Brewster's Millions Quotes

Every step you take, a million doors open in front of you like poppies; your next step closes them, and another million bloom. You get on a train, you pick up a lamp, you speak, you don’t. What decides why one thing gets picked to be the way it will be? Accident? Fate? Some weakness in ourselves? Forget your harps, your tin-foil angels—the only heaven worth having would be the heaven of answers.

She had stepped into the thin strip of earth that they claimed as their own. Bound by the last building on Brewster and a brick wall, they reigned in that unlit alley like dwarfed warrior kings. Born with the appendages of power, circumcised by the guillotine, and baptized with the steam from a million non reflective mirrors, these young men wouldn't be called upon to thrust a bayonet into an Asian farmer, target a torpedo, scatter their iron seed from a B-52 into the wound of the earth, point a finger to move a nation, or stick a pole into the moon--and they knew it. They only had that three-hundred-foot alley to serve them as stateroom, armored tank, and executioner's chamber.

Any man who can spend a million a year and have nothing to show for it, don't need a recommendation from anybody. He's in a class by himself, and it's a business that no one else can give him a pointer about.

Among Morgan’s many “loads” at the time was a scheme to create a huge international shipping syndicate that could stabilize trade and yield huge returns from the lucrative transatlantic routes. By June of 1902 he had purchased Britain’s prestigious White Star Line for $32 million and combined it with other shipping acquisitions to form a trust called the International Mercantile Marine. In 1904 Morgan installed White Star Line’s largest shareholder, forty-one-year-old J. Bruce Ismay, son of the line’s late founder, as president of the IMM. The second-largest shareholder was Lord William J. Pirrie, the chairman of Harland and Wolff, the Belfast shipbuilders responsible for the construction of White Star’s ships. Pirrie had been the chief negotiator with Morgan’s men and was placed on the board of the new trust. The British government had acceded to Morgan’s flexing of American financial muscle in the acquisition of White Star but had also provided loans and subsidies to the rival Cunard Line for the building of the world’s largest, fastest liners, Lusitania and Mauretania—with the proviso that they be available for wartime service. By the summer of 1907, the Lusitania had made its record-breaking maiden voyage, and Pirrie and Ismay soon hatched White Star’s response. They would use Morgan’s money to build three of the world’s biggest and most luxurious liners. Within a year Harland and Wolff had drawn up plans for two giant ships, and by mid-December the keel plate for the first liner, the Olympic, had been laid. On March 31, 1909, the same was done for a sister ship, to be called Titanic. A third, named Britannic, was to be built later.

For Elvis Presley, living in a completely segregated world, the one thing that was not segregated was the radio dial. There was WDIA (“the Mother Station of the Negroes,” run, of course, by white executives), which was the black station, on which a young white boy could listen to, among other people, the Rev. Herbert Brewster, a powerful figure in the world of Memphis black churches. A songwriter of note, he composed “Move On Up a Little Higher,” the first black gospel song to sell over a million copies. What was clear about the black gospel music was that it had a power of its own, missing from the tamer white church music, and that power seemed to come as much as anything else from the beat. In addition there was the immensely popular Dewey Phillips. When Elvis listened to the black radio station at home, his family was not pleased. “Sinful music,” it was called, he once noted. But even as Elvis Presley was coming on the scene, the musical world was changing. Certainly, whites had traditionally exploited the work of black musicians, taking their music, softening and sweetening it and making it theirs. The trade phrase for that was “covering” a black record. It was thievery in broad daylight, but black musicians had no power to protect themselves or their music.