Boom Movie Quotes

I think he’s handling it with grace. A lot of teenage boys would sulk, or lurk around under your window with a boom box.

Elizabeth Bennett needs to chill" . . "Love is just a transaction. We're all hardwired to desire. We present the correct set of desirable traits and boom! We can turn it on or we can turn it off." — Hardin

You have the right to kill me, but you do not have the right to judge me. Boom. That’s the whole movie. That’s life.

Kiowa who saw it happen said it was like watching a rock fall, or a big sandbag or something-Just Boom-then down. Not like in the movies where the dead guy rolls around and does fancy spins and goes ass over teakettle-not like that. Kiowa said. The bastard just flat fuck fell. Boom down. Nothing else.

The baby boom produced a fresh batch of American youngsters -- teenagers they were called -- and they were suddenly coming of age. But until Roman Holiday, it was hard for them to see themselves in the movies. What Audrey offered -- namely to the girls -- was a glimpse of someone who lived by her own code of interests, not her mother's, and who did so with a wholesome independence of spirit.

Readers who were born postmillennium might not understand the fuss, but trust me, this was a goddamned miracle. Nowadays, connectivity is just presumed. Smartphones, laptops, desktops, everything’s connected, always. Connected to what exactly? How? It doesn’t matter. You just tap the icon your older relatives call “the Internet button” and boom, you’ve got it: the news, pizza delivery, streaming music, and streaming video that we used to call TV and movies. Back then, however, we walked uphill both ways, to and from school, and plugged our modems directly into the wall, with manly twelve-year-old hands.

I’ve waited a long time for this,” Penny said. “Then this is going to be kind of an anticlimax,” Alice said, and she punched him in the face. Boom! Oh my God. It was beautiful, just like in a movie: straight from the shoulder, feet planted, hips rolled, follow-through, the works. Penny never saw it coming.

Tell me, amigo," said Switters in a voice just loud enough to penetrate the fellow's earphones, "do you know why boom-boom movies are so popular? Do you know why young males, especially, love, simply love, to see things blown apart?" The man stared blankly at Switters brightly. "Freedom from the material world. Subconsciously, people feel trapped by our culture's confining buildings and its relentless avalanche of consumer goods. So, when they watch all this shit being demolished in a totally irreverent and devil-may-care fashion, they experience the kind of release the Greeks used to get from their tragedies. The ecstasy of psychic liberation.

Whatever happened to chivalry? Does it only exist in 80's movies? I want John Cusack holding a boom box outside my window. I wanna ride off on a lawnmower with Patrick Dempsey. I want Jake from Sixteen Candles waiting outside the church for me. I want Judd Nelson thrusting his fist into the air because he knows he got me. Just once I want my life to be like an 80's movie, preferably one with a really awesome musical number for no apparent reason. But no, no, John Hughes did not direct my life.

Unbelievable,” Audrey’s voice squeaked as I pushed past her. “Here we are, talking to you about your freaky little-boy encounter back in Breaux Bridge and how your caramel macchiato tasted like cardboard, and boom! You just zone out like one of the kids from Children of the Corn.” “Um, Aud, babe … I don’t think those kids zone out. They’re just freaky twenty-four-seven. It’s a year-round thing.” Gabe’s response drew a half-hearted laugh from me, but it was quickly reined in when I reached the Book of the Ancients. “Whatever, Gabriel,” Audrey said to him. “My point is, it’s freaky, okay? She gets this glazed-over look in her eyes, like she’s gonna whip out a butcher knife and go all Michael Myers on us or something.” I glanced over my shoulder to cock an eyebrow at her. “Oh, now you pay attention.” She cocked an eyebrow back. “What is it with you and the cheesy horror-movie references?” Gabe muttered. “Hey, now. Halloween is a classic,” Gavin scolded him. “Don’t go hating on the classics.

I'd been having moments with Michael. Both times, it'd felt like we were connecting, and then BOOM. Bodily fluids.

Get Out’s runaway success led to an almost-immediate boom in what became known as “social horror,” a weirdly banal descriptor for horror movies and books that engage directly with racism, sexism, homophobia, and other forms of oppression and bigotry. It’s sort of a misleading term, implying that this is a recent cultural development—if you take one thing away from this book, let it be that horror has always engaged with social issues.

 It’s weird being alone in the museum. It’s dark and eerily quiet: Only the after-hours lights are on—just enough to illuminate the hallways and stop you from tripping over your own feet—and the background music that normally plays all the time is shut off. I quickly organize the flashlights and check their batteries, and when I don’t hear Porter walking around, I stare at the phone sitting at the information desk. How many chances come along like this? I pick up the receiver, press the little red button next to the word ALL, and speak into the phone in a low voice. “Paging Porter Roth to the information desk,” I say formally, my voice crackling through the entire lobby and echoing down the corridors. Then I press the button again and add, “While you’re at it, check your shoes to make sure they’re a match, you bastard. By the way, I still haven’t quite forgiven you for humiliating me. It’s going to take a lot more than a kiss and a cookie to make me forget both that and the time you provoked me in the Hotbox.” I’m only teasing, which I hope he knows. I feel a little drunk on all my megaphone power, so I page one more thing: “PS—You look totally hot in those tight-fitting security guard pants tonight, and I plan to get very handsy with you at the movies, so we better sit in the back row.” I hang up the phone and cover my mouth, silently laughing at myself. Two seconds later, Porter’s footfalls pound down Jay’s corridor—Boom! Boom! Boom! Boom! He sounds like a T. rex running from Godzilla. He races into the lobby and slides in front of the information desk, grabbing onto the edge to stop himself, wild curls flying everywhere. His grin is enormous. “Whadidya say ’bout where you want to be puttin’ your hands on me?” he asks breathlessly. “I think you have me confused with someone else,” I tease. His head sags against the desk. I push his hair away from one of his eyes. He looks up at me and asks, “You really still haven’t forgiven me?” “Maybe if you put your hands onme, I might.” “Don’t go getting my hopes up like that.” “Oh, your hopes should be up. Way up.” “Dear God, woman,” he murmurs. “And here I was, thinking you were a classy dame.” “Pfft. You don’t know me at all.” “I aim to find out. What are we still doing here? Let’s blow this place and get to the theater, fast.

There is also a trilogy of books out. I started reading right after Christmas Divergent. I went to read Insurgent after, and now I’m on the third one. I don’t know, it’s Detergent or whatever. But it’s written by a 26-year-old girl. It’s brilliant. But I’m about halfway through now on book number three. Wait until you get to book number three. Hello, Google genome project. Technology is advancing at a rapid pace, and yet, morality and ethics are afterthoughts. We’re excited about discovery and advancement, you know? We’re in fact so excited that we don’t even take the time to discuss or debate the moral dilemmas and implications of new technology. Sure, we’re still in control of technology now, but does there come a time when we’re not? Who will be the one that says turn it off? When do things go wrong? I don’t see anyone at Google or in the government or anyone at the forefront of technology boom that is contemplating the ethics and morality issues. Now that is a truly scary thought that doesn’t come in a movie.

The economic boom that followed World War II had made them richer than their parents. Instead of a comfortable life with a husband they'd known since high school, they craved glamour and romance. "We all learned from the movie stars," says Loretta, who married three times and now lives in Lake Worth, Florida. "New York then was like long black gloves and little hats, and you met your sweetheart in New York for a drink, kind of thing. It was like Sinatra and stuff like that. The songs had words, and you closed your eyes.

The typical load was 25 rounds. But Ted Lavender, who was scared, carried 34 rounds when he was shot and killed outside Than Khe, and he went down under an exceptional burden, more than 20 pounds of ammunition, plus the flak jacket and helmet and rations and water and toilet paper and tranquilizers and all the rest, plus the unweighed fear. He was dead weight. There was no twitching or flopping. Kiowa, who saw it happen, said it was like watching a rock fall, or a big sandbag or something - just boom, then down - not like the movies where the dead guy rolls around and does fancy spins and goes ass over teakettle - not like that, Kiowa said, the poor bastard just flat-fuck fell. Boom. Down.

I saw a guy the other day at a wedding, and I told him my theory on why we’ve seen this explosion in comedies in the past fifteen years. Number one, America is tacking hard to the right. That sort of extremism always kind of kicks up the need to create comedy. But the second thing is Avid. What’s Avid? It’s a digital movie-editing program that directors use, and it’s incredibly helpful. I think Avid is hugely responsible for this boom in comedy. In the past, one would have to shoot the film and edit it, which was a big deal. Now, filmmakers can record the laughs from a test audience at a screening, and we can then cut to the rhythm of those laughs, the rhythm of the audience. We synchronize the laughs with the film. We can really get our timing down to a hundredth of a second. You can decide where you want your story to kick in, where you want a little bit of mood, where you want a hard laugh line. All of this can really be calibrated to these test screenings that we do. It doesn’t mean that it becomes mathematical. It still ultimately means that you have to make creative choices, but you can just really get a lot out of it. Sort of like surgery with a laser compared with a regular scalpel. We’re able to download a movie onto the computer and literally do all our edits in minutes. The precision is incredible. You play back the audio of the test screening and get everything timed just right. Like, “This laugh is losing this next line; let’s split the difference here.” You’re able to achieve this rolling energy. You can try experimental edits, and do multiple test screenings, and it’s all because you can move so fast with this program. Comedy is the one genre that I think has just really benefited from this more than any other.

Star Wars introduced a new way for using the five screen speakers [in theaters]. By pushing left and right sound channels to the farthest out speakers the pair just inside those was made available. Lucas' mixers then placed low frequency effects in those speakers, and named it the 'baby boom' channel. Human ears can hear frequencies up to around 20,000 hertz, and down to around 20 Hertz for very low sounds. Below that you don't *hear* the sound, but if the 'volume' is 'loud' enough, you can *feel* the sound. Super-low frequencies affect us emotionally, usually inducing something like fear. We feel them during earthquakes. Lucasfilm put sound effects in the baby boom channel for audiences to feel--for instance, in the opening shot of Star Wars where the little diplomatic ship is running from the Imperial Cruiser. It's no wonder this is one of the most memorable and ominous shots in cinematic history. It was not only cool looking, but cool *sounding*

When I watch a movie or read a book, be it a melodrama or horror, I always hate the female character... Well, most of the time I do. Why? Because she is always dumb. I shit you not. For example in this one chick-flick movie, "Serendipity", Sara tells that Jonathan guy that she won't give him her number because if they are meant to meet again, they will. Seriously? Romantic movie my ass, there's not anything romantic in letting go of someone when you can grab them with both of your hands. That is not romantic, THAT is stupid. In another movie the girl storms out, never hearing the guy out, just like in that one book I've been reading recently, "Tangled". Now this is an issue with most of the books and chick-flicks. Like why? Why won't you stop a minute, take a deep breath, count to ten and listen to the guy. Only after that, for God's sake, say ‘fuck you’ then ‘Namaste’ and then walk away while swaying your hips like there is no tomorrow? Let them know what they will be missing for the rest of their lives. In some other movies I hate the main female character because of the scriptwriters. The girl somehow always appears in front of the guy out of nowhere. Like he can be walking down the street and then boom! ABRACADABRA! The main girl bumps into him in NYC out of all places. They make it seem like whatever they do their steps always bring them back to each other. Dumb, I know.

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.

Sean Penn mourned the death of the fifty-eight-year-old socialist creep. Sean wrote in a statement sent to the Hollywood Reporter: “Today the people of the United States lost a friend it never knew it had. And poor people around the world lost a champion.” He added: “I lost a friend I was blessed to have.” Penn needs to tell you that he knew the guy. A world leader. That’s cool. I guess playing Jeff Spicoli and marrying Madonna wasn’t enough (one made your career, the other ruined your urinary tract). Yeah, this is the same chap who told Piers Morgan that Ted Cruz should be institutionalized. Talk about the pot calling the kettle batshit crazy. If Penn got any nuttier, he’d be a Snickers bar. Of course it would be uncool to point out to Penn that Chávez was no champion of the poor. Under his rule people became far poorer in Venezuela. And in the midst of an oil boom, Chávez engineered a murder boom. The murder rate in his country tripled during Chávez’s tyrannical tenure, hitting a high of 67 per 100,000 residents in 2011, compared with a murder rate of less than 5 per 100,000 in the United States (and that includes Baltimore). And about 10 or 20 less than the last Penn movie. Penn was joined, per usual, by director Oliver Stone, who said, solemnly, somewhere: “I mourn a great hero to the majority of his people and those who struggle throughout the world for a place.” He added: “Hated by the entrenched classes, Hugo Chávez will live forever in history. “My friend, rest finally in a peace long earned.” This is from an adult, mind you. And no list of apologists for evil is complete without Michael Moore. This nugget comes from the Michigan Live website, which reports Moore praising Chávez in a feeble collection of Twitter messages, on the night the Venezuelan viper expired. Hugo Chávez declared the oil belonged 2 the ppl. He used the oil $ 2 eliminate 75% of extreme poverty, provide free health & education 4 all. That made him dangerous. US

I am speaking of the evenings when the sun sets early, of the fathers under the streetlamps in the back streets returning home carrying plastic bags. Of the old Bosphorus ferries moored to deserted stations in the middle of winter, where sleepy sailors scrub the decks, pail in hand and one eye on the black-and-white television in the distance; of the old booksellers who lurch from one ϧnancial crisis to the next and then wait shivering all day for a customer to appear; of the barbers who complain that men don’t shave as much after an economic crisis; of the children who play ball between the cars on cobblestoned streets; of the covered women who stand at remote bus stops clutching plastic shopping bags and speak to no one as they wait for the bus that never arrives; of the empty boathouses of the old Bosphorus villas; of the teahouses packed to the rafters with unemployed men; of the patient pimps striding up and down the city’s greatest square on summer evenings in search of one last drunken tourist; of the broken seesaws in empty parks; of ship horns booming through the fog; of the wooden buildings whose every board creaked even when they were pashas’ mansions, all the more now that they have become municipal headquarters; of the women peeking through their curtains as they wait for husbands who never manage to come home in the evening; of the old men selling thin religious treatises, prayer beads, and pilgrimage oils in the courtyards of mosques; of the tens of thousands of identical apartment house entrances, their facades discolored by dirt, rust, soot, and dust; of the crowds rushing to catch ferries on winter evenings; of the city walls, ruins since the end of the Byzantine Empire; of the markets that empty in the evenings; of the dervish lodges, the tekkes, that have crumbled; of the seagulls perched on rusty barges caked with moss and mussels, unϩinching under the pelting rain; of the tiny ribbons of smoke rising from the single chimney of a hundred-yearold mansion on the coldest day of the year; of the crowds of men ϧshing from the sides of the Galata Bridge; of the cold reading rooms of libraries; of the street photographers; of the smell of exhaled breath in the movie theaters, once glittering aϱairs with gilded ceilings, now porn cinemas frequented by shamefaced men; of the avenues where you never see a woman alone after sunset; of the crowds gathering around the doors of the state-controlled brothels on one of those hot blustery days when the wind is coming from the south; of the young girls who queue at the doors of establishments selling cut-rate meat; of the holy messages spelled out in lights between the minarets of mosques on holidays that are missing letters where the bulbs have burned out; of the walls covered with frayed and blackened posters; of the tired old dolmuşes, ϧfties Chevrolets that would be museum pieces in any western city but serve here as shared taxis, huϫng and puϫng up the city’s narrow alleys and dirty thoroughfares; of the buses packed with passengers; of the mosques whose lead plates and rain gutters are forever being stolen; of the city cemeteries, which seem like gateways to a second world, and of their cypress trees; of the dim lights that you see of an evening on the boats crossing from Kadıköy to Karaköy; of the little children in the streets who try to sell the same packet of tissues to every passerby; of the clock towers no one ever notices; of the history books in which children read about the victories of the Ottoman Empire and of the beatings these same children receive at home; of the days when everyone has to stay home so the electoral roll can be compiled or the census can be taken; of the days when a sudden curfew is announced to facilitate the search for terrorists and everyone sits at home fearfully awaiting “the oϫcials”; CONTINUED IN SECOND PART OF THE QUOTE

Jerry Brown in 1974 embodied both the best of the Baby Boom (its intelligence, creativity, and determination to rethink old assumptions) and the worst (self-absorption, a tendency to value theory over experience, and an aversion to discipline and focus).

To rest after work, he streamed a movie. In the morning, he watched the news. On his way to work, songs boomed in his headphones to energize himself. During his breaks, he read the paper so he could talk about the paper. Why was it always someone else’s thoughts in his head?

His album that year was Sign O’ the Times. I took the fact that the gang in the title track was named the Disciples as a personal tribute. The tour behind that record was the best Rock show I’ve ever seen. I went three times, and it blew my mind every time. The production was the highest evolution of the live, physical part of our Artform I have ever seen. It was Prince’s vision, but his production designer, LeRoy Bennett, deserves much of the credit for pulling it off. It was Rock, it was Theater, it was Soul, it was Cinema, it was Jazz, it was Broadway. The stage metamorphized into different scenes and configurations right before your eyes, transforming itself into whatever emotional setting was appropriate for each song. On top of that, the music never stopped, for three solid hours. Prince wrote various pieces, or covered Jazz, as interstitial transitions for those moments when the stage was shifting or the musicians were changing clothes. At one point, he even had a craps game break out, which made me laugh—it brought me back to Dr. Zoom and the Sonic Boom and our onstage Monopoly games. They captured it pretty well on film, but it can’t compare. When you’re watching a movie, your mind is used to scene changes, different sets and lighting. Live, it’s something else. That kind of legerdemain before your eyes is mind-boggling.

Okay, what if you showed up at her house while she’s packing and you do a grand gesture?” Miles asked, as he lay on the floor with his whiskey balanced on his stomach. “You mean like the boom box thing?” Jonah asked, his tone crisp as ever. “You are emotionally stunted,” Miles tossed back, as he did a crunch to take a sip of his drink. “She is so not a boom box kind of girl,” I added. “She would slam the door in my face.” “Have you texted her?” Jonah asked. “Nope. I mean I’ve thought about it, but I haven’t.” I had been too scared that she wouldn’t respond. “Do it,” Miles said decisively. “I don’t know if that’s a good idea. Maybe when I’m sober.” I would say something idiotic with this much whiskey in me. “What if you showed up in Texas?” Jonah blurted. “Showed up, like at her door?” Miles sounded skeptical. “You’re Mr. Romantic. Doesn’t that sound like a good idea? Something a weak-chinned idiot in a rom-com movie would do?” Jonah grumbled, and I huffed a laugh. Weak-chinned was such a Jonah thing to say. “I don’t even know where she’s going to be.” “So find out,” Jonah retorted.

End June 2012 In response to Dr. Arius’ questions for his research, I wrote: Dr. A.S., As always it is a delight to receive your emails. I’ll be more than happy to answer your questions. I’ll respond to them one at a time. Please bear with me if my answers are lengthy at times. If I veer off into a tangent, please feel free to eliminate or edit my response. I’m eager to find out the results your research will yield when you are done with the survey. I’m ready to begin. Question one: * In “Initiation,” you said that as far as you can remember, even as a baby, you disliked your father. What was it that you didn’t like about the man? Did he have a certain smell that repelled you or something conscious or subconscious that blocked your connection towards him? Answers: Although I cannot provide you with definitive answers, I’ll do my best to remember how I felt when I was with my dad. a) Mr. S.S. Foong was a heavy smoker since the day I was born. I presume as a baby, the cigarette smell on his person repelled me. His aggressively loud booming voice did nothing to my gentle ears, either. Although he never shouted at me when I was a child, his stern demeanor deterred me from wanting to be near him. Moreover, his angry reprimands toward his subordinates when they had done nothing wrong challenged my respect for the man I called Father. b) Maybe unconsciously I was imbued with a glamorized portrayal of the “ideal” family from western magazines, movies, and periodicals of the mid-20th century. I wanted a father whom I could look up to: a strong, kind man who understands the needs of his family and children. But this was a Hollywood invention. It doesn’t exist, or it exists empirically in a small sector of the global population. c) Since my dad was seldom at home (he was with his mistress and their children), it was difficult to have a loving relationship with the man, especially when he roared and rebuked me for my effeminate behavior over which I had no control. I was simply being who I was. His negative criticisms damaged my ego badly. d) I could not relate to his air of superiority toward my mother. I resented that aspect of my father. I swore to myself that I would not grow up to be like my old man.

Why are you so into Pinot?” 2 Maya asks. In the next 60 seconds of the movie, the character of Miles Raymond tells a story which would set off a boom in sales of Pinot Noir. It’s a hard grape to grow. It’s thin-skinned, temperamental, ripens early. It’s not a survivor like Cabernet, which can just grow anywhere and thrive even when it’s neglected. No, Pinot needs constant care and attention. In fact it can only grow in these really specific, tucked away corners of the world. And only the most patient and nurturing of growers can do it, really. Only somebody who really takes the time to understand Pinot’s potential can coax it into its fullest expression. Its flavors are the most haunting and brilliant and thrilling and subtle and ancient on the planet. Miles is describing himself in the dialogue and using Pinot as a metaphor for his personality. In this one scene moviegoers projected themselves on the character, feeling his longing and his quest to be understood. Sideways was a hit and won an Oscar for Best Adapted Screenplay. It also launched a movement, turning the misunderstood Pinot Noir into the must-have wine of the year. In less than one year after the movie’s 2004 fall release date, sales of Pinot Noir had risen 18 percent. Winemakers began to grow more of the grape to meet demand. In California alone 70,000 tons of Pinot Noir grapes were harvested and crushed in 2004. Within two years the volume had topped 100,000 tons. Today California wine growers crush more than 250,000 tons of Pinot Noir each year. Interestingly, the Japanese version of the movie did not have the same “Sideways Effect” on wine sales. One reason is that the featured grape is Cabernet, a varietal already popular in Japan. But even more critical and relevant to the discussion on storytelling is that Japanese audiences didn’t see the “porch scene” because there wasn’t one. The scene was not included in the movie. No story, no emotional attachment to a particular varietal. You see, the movie Sideways didn’t launch a movement in Pinot Noir; the story that Miles told triggered the boom. In 60 seconds Maya fell in love with Miles and millions of Americans fell in love with an expensive wine they knew little about.

There wasn’t exactly a booming movie industry, of course. Vulcan was very much a frontier planet, and the economy was still bootstrapping through the basic requirements. We’d be another couple of decades before leisure activities became a major market segment.

It’s not just Africa’s movie and music industry that is booming. African literature, led by the Young Lions, or rather, Lionesses, is seeing a revival, too. I mentioned Chimamanda Ngozi Adichie and her TED Talk about Africa’s “Single Story.” But Adichie, 37, is best known for writing, and her novels Half of a Yellow Sun (now a film directed by fellow Nigerian novelist Biyi Bandele) and Americanah, winner of the United States’ prestigious National Book Critics Circle Award in 2013, are international best sellers. Adichie is able to write in an authentic African voice and yet still connect with huge numbers of readers in the West. I have been told about other young African women who are taking the literary world by storm such as Zimbabwean NoViolet Bulawayo, who was long-listed for Britain’s Man Booker Prize, and her countrywoman, international trade lawyer Petina Gappah, a finalist for the United Kingdom’s prestigious Orwell Prize in 2010. These talented women are part of a confident, new, global Africa.

FLEAS AND OTHER BLESSINGS Who has known the mind of the Lord? Or who has been his counselor? Romans 11:34 One of the first movies I saw was The Hiding Place. It changed my life. The movie, a true story, is about Corrie ten Boom and her sister, who were put into the Ravensbruck Nazi concentration camp after they were caught hiding Jews. Somehow, they managed to sneak in a Bible, which they read repeatedly for comfort and guidance. “Rejoice always, pray constantly, give thanks in all circumstances; for this is the will of God in Christ Jesus,” Betsy read aloud. Then she looked around the grimy place and suggested they thank God that she and Corrie were in the same barracks, that the barracks were crowded—so that they could tell more people about Christ—that they had a Bible, and even for the fleas that infested their barracks. That last part was too much. Corrie emphatically told her sister that even God couldn’t make her thankful for disgusting fleas! The sisters began holding open Bible studies there in the middle of a Nazi concentration camp, leading numerous people to Christ. Mysteriously, the guards never entered their barracks, which meant their Bible studies could go on uninterrupted. And the young women were inexplicably untouched when others around them were assaulted. Only later did they learn why they were left alone: the guards kept a safe distance from them because they didn’t want to get fleas. SWEET FREEDOM IN Action Today, make a gratitude list . . . and don’t leave anything off.

In 1917, Milton Hershey began work on a sugar mill town outside the city of Santa Cruz, Cuba, which he named Hershey and which, when finished, included American-style bungalows, luxurious houses for staff, schools, a hospital, a baseball diamond, and a number of movie theaters. At the height of the banana boom of the 1920s, one could tour Guatemala, Costa Rica, Panama, Honduras, Cuba, and Colombia and not for a moment leave United Fruit Company property, traveling on its trains and ships, passing through its ports, staying in its many towns, with their tree-lined streets and modern amenities, in a company hotel or guest house, playing golf on its links, taking in a Hollywood movie in one of its theaters, and being tended to in its hospital if sick.

Grief is nonlinear. It’s sneaky and sharp, like a serial killer in a movie where there’s no warning. No suspenseful music. No screeching of violins. And one night, when you think you’re fine and everything is fine and oh, look at me living my life—thriving, even—it’s like, BOOM BANG, then suddenly you’re on the floor with no memory of how you got there. Grief put a roofie in your drink and now the room is spinning. Grief is supposed to be a Mack truck but, really, it’s a Prius with its lights off. No way to know it’s coming until you are under its wheels.

After all those years in Asia, I don't have to do promotion anymore. We just release a Jackie Chan movie and - Boom! - people go.

♪ Go, Teen Titans, go Go, Teen Titans, go ♪ Go, Teen Titans, go Go, go, go, go, go ♪ T-double-E-N-T-I-T-A-N-S ♪ We the real heroes Takin' down the big menace ♪ Teen Titan flows ♪ Teen Titan knows ♪ Where there's real trouble, baby ♪ Teen Titans go ♪ Go, Teen Titans, go Go, Teen Titans, go Ugh. Morons. ♪ Beast Boy I can turn straight up into an animal ♪ Animal? ♪ Animal? ♪ Yes, any animal ♪ Boom, pow Yeah, I'm a kitten now Aw! ♪ Check out my kitten meow ♪ The star, the fire The live, the wire ♪ The alien princess in my alien attire ♪ The energy blasts The supersonic speed ♪ Is she down with the Titans? ♪ Oh, the yes indeed ♪ Booyah, booyah Go my cannon blaster ♪ Cyborg, whoo, baby Mr. High Tech Master ♪ What, what, what? ♪ Mr. Meatball Disaster ♪ What, what, what? ♪ Mr. Boom Boom Blaster ♪ Teen Teen Titans The Titans, the Teen Titans ♪ Teen Teen Titans The Titans, the Teen Titans ♪ Teen Teen Titans The Titans, the Teen Titans ♪ Teen Teen Titans The Titans, the Teen Titans ♪ Boom with the smoke bombs and birdarangs ♪ Bow staff hittin' steady Doin' my thang ♪ Robin, Robin, the leader Robin, Robin, in charge ♪ Show 'em your baby hands! ♪ No Robin, Robin's are large Nah, but for real, man. Those some super-small baby hands. No, they're not. Whatever. Just keep going, just keep going! ♪ Go, Teen Titans, go Go, Teen Titans, go ♪ Go, Teen Titans, go Go, Teen Titans, go ♪ Raven is here to drop it On you even harder ♪ There's no darker than me I'm as dark as can be ♪ Check it Azarath Metrion Zinthos ♪ Teleportin', magical powers We adios ♪ Teen Teen Titans The Titans, the Teen Titans ♪ Teen Teen Titans, the Titans The Teen Titans ♪ Teen Titans Go! ♪

Slim says the mistake of all those old English writers and all those matinee movies is to suggest true love comes easy, that it waits on stars and planets and revolutions around the sun. Waits on fate. Dormant true love, there for everybody, just waiting to be found, erupting when the thread of existence collides with chance and the eyes of two lovers meet. Boom. From what I ve seen of it, true love is hard. Real romance has death in it. It has midnight shakes and flecks of shit across a bedsheet. True love like this dies if it has to wait for fate. True love like this asks lovers to cast aside what is meant to be and work with what is.

My job, should I decide to undertake it, as it were, is to determine if the accident was by fault of impaired equipment or that of a preternatural event as the screaming boom operator would have one believe. I vote for a ghost. It makes things infinitely more interesting or my name isn‘t Beluga Stein, P.I. — Psychic Investigator. Part-time anyway. That is, when I‘m not teaching biology to a bunch of undergrads who know everything about libido except how to spell it. So my ballot is cast for a ghost.

Then the center of influence shifted to London, with the Beatles and the Rolling Stones, Cream, the Who, the Kinks, and all the bands that orbited them. San Francisco, with the Grateful Dead, Jefferson Airplane, and Santana, had its moment in a psychedelic spotlight around the Summer of Love and the Monterey Pop Festival in 1967, but as the 1960s gave way to the '70s, the center of the musical universe shifted unmistakably to Los Angeles. "It was incredibly vital," said Jonathan Taplin, who first came to LA as the tour manager for Bob Dylan and the Band and later relocated there to produce Martin Scorsese's breakthrough movie, Mean Streets. "The nexus of the music business had really moved from New York to Los Angeles. That had been a profound shift . . . It was very clear that something big had changed."'' For a breathtaking few years, the stars aligned to glittering effect in Los Angeles. The city attracted brilliant artists; skilled session musicians; soulful songwriters; shrewd managers, agents, and record executives; and buzz-building clubs. From this dense constellation of talent, a shimmering new sound emerged, a smooth blend of rock and folk with country influences. Talented young people from all over the country began descending on Los Angeles with their guitar cases or dreams of becoming the next Geffen. Irving Azoff, a hyper-ambitious young agent and manager who arrived in Los Angeles in 1972, remembered, "It was like the gold rush. You've never seen anything like it in the entertainment business. The place was exploding. I was here—right place, right time. I tell everybody, `If you're really good in this business, you only have to be right once,' so you kind of make your own luck, but it is luck, too. It was hard to be in LA in that time and have any talent whatsoever in the music business—whether you were a manager, an agent, an artist, a producer, or writer—[and] not to make it, because it was boom times. It was the gold rush, and it was fucking fun.

Her contemporaries, Tatsuhiko Shibusawa (born 1928), Yukio Mishima (born 1925), and others did much to disseminate transgressive and nonheteronormative memes, which in turn influenced the Year 24 Group—the next generation of creators, such as Moto Hagio, Keiko Takemiya, and Yumiko Oshima, who fueled the boom of girls’ manga containing themes of same-sex or otherwise forbidden or transgressive romance.

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