertising fillers in the newspaper, philosophy books, dirty pictures in a magazine, a bundle of ten-thousand-yen bills: when you feed 'em to the fire, they're all just paper.

Advertising fillers in the newspaper, philosophy books, dirty pictures in a magazine, a bundle of ten-thousand-yen bills: when you feed 'em to the fire, they're all just paper.

I'm always amazed at the human capacity to not make fundamental changes, but instead merely adapt. I see these pictures of people in Beijing and New Delhi, walking around with masks on, because you can't walk outside your house and breathe? If you can't breathe?…If that's not the cue to make a fundamental change, I don't know what is!

We essentially had to build a docking mechanism between the two capsules. We didn't have to share a lot of data, and we did that at the height of the Cold War, which was pretty symbolic." –Bill Gerstenmaier

George Washington chopped down the tree, and then he threw away the money. Do you understand? He was telling us an essential truth. Namely, that money doesn't grow on trees. This is what made our country great, Peter. Now George Washington's picture is on every dollar bill. There is an important lesson to be learned from all this.

Vision is a picture of the future that produces passion.

Chicago was to corruption what Pittsburgh was to steel or Hollywood to motion pictures. It refined and cultivated it, and embraced it without embarrassment.

Wouldn't it be nice if there weree a planet where the sound of rain falling is like Bach?" he says. "Yes, Planet Bach," I respond. He smiles -"Yes", he murmurs- picturing it, hearing it.

The sparkle and morning-freshness of the shop, and the butter-conjuring girl, formed a mind-picture which accompanied the whole of my youth.(about the Buttercup Dairy)

THE FIRST TIME IN HISTORY PICTURES ARE FLASHED BY WIRE AND RADIO SYNCHRONIZING WITH SPEAKER’S VOICE COMMERCIAL USE IN DOUBT BUT AT&T HEAD SEES A NEW STEP IN CONQUEST OF NATURE AFTER YEARS OF RESEARCH

Large numbers of Christians are practical atheists who disbelieve in an active God. They wouldn’t say it that way; no church’s written doctrine would declare there is no God. But believers face situations daily without bringing God into the picture. Like Herod, they say there is no divine intervention in practical living. They are professing Christians but live exactly like their atheist neighbors whenever they face a problem. They don’t think to get God’s counsel through His Word, or invite God to intervene.

On the morning of our second day, we were strolling down the Champs-Elysées when a bird shit on his head. ‘Did you know a bird’s shit on your head?’ I asked a block or two later. Instinctively Katz put a hand to his head, looked at it in horror – he was always something of a sissy where excrement was concerned; I once saw him running through Greenwood Park in Des Moines like the figure in Edvard Munch’s ‘The Scream’ just because he had inadvertently probed some dog shit with the tip of his finger – and with only a mumbled ‘Wait here’ walked with ramrod stiffness in the direction of our hotel. When he reappeared twenty minutes later he smelled overpoweringly of Brut aftershave and his hair was plastered down like a third-rate Spanish gigolo’s, but he appeared to have regained his composure. ‘I’m ready now,’ he announced. Almost immediately another bird shit on his head. Only this time it really shit. I don’t want to get too graphic, in case you’re snacking or anything, but if you can imagine a pot of yoghurt upended onto his scalp, I think you’ll get the picture. ‘Gosh, Steve, that was one sick bird,’ I observed helpfully. Katz was literally speechless. Without a word he turned and walked stiffly back to the hotel, ignoring the turning heads of passers-by. He was gone for nearly an hour. When at last he returned, he was wearing a windcheater with the hood up. ‘Just don’t say a word,’ he warned me and strode past. He never really warmed to Paris after that.

But I don't want money. It is only people who pay their bills who want that, Uncle George, and I never pay mine. Credit is the capital of a younger son, and one lives charmingly upon it.

New Rule: The White House doesn't have to release the dead Bin Laden photos, but don't pretend we can't take it. We've seen pictures of Britney Spears's vagina getting out of a car. Television has desensitizes us to violence, and porn has desensitized us to people getting shot in the eye.

New Rule: While you're telling me how your March Madness bracket is doing, you must also fill me in on your vacation and show me pictures of your kids. That way, I can not give a shit all at once.

The next time we are tempted to admonish somebody, let’s pull a five-dollar bill out of our pocket, look at Lincoln’s picture on the bill, and ask, “How would Lincoln handle this problem if he had it?

H. L. Mencken called it “the one authentic rectum of civilization,” but for most people Hollywood was a place of magic. In 1927, the iconic sign on the hillside above the city actually said HOLLYWOODLAND. It had been erected in 1923 to advertise a real estate development and had nothing to do with motion pictures. The letters, each over forty feet high, were in those days also traced out with electric lights. (The LAND was removed in 1949.)

Take a piece of paper and a pen, and write down everything you aren’t happy with. Write down, very specifically, every single problem you face. If you are struggling with finances, you need a very clear picture of what’s wrong. Write down every debt, every bill, every asset, and every bit of income. If you are struggling with self-image, write down exactly what you dislike about yourself. If it is anxiety, write down everything that bothers or upsets you.

New Rule: You can't put a windmill in your campaign ad if you voted against every single bill that might lead to someone building one. As long as you're sending a camera crew to a farm, why not just take a picture of actual bullshit?

Then I spoke with proven shapers I knew—Bill Gates, Elon Musk, Reed Hastings, Muhammad Yunus, Geoffrey Canada, Jack Dorsey (of Twitter), David Kelley (of IDEO), and more. They had all visualized remarkable concepts and built organizations to actualize them, and done that repeatedly and over long periods of time. I asked them to take an hour’s worth of personality assessments to discover their values, abilities, and approaches. While not perfect, these assessments have been invaluable. (In fact, I have been adapting and refining them to help us in our recruiting and management.) The answers these shapers provided to the standardized questions gave me objective and statistically measurable evidence about their similarities and differences. It turns out they have a lot in common. They are all independent thinkers who do not let anything or anyone stand in the way of achieving their audacious goals. They have very strong mental maps of how things should be done, and at the same time a willingness to test those mental maps in the world of reality and change the ways they do things to make them work better. They are extremely resilient, because their need to achieve what they envision is stronger than the pain they experience as they struggle to achieve it. Perhaps most interesting, they have a wider range of vision than most people, either because they have that vision themselves or because they know how to get it from others who can see what they can’t. All are able to see both big pictures and granular details (and levels in between) and synthesize the perspectives they gain at those different levels, whereas most people see just one or the other. They are simultaneously creative, systematic, and practical. They are assertive and open-minded at the same time. Above all, they are passionate about what they are doing, intolerant of people who work for them who aren’t excellent at what they do, and want to have a big, beneficial impact on the world.

We lay there a moment, entwined around each other, panting. Then I lifted my head to look at the room. Two broken lamps. One ripped pillowcase. One damaged headboard. Not bad ... Oh, shit. Was that a picture frame? Two picture frames. How the hell did we ...? I sighed. "We'll snag the bill before Jeremy sees it," Clay said. I sighed louder. "Bigger room, darling. Like I said, we need a bigger room.

You can work through the physics of interstellar radio attenuation,1 but the problem is captured pretty well by considering the economics of the situation: If your TV signals are getting to another star, you’re wasting money. Powering a transmitter is expensive, and creatures on other stars aren’t buying the products in the TV commercials that pay your power bill. The full picture is more complicated, but the bottom

CALVIN'S DAD: What story would you like tonight? We can read anything except... CALVIN, INTERRUPTING HIM: "Hamster Huey and the Gooey Kablooie"! CALVIN'S DAD, IN ANGUISH: NO! No Hamster Huey tonight! We've read that book a million times! CALVIN: I want Hamster Huey! CALVIN'S DAD, Nearly Pleading: Look, you KNOW how the story goes. You've memorized the whole thing! It's the same story every day! CALVIN, Screaming: I want Hamster Huey! CALVIN, LYING IN BED WITH EYES OF WONDERMENT: Wow, the story was different THAT time! HOBBES, LYING IN BED NEXT TO CALVIN, ALSO WITH EYES OF WONDERMENT: Do you think the townsfolk will ever find Hamster Huey's head?

I think I get the picture.” She shakes her head in dull wonder. “It’s as if the guy knew

It's odd to see pictures of your parents before your own birth, before your nagging presence altered their lives forever.

Other thoughtful year-round gestures to staff included silver picture frames for wedding anniversaries, flowers to ailing spouses, additional checks for medical bills and even a pet dog

it. But I don't want money. It is only people who pay their bills who want that, Uncle George, and I never pay mine. Credit is the capital of a younger son, and one lives charmingly upon it. Besides,

Once you got rich you’d have to spend all your time staying rich, and that’s hard thankless work. I tried it a while and quit, myself. If I can keep ten dollars ahead of the bills I’ll be doin’ all right.

The first thing she noticed were the lightbulbs in the ceiling. She wondered where the spindlers had gotten them, and where the wires for the electricity ran to, and pictured some poor family Above whose bills were always too high at the end of the month, and the father who would yell at the children about where all that power went - when really, of course, it was the spindlers that were the whole problem.

Try this way of picturing a human lifespan. The National Football League’s Dallas Cowboys’ stadium holds 105,000 people. Now, imagine that you’re watching life go by down on the field, and every day you watch that life go by from a different seat. You don’t even get a third of the way around. Before you’ve settled into a third of the seats, you’d be dead. And, that’s if you had a good run, eighty-two-plus years. Yikes!

I just seem to have a knack for memorizing star fields,’ he told me, with a frankly apologetic look, when I visited him and his wife, Elaine, in their picture-book bungalow on a tranquil edge of the village of Hazelbrook, out where Sydney finally ends and the boundless Australian bush begins. ‘I’m not particularly good at other things,’ he added. ‘I don’t remember names well.’ ‘Or where he’s put things,’ called Elaine from the kitchen.

Monet’s “Waterlilies” (for Bill and Sonja) Today as the news from Selma and Saigon poisons the air like fallout, I come again to see the serene great picture that I love. Here space and time exist in light the eye like the eye of faith believes. The seen, the known dissolve in iridescence, become illusive flesh of light that was not, was, forever is. O light beheld as through refracting tears. Here is the aura of that world each of us has lost. Here is the shadow of its joy.

I read it: "A man earned daily for 5 days and 3 times as much as he paid for his board, after which he was obliged to be idle 4 days," it said. "Upon counting his money after paying for his board he found that he had 2 ten-doller bills and 4 dollers. How much did he pay for the board, and what were his wages?" "All right. Think now," Weaver said. "How would you begin to solve it? What's your X?" I thought. Very hard. For quite some time. About the man and his meager wages and shabby boardinghouse and lonely life. "Where did he work?" I finally asked. "What? It doesn't matter, Matt. Just assign an X to-" "A mill, I bet," I said, picturing the man's threadbare clothing, his worn shoes. "A woolen mill. Why do you think he was obliged to be idle?" "I don't know why. Look, just-" "I bet he got sick," I said, clutching Weaver's arm. "Or maybe business wasn't good, and his boss had no work for him. I wonder if he had a family in the country. It would be a terrible thing, wouldn't it, if he had children to feed and no work? Maybe his wife was poorly, too. And I bet he had..." "Damn it, Mattie, this is algebra, not composition!" Weaver said, glaring at me. "Sorry," I said, feeling like a hopeless case.

coloured temperature image of the first photons ever created, representing the most ancient light in the universe, which are detectable on Earth as a faint, steady background noise or—more familiarly to most of us—as part of the static on TV pictures.

There was a rather heavy bill for a chased silver Louis-Quinze toilet-set that he had not yet had the courage to send on to his guardians, who were extremely old-fashioned people and did not realize that we live in an age when unnecessary things are our only necessities;

If you were Bill Clinton, how did you justify Monica Lewinsky to Chelsea? What did you say about the cigar and the beret and the little blue dress? If you were Anthony Weiner, how in the world did you explain to your daughter your apparently insatiable need to text pictures of your junk to strange women?

In the last week of April 2004, a handful of the Abu Ghraib photographs were broadcast on 60 minutes and published in The New Yorker, and within a couple of days they had been rebroadcast and republished pretty much everywhere on earth. Overnight, the human pyramid, the hooded man on the box, the young woman soldier with a prisoner on a leash, and the corpse packed in ice had become the defining images of the Iraq war...Never before had such primal dungeon scenes been so baldly captured on camera...But above all, it was the posing soldiers, mugging for their buddies' cameras while dominating the prisoners in trophy stances, that gave the photographs the sense of unruly and unmediated reality. The staging was part of the reality they documented. And the grins, the thumbs-up, the arms crossed over puffed-out chests—all this unseemly swagger and self-regard was the height of amateurism. These soldier-photographers stood, at once, inside and outside the events they recorded, watching themselves take part in the spectacle, and their decision not to conceal but to reveal what they were doing indicated that they were not just amateur photographers, but amateur torturers. So the amateurism was not merely a formal dimension of the Abu Ghraib pictures. It was part of their content, part of what we saw in them, and it corresponded to an aspect of the Iraq War that troubled and baffled nearly everyone: the reckless and slapdash ineptitude with which it had been prosecuted. It was an amateur-run war, a murky and incoherent war. It was not clear why it was waged; too many reasons were given, none had held up, and the stories we invented to explain it to ourselves hardly seemed to matter, since once it was started the war had become its own engine—not a means to an end but an end in itself. What had been billed as a war of ideas and ideals had been exposed as a war of poses and posturing.

Just hearing his ideas out loud excited Richie. He wondered briefly if he was actually trying to prove something or just throwing up a smokescreen of words so he could see that room, that picture. In the end it probably didn’t matter, in the end maybe just seeing Bill’s eyes light up with their own excitement was enough.

Advertising fillers in the newspaper, philosophy books, dirty pictures in a magazine, a bundle of ten-thousand-yen bills: when you feed 'em to the fire, they're all just paper. The fire isn't thinking, 'Oh, this is Kant,' or 'Oh, this is Yomiuri evening edition,' or 'Nice tits,' while it burns. To the fire, they're nothing but scraps of paper.

Gen. George S. Patton Jr. fears no one. But now he sleeps flat on his back in a hospital bed. His upper body is encased in plaster, the result of a car accident twelve days ago. Room 110 is a former utility closet, just fourteen feet by sixteen feet. There are no decorations, pictures on the walls, or elaborate furnishings—just the narrow bed, white walls, and a single high window. A chair has been brought in for Patton’s wife, Beatrice, who endured a long, white-knuckle flight over the North Atlantic from the family home in Boston to be at his bedside. She sits there now, crochet hook moving silently back and forth, raising her eyes every few moments to see if her husband has awakened.

But Pauline would not take advice, She lit a match, it was so nice! It crackled so, it burned so clear,— Exactly like the picture here She jumped for joy and ran about, And was too pleased to put it out. Now see! Oh see! What a dreadful thing The fire has caught her apron-string; Her apron burns, her arms, her hair; She burns all over, everywhere.

When most people see a dollar bill, they forget that it is just a human convention. As they see the green piece of paper with the picture of the dead white man, they see it is as something valuable in and of itself. They hardly ever remind themselves ‘Actually, this is a worthless piece of paper, but because other people view it as valuable, I can make use of it.

hanged. ‘It was disclosed that a young white official had been found hanged to death in his cell …’ (The New York Times). ‘Hanged to death’ is redundant. So too, for that matter, are ‘starved to death’ and ‘strangled to death’. The writer was correct, however, in saying that the official had been found hanged and not hung. People are hanged; pictures and the like are hung.

Not only were the Anglo-Saxons relatively uncultured, they were also pagan, a fact rather quaintly preserved in the names of four of our weekdays, Tuesday, Wednesday, Thursday, and Friday, which respectively commemorate the gods Tiw, Woden, and Thor, and Woden’s wife, Frig. (Saturday, Sunday, and Monday, to complete the picture, take their names from Saturn, the sun, and the moon.)

That people’s memories are maybe the fuel they burn to stay alive. Whether those memories have any actual importance or not, it doesn’t matter as far as the maintenance of life is concerned. They’re all just fuel. Advertising fillers in the newspaper, philosophy books, dirty pictures in a magazine, a bundle of ten-thousand-yen bills: when you feed ’em to the fire, they’re all just paper.

New Rule: Americans must realize what makes NFL football so great: socialism. That's right, the NFL takes money from the rich teams and gives it to the poorer one...just like President Obama wants to do with his secret army of ACORN volunteers. Green Bay, Wisconsin, has a population of one hundred thousand. Yet this sleepy little town on the banks of the Fuck-if-I-know River has just as much of a chance of making it to the Super Bowl as the New York Jets--who next year need to just shut the hell up and play. Now, me personally, I haven't watched a Super Bowl since 2004, when Janet Jackson's nipple popped out during halftime. and that split-second glimpse of an unrestrained black titty burned by eyes and offended me as a Christian. But I get it--who doesn't love the spectacle of juiced-up millionaires giving one another brain damage on a giant flatscreen TV with a picture so real it feels like Ben Roethlisberger is in your living room, grabbing your sister? It's no surprise that some one hundred million Americans will watch the Super Bowl--that's forty million more than go to church on Christmas--suck on that, Jesus! It's also eighty-five million more than watched the last game of the World Series, and in that is an economic lesson for America. Because football is built on an economic model of fairness and opportunity, and baseball is built on a model where the rich almost always win and the poor usually have no chance. The World Series is like The Real Housewives of Beverly Hills. You have to be a rich bitch just to play. The Super Bowl is like Tila Tequila. Anyone can get in. Or to put it another way, football is more like the Democratic philosophy. Democrats don't want to eliminate capitalism or competition, but they'd like it if some kids didn't have to go to a crummy school in a rotten neighborhood while others get to go to a great school and their dad gets them into Harvard. Because when that happens, "achieving the American dream" is easy for some and just a fantasy for others. That's why the NFL literally shares the wealth--TV is their biggest source of revenue, and they put all of it in a big commie pot and split it thirty-two ways. Because they don't want anyone to fall too far behind. That's why the team that wins the Super Bowl picks last in the next draft. Or what the Republicans would call "punishing success." Baseball, on the other hand, is exactly like the Republicans, and I don't just mean it's incredibly boring. I mean their economic theory is every man for himself. The small-market Pittsburgh Steelers go to the Super Bowl more than anybody--but the Pittsburgh Pirates? Levi Johnston has sperm that will not grow and live long enough to see the Pirates in a World Series. Their payroll is $40 million; the Yankees' is $206 million. The Pirates have about as much chance as getting in the playoffs as a poor black teenager from Newark has of becoming the CEO of Halliburton. So you kind of have to laugh--the same angry white males who hate Obama because he's "redistributing wealth" just love football, a sport that succeeds economically because it does just that. To them, the NFL is as American as hot dogs, Chevrolet, apple pie, and a second, giant helping of apple pie.

I’m a good husband and I’ve done my best to support you, Yara, but you know I have to work. I have bills to pay, this entire family to worry about. Between the mortgage, our cars, and providing for the girls, it’s too much. And it’s not like your job pays anything significant.” He wiped his fingers with a napkin and looked at her. “What do you want me to do, quit my job so you can travel the world and take pretty pictures?

What’s the, like, symbol, for five years? Paper?” “Paper is first year,” I said. At the end of Year One’s unexpectedly wrenching treasure hunt, Amy presented me with a set of posh stationery, my initials embossed at the top, the paper so creamy I expected my fingers to come away moist. In return, I’d presented my wife with a bright red dime-store paper kite, picturing the park, picnics, warm summer gusts. Neither of us liked our presents; we’d each have preferred the other’s. It was a reverse O. Henry. “Silver?” guessed Go. “Bronze? Scrimshaw? Help me out.” “Wood,” I said. “There’s no romantic present for wood.” At the other end of the bar, Sue neatly folded her newspaper and left it on the bartop with her empty mug and a five-dollar bill. We all exchanged silent smiles as she walked out. “I got it,” Go said. “Go home, fuck her brains out, then smack her with your penis and scream, ‘There’s some wood for you, bitch!’ 

I picked up the large lapel button richly worked in purple, green and yellow plastic. 'January 1997,' it announced, 'Day of Visionaries.' Beneath the slogan was a portrait of Dr Martin Luther King Jr. And next to him, sharing the billing as it were, was a same-size picture of our newly elected President. And below was the official logo of the inauguration committee. I’m sorry, but that’s too much. Much too much. I can tune out the Chief Executive when he drivels on about building a bridge to Newt Gingrich. I can be shaking a cocktail or grilling a lobster when he intones that 'nothing big ever came from being small.' I can be receiving a telephone call in a foreign language and still keep up with him when he says that the future lies before us, and the past behind, and that we must light the torch of knowledge from the fountain of wisdom (or whatever). As Orwell once remarked, after a point you stop noticing that you have said things like 'The jackboot is thrown into the melting pot,’ or 'The fascist octopus has sung its swansong.' Motor-mouth and automatic pilot and sheer flatulence and conceit supply their own mediocre, infinitely renewable energy. But this cheap, cheery little button turned the scale. It’s one thing to be bored, or subjected to boredom. It’s another to be insulted. This is a pot of piss flung in the face. What does it take to get people disgusted these days?

The movie was an enormous hit in 1927. With Wings, it confirmed Bow as Hollywood’s leading female star. She received forty thousand letters a week—more than the population of a fair-sized town. In the summer of 1927, her career seemed set to go on indefinitely. In fact, it was nearly at an end. Winsome and enchanting as she was to behold, her Brooklyn accent was the vocal equivalent of nails on a blackboard, and in the new world of talking pictures that would never do.

think of climate change as slow, but it is unnervingly fast. We think of the technological change necessary to avert it as fast-arriving, but unfortunately it is deceptively slow—especially judged by just how soon we need it. This is what Bill McKibben means when he says that winning slowly is the same as losing: “If we don’t act quickly, and on a global scale, then the problem will literally become insoluble,” he writes. “The decisions we make in 2075 won’t matter.” Innovation, in many cases, is the easy part. This is what the novelist William Gibson meant when he said, “The future is already here, it just isn’t evenly distributed.” Gadgets like the iPhone, talismanic for technologists, give a false picture of the pace of adaptation. To a wealthy American or Swede or Japanese, the market penetration may seem total, but more than a decade after its introduction, the device is used by less than 10 percent of the world; for all smartphones, even the “cheap” ones, the number is somewhere between a quarter and a third. Define the technology in even more basic terms, as “cell phones” or “the internet,” and you get a timeline to global saturation of at least decades—of which we have two or three, in which to completely eliminate carbon emissions, planetwide. According to the IPCC, we have just twelve years to cut them in half. The longer we wait, the harder it will be. If we had started global decarbonization in 2000, when Al Gore narrowly lost election to the American presidency, we would have had to cut emissions by only about 3 percent per year to stay safely under two degrees of warming. If we start today, when global emissions are still growing, the necessary rate is 10 percent. If we delay another decade, it will require us to cut emissions by 30 percent each year. This is why U.N. Secretary-General António Guterres believes we have only one year to change course and get started. The scale of the technological transformation required dwarfs any achievement that has emerged from Silicon Valley—in fact dwarfs every technological revolution ever engineered in human history, including electricity and telecommunications and even the invention of agriculture ten thousand years ago. It dwarfs them by definition, because it contains all of them—every single one needs to be replaced at the root, since every single one breathes on carbon, like a ventilator.

In common parlance, “fool” and “sage” appear to be opposites, one connoting ignorance and the other wisdom. At their depths, however, both exhibit a nonattachment to form or outcome. The Sacred Fool acts from what often seems to be innocence, insanity, or lampoonery but is no less wise for it. We think of a Sage, in contrast, as strictly sober; but because she doesn’t strive and doesn’t seek positions of elected or hired leadership, the true Sage has neither investment in sobriety nor compulsion to comply with rules. The Sacred Fool dimension of our own psyches merges the innocence of the child and the wisdom of the elder. Both draw on the capacity to perceive simply and purely, to be fully present to the moment and to all things existing and happening within it. The Sacred Fool — in others or in ourselves — helps us grasp the big picture by poking fun at himself (and, in so doing, at all of us) or by making fun of us directly. He also might respond to our solemn questions and conceptions with perspectives that reject or reframe our most cherished assumptions.

Bill, this is serious, and despite my stable condition, I am a man and I have something of the gravest importance to ask you. PLEASE could you do this for me? SOMEwhere in the "archives" there must be a picture of Joan, your wife, my mother. Please, Bill. Father, I'm almost 33 and I don't know what my own mother looked like. Would it should it can it possibly be too much trouble to let a precariously living son see the IMAGE of his mother? Honestly, this has rankled me for years on end. This letter has certainly asked a lot. I love you, Bill. Bill Jr.

As early as 1953 there was talk of television. Perhaps Macdonnell saw the writing on the wall when he told the press that “our show is perfect for radio,” that Gunsmoke confined by a picture couldn’t possibly be as authentic or attentive to detail. Behind the scenes, he was intrigued. If the cast could be left intact (a major problem, for the once-slender Bill Conrad had ballooned in recent years, giving him an appearance far different from what a listener saw in the mind) and if the spirit and integrity of the radio show could be maintained … well, it might be interesting.

Mr. Marsham was born (in 1822) into a world that was still essentially medieval—a place of candlelight, medicinal leeches, travel at walking pace, news from afar that was always weeks or months old—and lived to see the introduction of one marvel after another: steamships and speeding trains, telegraphy, photography, anesthesia, indoor plumbing, gas lighting, antisepsis in medicine, refrigeration, telephones, electric lights, recorded music, cars and planes, skyscrapers, motion pictures, radio, and literally tens of thousands of tiny things more, from mass-produced bars of soap to push-along lawn mowers.

Our appetite for destruction grew with feeding. I started gingerly, pulling some books out of a case, but soon was tearing out pages by the handfuls and throwing them around. Jerry got a knife and ripped the stuffing out of the mattresses. He threw feathers from the sofa cushions. McQuilly, driven by some dark Scottish urge, found a crowbar and reduced wooden things to splinters. And Bill was like a fury, smashing, overturning, and tearing. But I noticed he kept back some things and put them in a neat heap on the dining-room table, which he forbade us to break. They were photographs. The old people must have had a large family, and there were pictures of young people and wedding groups and what were clearly grandchildren everywhere. When at last we had done as much damage as we could, the pile on the table was a large one. "Now for the finishing touch," said Bill. "And this is going to be all mine." He jumped up on the table, stripped down his trousers, and squatted over the photographs. Clearly he meant to defecate on them, but such things cannot always be commanded, and so for several minutes we stood and stared at him as he grunted and swore and strained and at last managed what he wanted, right on the family photographs.

Life, in short, just wants to be. But—and here’s an interesting point—for the most part it doesn’t want to be much. This is perhaps a little odd because life has had plenty of time to develop ambitions. If you imagine the 4.5 billion odd years of Earth’s history compressed into a normal earthly day, then life begins very early, about 4 A.M., with the rise of the first simple, single-celled organisms, but then advances no further for the next sixteen hours. Not until almost 8:30 in the evening, with the day five-sixths over, has Earth anything to show the universe but a restless skin of microbes. Then, finally, the first sea plants appear, followed twenty minutes later by the first jellyfish and the enigmatic Ediacaran fauna first seen by Reginald Sprigg in Australia. At 9:04 P.M. trilobites swim onto the scene, followed more or less immediately by the shapely creatures of the Burgess Shale. Just before 10 P.M. plants begin to pop up on the land. Soon after, with less than two hours left in the day, the first land creatures follow. Thanks to ten minutes or so of balmy weather, by 10:24 the Earth is covered in the great carboniferous forests whose residues give us all our coal, and the first winged insects are evident. Dinosaurs plod onto the scene just before 11 P.M. and hold sway for about three-quarters of an hour. At twenty-one minutes to midnight they vanish and the age of mammals begins. Humans emerge one minute and seventeen seconds before midnight. The whole of our recorded history, on this scale, would be no more than a few seconds, a single human lifetime barely an instant. Throughout this greatly speeded-up day continents slide about and bang together at a clip that seems positively reckless. Mountains rise and melt away, ocean basins come and go, ice sheets advance and withdraw. And throughout the whole, about three times every minute, somewhere on the planet there is a flashbulb pop of light marking the impact of a Manson-sized meteor or one even larger. It’s a wonder that anything at all can survive in such a pummeled and unsettled environment. In fact, not many things do for long. Perhaps an even more effective way of grasping our extreme recentness as a part of this 4.5-billion-year-old picture is to stretch your arms to their fullest extent and imagine that width as the entire history of the Earth. On this scale, according to John McPhee in Basin and Range, the distance from the fingertips of one hand to the wrist of the other is Precambrian. All of complex life is in one hand, “and in a single stroke with a medium-grained nail file you could eradicate human history.” Fortunately, that moment hasn’t happened, but the chances are good that it will. I don’t wish to interject a note of gloom just at this point, but the fact is that there is one other extremely pertinent quality about life on Earth: it goes extinct. Quite regularly. For all the trouble they take to assemble and preserve themselves, species crumple and die remarkably routinely. And the more complex they get, the more quickly they appear to go extinct. Which is perhaps one reason why so much of life isn’t terribly ambitious.

Right? Love those kids. There’s one hitch, though. Bill wants me to volunteer to talk to the staff about my experiences with homophobia. You know—because I’m such an expert.” I laugh just picturing it. “It’s going to be the shortest meeting ever.” “You want help?” I almost say no out of sheer habit. There’s that h-word again. But I stop myself just in time. “What do you mean?” I ask instead. “I could talk to them about what it was like being a gay hockey player when nobody knew. I spent my freshman year of college shitting bricks over what they might do to me if they knew. If it helps you and your boss, I’d show up and tell that story.

He had been married to Lucille then, and I noticed that as time went on Bill talked about that period in his life with increasing gloom, as if in hindsight it had grown darker and more painful than when he was actually living it. Like everyone, Bill rewrote his life. The recollections of an older man are different from those of a young man. What seemed vital at forty may lose its significance at seventy. We manufacture stories, after all, from the fleeting sensory material that bombards us at every instant, a fragmented series of pictures, conversations, odors, and the touch of things and people. We delete most of it to live with some semblance of order, and the reshuffling of memory goes on until we die.

I was raised on the struggle of elders - iron collars, severed feet, the rifle of dirty Harriet, and down through the years, the Muslims and regal Malcolm. But mostly what I saw around me was rank dishonor: cable and Atari plugged into every room, juvenile parenting, niggers sporting kicks with price tags that looked like mortgage bills. The Conscious among us knew the whole race was going down, that we'd freed ourselves from slavery and Jim Crow but not the great shackling of minds. The hoppers had no picture of the larger world. We thought all our battles were homegrown and personal, but, like an evil breeze at our back, we felt invisible hands at work, like someone else was still tugging at levers and pulling strings.

I’d like to go to one,” she said. “It might not be my thing even, but I’d like to go at least once to say I’ve done it. Sometimes I feel cheated. I know it’s selfish, but sometimes I wonder what it would’ve been like if my grandfather didn’t get himself exiled. Who knows, I might have been a lady.” He didn’t have much use for ladies. A lady was someone else’s wife or daughter or sister. They were not real, almost like trophies forever out of his reach. She was real. And strong. She looked about to cry. “Would you like to dance?” Her eyes opened wide. “Are you serious?” Once he learned something, he never forgot it. William took a step forward and executed a perfect deep bow, his left arm out. “Would you do me the honor of dancing with me, Lady Cerise?” She cleared her throat and curtsied, holding imaginary skirts. “Certainly, Lord Bill. But we have no music.” “That’s fine.” He stepped to her, sliding one arm around her waist. She put her hand on his shoulder. Her body touched his, and he spun with her around the attic, light on his feet, leading her. It took her a moment and then she caught his rhythm and followed him. She was flexible and quick, and he kept picturing her naked. “You dance really well, Lord Bill.” “Especially if I have a knife.” She laughed. They circled the attic once, twice, and he brought them to the center of the room, shifting from a quick dance to a smooth swaying. “Why are we slowing down?” she asked. “It’s a slow song.” “Ah.” She leaned against him. They were almost hugging.

The True-Blue American" Jeremiah Dickson was a true-blue American, For he was a little boy who understood America, for he felt that he must Think about everything; because that’s all there is to think about, Knowing immediately the intimacy of truth and comedy, Knowing intuitively how a sense of humor was a necessity For one and for all who live in America. Thus, natively, and Naturally when on an April Sunday in an ice cream parlor Jeremiah Was requested to choose between a chocolate sundae and a banana split He answered unhesitatingly, having no need to think of it Being a true-blue American, determined to continue as he began: Rejecting the either-or of Kierkegaard, and many another European; Refusing to accept alternatives, refusing to believe the choice of between; Rejecting selection; denying dilemma; electing absolute affirmation: knowing in his breast The infinite and the gold Of the endless frontier, the deathless West. “Both: I will have them both!” declared this true-blue American In Cambridge, Massachusetts, on an April Sunday, instructed By the great department stores, by the Five-and-Ten, Taught by Christmas, by the circus, by the vulgarity and grandeur of Niagara Falls and the Grand Canyon, Tutored by the grandeur, vulgarity, and infinite appetite gratified and Shining in the darkness, of the light On Saturdays at the double bills of the moon pictures, The consummation of the advertisements of the imagination of the light Which is as it was—the infinite belief in infinite hope—of Columbus, Barnum, Edison, and Jeremiah Dickson.

If talking pictures could be said to have a father, it was Lee De Forest, a brilliant but erratic inventor of electrical devices of all types. (He had 216 patents.) In 1907, while searching for ways to boost telephone signals, De Forest invented something called the thermionic triode detector. De Forest’s patent described it as “a System for Amplifying Feeble Electric Currents” and it would play a pivotal role in the development of broadcast radio and much else involving the delivery of sound, but the real developments would come from others. De Forest, unfortunately, was forever distracted by business problems. Several companies he founded went bankrupt, twice he was swindled by his backers, and constantly he was in court fighting over money or patents. For these reasons, he didn’t follow through on his invention.

De Forest came up with the idea of imprinting the sound directly onto the film. That meant that no matter what happened with the film, sound and image would always be perfectly aligned. Failing to find backers in America, he moved to Berlin in the early 1920s and there developed a system that he called Phonofilm. De Forest made his first Phonofilm movie in 1921 and by 1923 he was back in America giving public demonstrations. He filmed Calvin Coolidge making a speech, Eddie Cantor singing, George Bernard Shaw pontificating, and DeWolf Hopper reciting “Casey at the Bat.” By any measure, these were the first talking pictures. However, no Hollywood studio would invest in them. The sound quality still wasn’t ideal, and the recording system couldn’t quite cope with multiple voices and movement of a type necessary for any meaningful dramatic presentation.

I pictured my life before me, constantly forgetting items on a shopping list I wouldn’t have ever wanted to write. I pictured my life constantly forgetting my friend’s birthdays, but always being the best gift giver whenever I did remember. I pictured my life where the bread was always eaten the day it was bought, where the cheese was locally made. I pictured my life and saw my wife dancing in the kitchen in a yellow dress that bounced off the back of her ankles as she turned laughing and singing. I pictured tiny footsteps trailing mud over the floorboards and saw tiny hand marks on the walls, I pictured paint everywhere and flowers never dying. I pictured my life and saw myself always dressed perfectly for whatever the temperature outside was. I was crying myself to sleep, forgetting the bills piled in the draw beneath the sink, I pictured my life as my future and not my dream.

But the clown did not disappear along that curve that seemed to define the edge of that old existence. Instead, it leaped with a scary, nimble grace onto a lamppost that stood in the extreme left foreground of the picture. It shinnied up like a monkey on a stick—and suddenly its face was pressed against the tough plastic sheet Will Hanlon had put over each of the pages in his book. Beverly screamed again and this time Eddie joined her, although his scream was faint and blue-breathless. The plastic bulged out—later they would all agree they saw it. Bill saw the bulb of the clown’s red nose flatten, the way your nose will flatten when you press it against a windowpane. “Kill you all!” The clown was laughing and screaming. “Try to stop me and I’ll kill you all! Drive you crazy and then kill you all! You can’t stop me! I’m the Gingerbread Man! I’m the Teenage Werewolf!” And for a moment It was the Teenage

I griped about it at lunch one day to Bill Weist and Dr. Leslie Squier, our visiting psychologists from Reed College. I'd been trying to train one otter to stand on a box, I told them. No problem getting the behavior; as soon as I put the box in the enclosure, the otter rushed over and climbed on top of it. She quickly understood that getting on the box earned her a bite of fish, But. As soon as she got the picture, she began testing the parameters. 'Would you like me lying down on the box? What if I just put three feet on the box? Suppose I hang upside down from the edge of the box? Suppose I stand on it and look under it at the same time? How about if I put my front paws on it and bark?' For twenty minutes she offered me everything imaginable except just getting on the box and standing there. It was infuriating, and strangely exhausting. The otter would eat her fish and then run back to the box and present some new, fantastic variation and look at me expectantly (spitefully, even, I thought) while I struggled once more to decide if what she was doing fit my criteria or not. My psychologist friends flatly refused to believe me; no animal acts like that. If you reinforce a response, you strengthen the chance that the animal will repeat what it was doing when it was reinforced; you don't precipitate some kind of guessing game. So I showed them. We all went down to the otter tank, and I took the other otter and attempted to get it to swim through a small hoop. I put the hoop in the water. The otter swam through it, twice. I reinforced it. Fine. The psychologists nodded. Then the otter did the following, looking up for a reward each time: swam through the hoop and stopped, leaving its tail on the other side. Swam through and caught the hoop with a back foot in passing, and carried it away. Lay in the hoop. Bit the hoop Backed through the hoop. 'See?' I said. 'Otters are natural experimenters.

My 1979 Top 40 In no particular order, this is the forty-track rotation I listened to when I was researching, prepping and writing 1979. They were all released in the late 1970s, though not all in 1979 itself. But then, like Allie, we all listen to tunes from our past . . . I hope it gets you in the mood for reading! ‘Picture This’ – Blondie ‘Lovely Day’ – Bill Withers ‘Automatic Lover’ – Dee D. Jackson ‘Brass in Pocket’ – The Pretenders ‘It’s a Heartache’ – Bonnie Tyler ‘Wild West Hero’ – Electric Light Orchestra ‘Because the Night’ – Patti Smith ‘Into the Valley’ – The Skids ‘YMCA’ – Village People ‘Like Clockwork’ – Boomtown Rats ‘Stayin’ Alive’ – Bee Gees ‘Uptown Top Ranking’ – Althea & Donna ‘No More Heroes’ – The Stranglers ‘Take a Chance on Me’ – Abba ‘Werewolves of London’ – Warren Zevon ‘Psycho Killer’ – Talking Heads ‘Kiss You All Over’ – Exile ‘Top of the Pops’ – Rezillos ‘Heroes’ – David Bowie ‘Don’t Hang Up’ – 10cc ‘English Civil War’ – The Clash ‘2-4-6-8-Motorway’ – Tom Robinson Band ‘Rebel Rebel’ – David Bowie ‘Glad to be Gay’ – Tom Robinson Band

If talking pictures could be said to have a father, it was Lee De Forest, a brilliant but erratic inventor of electrical devices of all types. (He had 216 patents.) In 1907, while searching for ways to boost telephone signals, De Forest invented something called the thermionic triode detector. De Forest’s patent described it as “a System for Amplifying Feeble Electric Currents” and it would play a pivotal role in the development of broadcast radio and much else involving the delivery of sound, but the real developments would come from others. De Forest, unfortunately, was forever distracted by business problems. Several companies he founded went bankrupt, twice he was swindled by his backers, and constantly he was in court fighting over money or patents. For these reasons, he didn’t follow through on his invention. Meanwhile, other hopeful inventors demonstrated various sound-and-image systems—Cinematophone, Cameraphone, Synchroscope—but in every case the only really original thing about them was their name. All produced sounds that were faint or muddy, or required impossibly perfect timing on the part of the projectionist. Getting a projector and sound system to run in perfect tandem was basically impossible. Moving pictures were filmed with hand-cranked cameras, which introduced a slight variability in speed that no sound system could adjust to. Projectionists also commonly repaired damaged film by cutting out a few frames and resplicing what remained, which clearly would throw out any recording. Even perfect film sometimes skipped or momentarily stuttered in the projector. All these things confounded synchronization. De Forest came up with the idea of imprinting the sound directly onto the film. That meant that no matter what happened with the film, sound and image would always be perfectly aligned. Failing to find backers in America, he moved to Berlin in the early 1920s and there developed a system that he called Phonofilm. De Forest made his first Phonofilm movie in 1921 and by 1923 he was back in America giving public demonstrations. He filmed Calvin Coolidge making a speech, Eddie Cantor singing, George Bernard Shaw pontificating, and DeWolf Hopper reciting “Casey at the Bat.” By any measure, these were the first talking pictures. However, no Hollywood studio would invest in them. The sound quality still wasn’t ideal, and the recording system couldn’t quite cope with multiple voices and movement of a type necessary for any meaningful dramatic presentation. One invention De Forest couldn’t make use of was his own triode detector tube, because the patents now resided with Western Electric, a subsidiary of AT&T. Western Electric had been using the triode to develop public address systems for conveying speeches to large crowds or announcements to fans at baseball stadiums and the like. But in the 1920s it occurred to some forgotten engineer at the company that the triode detector could be used to project sound in theaters as well. The upshot was that in 1925 Warner Bros. bought the system from Western Electric and dubbed it Vitaphone. By the time of The Jazz Singer, it had already featured in theatrical presentations several times. Indeed, the Roxy on its opening night in March 1927 played a Vitaphone feature of songs from Carmen sung by Giovanni Martinelli. “His voice burst from the screen with splendid synchronization with the movements of his lips,” marveled the critic Mordaunt Hall in the Times. “It rang through the great theatre as if he had himself been on the stage.

This new religion has had a decisive influence on the development of modern science, too. Scientific research is usually funded by either governments or private businesses. When capitalist governments and businesses consider investing in a particular scientific project, the first questions are usually, ‘Will this project enable us to increase production and profits? Will it produce economic growth?’ A project that can’t clear these hurdles has little chance of finding a sponsor. No history of modern science can leave capitalism out of the picture. Conversely, the history of capitalism is unintelligible without taking science into account. Capitalism’s belief in perpetual economic growth flies in the face of almost everything we know about the universe. A society of wolves would be extremely foolish to believe that the supply of sheep would keep on growing indefinitely. The human economy has nevertheless managed to keep on growing throughout the modern era, thanks only to the fact that scientists come up with another discovery or gadget every few years – such as the continent of America, the internal combustion engine, or genetically engineered sheep. Banks and governments print money, but ultimately, it is the scientists who foot the bill.

While the picture houses were struggling to maintain their audiences, things were not going terribly well on the production side of the business either. The previous November unions representing the craft trades—painters, carpenters, electricians, and the like—had secured something called the Studio Basic Agreement, which granted them important and costly concessions. The studios were now terrified of being squeezed similarly by actors and writers. With this in mind, thirty-six people from the creative side of the industry met for dinner at the Ambassador Hotel in Los Angeles in January 1927 and formed a kind of executive club to promote—but even more to protect—the studios. It was a reflection of their own sense of self-importance that they called it the International Academy of Motion Picture Arts and Sciences, elevating the movies from popular entertainment to something more grandly artistic, scientific, and literally academic. In the second week of May, while the world fretted over the missing airmen Nungesser and Coli, the academy was formally inaugurated at a banquet at the Biltmore Hotel in Los Angeles. (The idea of having an awards ceremony was something of an afterthought, and wasn’t introduced until the academy’s second anniversary dinner in 1929.)

The poor and the middle class work for money. The rich have money work for them.” “Life pushes all of us around. Some people give up and others fight. A few learn the lesson and move on. They welcome life pushing them around.” “Stop blaming me and thinking I’m the problem. If you think I’m the problem, then you have to change me. If you realize that you’re the problem, then you can change yourself, learn something, and grow wiser.” “When it comes to money, most people want to play it safe and feel secure. So passion does not direct them. Fear does.” “Most people, given more money, only get into more debt.” “It’s fear that keeps most people working at a job: the fear of not paying their bills, the fear of being fired, the fear of not having enough money, and the fear of starting over. That’s the price of studying to learn a profession or trade, and then working for money. Most people become a slave to money—and then get angry at their boss.” “Most people do not know that it’s their emotions that are doing the thinking.” “A job is really a short-term solution to a long-term problem.” “It’s just like the picture of a donkey dragging a cart with its owner dangling a carrot just in front of its nose. The donkey’s owner may be going where he wants to, but the donkey is chasing an illusion. Tomorrow there will only be another carrot for the donkey.

In a 1997 showdown billed as the final battle for supremacy between natural and artificial intelligence, IBM supercomputer Deep Blue defeated Garry Kasparov. Deep Blue evaluated two hundred million positions per second. That is a tiny fraction of possible chess positions—the number of possible game sequences is more than atoms in the observable universe—but plenty enough to beat the best human. According to Kasparov, “Today the free chess app on your mobile phone is stronger than me.” He is not being rhetorical. “Anything we can do, and we know how to do it, machines will do it better,” he said at a recent lecture. “If we can codify it, and pass it to computers, they will do it better.” Still, losing to Deep Blue gave him an idea. In playing computers, he recognized what artificial intelligence scholars call Moravec’s paradox: machines and humans frequently have opposite strengths and weaknesses. There is a saying that “chess is 99 percent tactics.” Tactics are short combinations of moves that players use to get an immediate advantage on the board. When players study all those patterns, they are mastering tactics. Bigger-picture planning in chess—how to manage the little battles to win the war—is called strategy. As Susan Polgar has written, “you can get a lot further by being very good in tactics”—that is, knowing a lot of patterns—“and have only a basic understanding of strategy.

[E]ven on the issues that are put up to democratic vote, we are saddled with a two-party system in which the liberal democratic party might be one of the most criminal orginizations in modern history. If you think I am exaggerating, consider that it's the democrats who: Fought the civil war on the side of slavery, created Jim Crow segregation after they lost that war, dropped the only nuclear weapons on a civilian population in history, stole a third of Mexico's land, and forced the Cherokee and other tribes on the infamous Trail of Tears, killed millions in the wars of Korea and South East Asia, doubled the country's prison population under Bill Clinton, deported over 2 million immigrants under Barrack, you get the picture. The point is not that there's anything better about Republicans: Many of whom probably look at the list above and sigh with envy, but that both major US parties are completely devoted to the priorities of the tiny class that runs this country. Each party may be paid to look out for a particular industry, republicans get lots of oil money, while democrats are preferred by the tech industry. But sometimes they propose different strategies to achieve the same ends: such as whether the United States should destroy Middle-Eastern countries with or without the approval of the United Nations. More often, their differences are even less substantial and are almost entirely about how to get a different voting block to support the same policies.

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

And lifting water is just one of the many jobs that the phloem, xylem, and cambium perform. They also manufacture lignin and cellulose; regulate the storage and production of tannin, sap, gum, oils, and resins; dole out minerals and nutrients; convert starches into sugars for future growth (which is where maple syrup comes into the picture); and goodness knows what else. But because all this is happening in such a thin layer, it also leaves the tree terribly vulnerable to invasive organisms. To combat this, trees have formed elaborate defense mechanisms. The reason a rubber tree seeps latex when cut is that this is its way of saying to insects and other organisms, “Not tasty. Nothing here for you. Go away.” Trees can also deter destructive creatures like caterpillars by flooding their leaves with tannin, which makes the leaves less tasty and so inclines the caterpillars to look elsewhere. When infestations are particularly severe, some trees can even communicate the fact. Some species of oak release a chemical that tells other oaks in the vicinity that an attack is under way. In response, the neighboring oaks step up their tannin production the better to withstand the coming onslaught. By such means, of course, does nature tick along. The problem arises when a tree encounters an attacker for which evolution has left it unprepared, and seldom has a tree been more helpless against an invader than the American chestnut against Endothia parasitica. It enters a chestnut effortlessly, devours the cambium cells, and positions itself for attack on the next tree before the tree has the faintest idea,

Filming was done outside San Antonio, Texas. The scale of the production was vast and complex. Whole battlefields were scrupulously re-created on the plains of Texas. Wellman deployed as many as five thousand extras and sixty airplanes in some scenes—an enormous logistical exercise. The army sent its best aviators from Selfridge Field in Michigan—the very men with whom Lindbergh had just flown to Ottawa—and stunt fliers were used for the more dangerous scenes. Wellman asked a lot of his airmen. One pilot was killed, another broke his neck, and several more sustained other serious injuries. Wellman did some of the more dangerous stunt flying himself. All this gave the movie’s aerial scenes a realism and immediacy that many found almost literally breathtaking. Wellman captured features of flight that had never been caught on film before—the shadows of planes moving across the earth, the sensation of flying through drifting smoke, the stately fall of bombs, and the destructive puffs of impact that follow. Even the land-bound scenes were filmed with a thoughtfulness and originality that set Wings apart. To bring the viewer into a Parisian nightclub, Wellman used a boom shot in which the camera traveled through the room just above table height, skimming over drinks and between revelers, before arriving at the table of Arlen and Rogers. It is an entrancing shot even now, but it was rivetingly novel in 1927. “Wings,” wrote Penelope Gilliatt simply in The New Yorker in 1971, “is truly beautiful.” Wings was selected as best picture at the very first Academy Awards ceremony in 1929. Wellman, however, wasn’t even invited to the ceremony.

Neutrons and protons occupy the atom's nucleus. The nucleus of an atom is tiny- only one millionth of a billionth of the full volume of an atom- but fantastically dense, since it contains virtually all the atom's mass. As Cropper has put it, if an atom were expanded to the size of a cathedral, the nucleus would only be about the size of a fly- but a fly many thousands of times heavier than the cathedral... The picture that nearly everybody has in mind of an atom is of an electron or two flying around a nucleus, like planets orbiting a sun. This image... is completely wrong... In fact, as physicists were soon to realize, electrons are not like orbiting planets at all, but more like the blades of a spinning fan, managing to fill every bit of space in their orbits simultaneously (but with the crucial difference that the blades of a fan only seem to be everywhere at once; electrons are)... So the atom turned out to be quite unlike the image that most people had created. The electron doesn't fly around its sun, but instead takes on the more amorphous aspect of a cloud. The "shell" of an atom isn't some hard shiny casing, as illustrations sometimes encourage us to suppose, but simply the outermost of these fuzzy electron clouds. The cloud itself is essentially just a zone of statistical probability marking the area beyond which the electron only very seldom strays. Thus an atom, if you could see it, would look more like a very fuzzy tennis ball than a hard-edged metallic sphere (but not much like either, or, indeed, like anything you've ever seen; we are, after all, dealing here with a world very different from the one we see around us. p145

When Bush and Clinton were talking in 1984, Bush told Clinton ‘when the American people become disillusioned with Republicans leading them into the New World Order, you, as a Democrat, will be put into place.’ I expect that Clinton will be our next President based on that conversation I heard.” “This is serious information!” Billy looked up from his work. “Its no wonder the Feds are worried about your revealing what you know.” “There are a lot of people who know what I know7,” I assured him. “And even more are waking up to reality fast. People with Intelligence operating on a Need-to-Know are gaining insight into a bigger picture with the truth that is emerging. They gain one more piece of the puzzle and the Big Picture suddenly comes into focus. When it does, their paradigms shift. Mark and I are also aware of numerous scientists waking up to the reality of a New World Order agenda who are furious that they’ve been mislead and used. These people are uniting with strength, and the New World Order elite will need to play their hold card and switch political parties. Watch and see. Clinton will appear to ‘defeat’ Bush according to plan, while Bush continues business as usual from behind the scenes of the New World Order.” “Who do you think will follow Clinton?” “A compliant, sleeping public mesmerized by his Oxford learned charisma.” Billy looked up from his work again to clarify his question. “I mean into the Presidency.” “Hillary?” I smiled half-heartedly. “Seriously, she is brighter than Bill, and is even more corrupt. Knowing her, she’d probably rather work behind the scenes, although she may be used as another appearance of ‘change’ since she’s a woman. That’s just speculation based on how these criminals operate. They want to keep their power all in the family. I did see Bush, Jr. being conditioned, and trained for the role of President at the Mount Shasta, California military programming compound in 19868. He’s not very bright, though, so I don’t know how they could possibly prop him up…

Will’s fleshy face contorted and a memory swept over him like a chilling wind. He did not move slowly over the past, it was all there in one flash, all of the years, a picture, a feeling and a despair, all stopped the way a fast camera stops the world. There was the flashing Samuel, beautiful as dawn with a fancy like a swallow’s flight, and the brilliant, brooding Tom who was dark fire, Una who rode the storms, and the lovely Mollie, Dessie of laughter, George handsome and with a sweetness that filled a room like the perfume of flowers, and there was Joe, the youngest, the beloved. Each one without effort brought some gift into the family. Nearly everyone has his box of secret pain, shared with no one. Will had concealed his well, laughed loud, exploited perverse virtues, and never let his jealousy go wandering. He thought of himself as slow, doltish, conservative, uninspired. No great dream lifted him high and no despair forced self-destruction. He was always on the edge, trying to hold on to the rim of the family with what gifts he had—care, and reason, application. He kept the books, hired the attorneys, called the undertaker, and eventually paid the bills. The others didn’t even know they needed him. He had the ability to get money and to keep it. He thought the Hamiltons despised him for his one ability. He had loved them doggedly, had always been at hand with his money to pull them out of their errors. He thought they were ashamed of him, and he fought bitterly for their recognition. All of this was in the frozen wind that blew through him. His slightly bulging eyes were damp as he stared past Cal, and the boy asked, “What’s the matter, Mr. Hamilton? Don’t you feel well?” Will had sensed his family but he had not understood them. And they had accepted him without knowing there was anything to understand. And now this boy came along. Will understood him, felt him, sensed him, recognized him. This was the son he should have had, or the brother, or the father. And the cold wind of memory changed to a warmth toward Cal which gripped him in the stomach and pushed up against his lungs.

Henry paused, looked up. "You want me for a portrait?" He was wary. What kind of portrait were they doing? "Don't worry. It's not what you think. It's for Captain Sandar in the new Sci-Fi Quest. Carl over in programming said that he kept picturing your face as Captain Sandar and everyone pretty much agrees you look just like what we all think he should look like. Don't worry, only the people in the office would know it's your face...and it would be slightly cartoonized for the game. He has a big scar on the left side of his face. No one will really know it's you." Bill knew this was going to be a tough sell. "I don't know. What does this Captain Sandar do?" "He chews Johnny 10-4 out at the beginning of the game. It's minor. We'll make his eyes blue too. Come on. No one will recognize you..." Henry scrinched up his face.

Supporters of the Wall, especially those who live far from the border, don't understand the impotence of the barriers. Raw steel bars make for good theatre and look impressive on television newscasts, but they are easily defeated. "You got some lard-ass in Dubuque, Iowa, or some damn place," Bill said, "and he's got his big fat American ass sitting on an overstuffed couch, looking at a wide-screen TV, eating super-saturated fats, and he sees a picture of this fence and thinks, 'That'll stop'em.' Well, it'll stop him, but not some kid coming up from five hundred miles south who is twenty years old and wants to work.

he asked them. “Too long. Don’t be such a stranger. Stop by if you’re in our neighborhood. We would love to sit and chat. We can talk about the good old days and we got lots of pictures and stories from Tuscany.” “Will do. Enjoy the evening.” Jack turned and was face to face with their daughter, Patti. “Hi, Jack,” she whispered. “Great to see you again,” she said and kissed him on the cheek. “It was so good to talk with you the other day. It meant a lot to see you.” He watched her as she started to walk away and turned to him and say, “I wanted to let you know that after we talked I gave my husband a phone call. Eric and I decided to get back together. We’ve shared a lot of history, and we’re at least going to give it one last try to see if we can make it work. Thanks for everything, Jack. Bye.” She kissed him on the cheek. Jack saw Hope walking across the floor. “She’s pretty. Who was that?” glancing at Patti walk away. “An old and dear friend. Both Charley and I had a crush on her when we were younger. I’ll introduce you to her and her mom and dad later. You’ll like her.” More people filed inside to an already full hall. Soon it was standing room only. Jack turned to Hope and whispered, “I can’t believe this. We’ve had over twenty businesses make donations to the veterans’ fund to help support job training and for overseas servicemen’s wives and families. We also got money from the Yankee Bookshop, the Woodstock Inn, the Billings Farm Museum, the bank, and Bentleys Restaurant. They all donated money.” “That’s great,” she said excitedly. “And we’ve received over thirty new membership requests for the Veterans Post and that’s just yesterday. This is better than I ever expected. And four companies have committed to hiring more vets locally, including King Arthur Flour Company. They’re planning to build a new distribution center just west of town. I can’t believe all of this is happening.” “You should,” Hope said. “I remember you sat down right over there at that table and laid out what you wanted to see happen and you kept working on it until it did. I’m so proud of you.” He hugged her close and kissed her. He never wanted to let her go. The distinct fragrance of fresh balsam, pine, and holly filled

And that’s your chance to say, in the I care and I feel your pain tonality: “I get it, Bill. I’ve been around the block a couple of thousand times now, and I know that these things typically don’t resolve themselves unless you take serious action to resolve them. “In fact, let me say this: one of the true beauties here is that …,” and now you’re going to quickly resell the Three Tens, using a concise yet very powerful consolidation of the tertiary language patterns that you created for each of the Three Tens, which will focus almost exclusively on the emotional side of the equation—using the technique of future pacing to paint your prospect that all-important pain-free picture of the future, where he can actually see himself using your product and getting the exact benefits he was promised and feeling great as a result of that; and, from there, you’re going to transition directly into a soft close and ask for the order again.

Much of the sea ice that filled the Arctic in the early pictures from space is gone now—viewed from a distance, Earth looks strikingly different.

imagination turns out to be the driving wheel of that system as well. Our imagination, the inner picture of ourselves being as rich and comfortable as a Duke of Argyll or a Bill Gates, spurs on our efforts, focusing and directing our energies toward a single purpose. “It is this deception,” Smith adds (with my emphasis), which rouses and keeps in continual motion the industry of mankind. It is this which first prompted them to cultivate the ground, to build houses, to found cities and commonwealths, and to invent and improve all the sciences and arts, which ennoble and embellish human life; which have entirely changed the whole face of the globe, have turned the rude forests of nature into agreeable and fertile plains, and made the trackless and barren ocean a new fund of subsistence, and the great high road of communication to the different nations of the earth.

register with plastic bags full of herbs, roots, twigs and dried flowers, a box of “rattlesnake pills” with a picture of a coiled snake on the front, a packet of “Aztec energy tea,” a packet of Celebrex arthritis pills, and three boxed syringes loaded with a cortisone steroid that had been banned in the United States and presumably dumped on the Mexican market. She wrote out all the instructions and a bill that totaled nearly a hundred American dollars. I handed over the money and said thank you.

Bill rolled his eyes. “The MM book with the guys on steroids on the cover, okay? I saw it.” The picture was imprinted in Bill’s memory. How two such bulky individuals could possibly contort their bodies so wildly boggled the mind. They didn’t even look like they could bend over, although he assumed they could.

The story, of course, was fraud. Days later, Oklahoma’s Sequoyah Northeastern Health System posted a categorical denial on its website, dismissing the entire story as mere fabrication. That Rolling Stone picture of the long lines was an Associated Press stock photo from the previous January, a photo of people waiting in line to get vaccines. As it turns out, not a single patient has been treated in Oklahoma for ivermectin overdose.

showed pictures of Otto Floto and all four Sells Brothers. The Brothers Ringling were

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You said something I have always thought,” Bill said to me when I arrived on the set of Pocket Rockets, somewhere in the endless suburb that is greater Atlanta. “Sure, some movies don’t work. Some fail in their intent. But anyone who says they hated a movie is treating a voluntarily shared human experience like a bad Red-Eye out of LAX. The departure is delayed for hours, there’s turbulence that scares even the flight attendants, the guy across from you vomits, they can’t serve any food and the booze runs out, you’re seated next to twin babies with the colic, and you land too late for your meeting in the city. You can hate that. But hating a movie misses the damn point. Would you say you hated the seventh birthday party of your girlfriend’s niece or a ball game that went eleven innings and ended 1–0? You hate cake and extra baseball for your money? Hate should be saved for fascism and steamed broccoli that’s gone cold. The worst anyone—especially we who take Fountainfn1—should ever say about someone else’s movie is Well, it was not for me, but, actually, I found it quite good. Damn a film with faint praise, but never, ever say you hate a movie. Anyone who uses the h-word around me is done. Gone. Of course, I wrote and directed Albatross. I may be a bit sensitive.

[Me picturing Bill Burr playing watson in the shining}: "I tell you, this whole place is gonna go sky high someday, and I just hope that fat fucks here to ride the rocket. Me, I'm just as mean as a snake with shingles.

When we reached the last room, I asked Katy which picture was her favorite. She led me back to the one that had stumped her in the synonym department. Her sister, Emily, who’s fourteen and had been off wandering through the Met’s collection of European paintings, then showed me her favorite piece in the museum: a Monet water lily (the first she’d ever seen) from 1919. This is when I let each girl in on a secret: It can be yours. No different from falling in love with a song, one may fall in love with a work of art and claim it as one’s own. Ownership does not come free. One must spend time with it; visit at different times of the day or evening; and bring to it one’s full attention. The investment will be repaid as one discovers something new with each viewing—say, a detail in the background, a person nearly cropped from the picture frame, or a tiny patch of canvas left unpainted, deliberately so, one may assume, as if to remind you not to take all the painted parts for granted. This is true not just for New Yorkers but for anyone anywhere with art to be visited—art being a relative term, in my definition. Your Monet may, in fact, be an unpolished gemstone or mineral element. Natural history museums are filled with beauties fairly begging to be adopted. Stay alert. Next time a tattered Egyptian mummy speaks to you across the ages, don’t walk away. Stay awhile. Spend some time with it. Give it a proper name: Yours. But don’t be hasty. You must be sure you are besotted. When it happens, you will know.

Bill weathered the slump because he had money in the bank, and he had money in the bank because he lived in fear of his past - the grim poverty that had meant plastering and wall painting. He had been married to Lucille then, and I noticed that as time went on Bill talked about that period in his life with increasing gloom, as if in hindsight it had grown darker and more painful than when he was actually living it. Like everyone, Bill rewrote his life. The recollections of an older man are different from those of a young man. What seemed vital at forty may lose its significance at seventy. We manufacture stories, after all, from the fleeting sensory material that bombards us at every instant, a fragmented series of pictures, conversations, odours, and the touch of things and people. We delete most of it to live with some semblance of order, and the reshuffling of memory goes on until we die.

Since I left the United States in 1998, I've cast absentee ballots. Americans overseas vote from the last state they lived in, which for me was New York. Then we got the house on Emerald Isle and I changed my location to North Carolina, where I'm more inclined to feel hopeless. In 1996, in line at the grocery store in lower Manhattan, I'd look at the people in front of me, thinking, Bill Clinton voter, Bill Clinton voter, convicted felon, Bill Clinton voter, foreign tourist, felon, felon, Bill Clinton voter, felon. At the Emerald Isle supermarket that I stomp off to after the fight with my father, it's Trump, Trump, Trump, Trump, and then the cashier, who also voted for him. Of course, these are just my assumptions. The guy in the T-shirt that pictures a semiautomatic rifle above the message COME AND TAKE IT, the one in fatigues buying two twelve-packs of beer and a tub of rice pudding, didn't necessarily vote Republican. He could have just stayed home on Election Day and force-fed the women he holds captive in the crawl space beneath his living room. The morning after our argument, I come downstairs to find my father in the kitchen. 'Are you still talking to me?' he asks. I look at him as if he were single-handedly responsible for the election of Donald Trump, as if he had knowingly cast the tiebreaking vote and all of what is to come is entirely his fault. Then I say, 'Yes. Of course I'm still talking to you.' He turns and plods into the living room. 'Horse's ass.

Piers Morgan Piers Morgan is a British journalist best known for his editorial work for the Daily Mirror from 1995 through 2004. He is also a successful author and television personality whose recent credits include a recurring role as a judge on NBC’s America’s Got Talent. A controversial member of the tabloid press during Diana’s lifetime, Piers Morgan established a uniquely close relationship with the Princess during the 1990s. “What’s been the most upsetting thing you’ve had to read about yourself?” “Well, those pictures the other day of my supposed cellulite upset me a lot actually. It really hurt me. It was too painful, too personal. It’s my body everyone was talking about, not just my face. I felt invaded because they put the cameras deliberately onto my legs.” Diana’s relationship with the paparazzi was obviously complex. She professed to hate them: “I know most of the paparazzi and their number plates. They think I am stupid but I know where they are. I’ve had ten years practice. I would support an antistalking bill tomorrow.” Then she took me to the window and started showing me the various media cars, vans, and motorbikes lurking outside. But when I asked why she doesn’t go out of one of the ten other more discreet exits, she exposed her contrary side: “I want to go out the front like anyone else. Why should I change my life for them?” “Because it would make your life easier?” I said. William was equally upset by the constant prying lenses: “Why do they have to chase my mother around so much? It’s unfair on her.” I was torn between genuine concern for the young man protecting his mum so gallantly, and a sense of foreboding for him that one day it would be him, not his mother, who would be chased just as aggressively. How do you explain to a thirteen-year-old boy that he sells papers and therefor he’s a valuable commodity to photographers and editors like me?

In 1918, anti-German hysteria was sweeping Texas. Germans who showed insufficient enthusiasm in purchasing Liberty Bonds were publicly horsewhipped; bands of armed men broke into the homes of German families who were rumored to have pictures of the Kaiser on the walls; a State Council of Defense, appointed by the Governor, recommended that German (and all other foreign languages) be barred from the state forever. Hardly had Sam Johnson arrived in Austin in February, 1918, when debate began on House Bill 15, which would make all criticism, even a remark made in casual conversation, of America’s entry into the war, of America’s continuation in the war, of America’s government in general, of America’s Army, Navy or Marine Corps, of their uniforms, or of the American flag, a criminal offense punishable by terms of two to twenty-five years—and would give any citizen in Texas the power of arrest under the statute. With fist-waving crowds shouting in the House galleries above, legislators raged at the Kaiser and at Germans in Texas whom they called his “spies” (one legislator declared that the American flag had been hauled down in Fredericksburg Square and the German double eagle raised in its place) in an atmosphere that an observer called a “maelstrom of fanatical propaganda.” But Sam Johnson, standing tall, skinny and big-eared on the floor of the House, made a speech—remembered with admiration fifty years later by fellow members—urging defeat of Bill 15;

God has given you free will to make your life your own, but when you’re on a good path, you’ll know it in your soul. When I became an adult, I filled my life with a lot of love and laughter--I married a wonderful man, had beautiful kids, spent time with friends and family, and got a good job that paid the bills. These are all the things you think, and are told, will fulfill you. And don’t get me wrong, they mean a lot. But it wasn’t until I accepted my gift that my soul felt complete. I was finally on the right path. God had given me the canvas, but it was up to me to paint a beautiful picture, and there was something missing in the landscape until I did the work that satisfied my soul. It’s like I’d painted the trees, hills, and sky, but left out the focal point. God’s given you a canvas too, and like me, you need to find what makes your picture a masterpiece.