Commercial Express Quotes

We live in oppressive times. We have, as a nation, become our own thought police; but instead of calling the process by which we limit our expression of dissent and wonder ‘censorship,’ we call it ‘concern for commercial viability.

My advice is really this: what we hear the philosophers saying and what we find in their writings should be applied in our pursuit of the happy life. We should hunt out the helpful pieces of teaching, and the spirited and noble-minded sayings which are capable of immediate practical application—not far-fetched or archaic expressions or extravagant metaphors and figures of speech—and learn them so well that words become works. No one to my mind lets humanity down quite so much as those who study philosophy as if it were a sort of commercial skill and then proceed to live in a quite different manner from the way they tell other people to live.

The only reason I made a commercial for American Express was to pay for my American Express bill.

Then his gaze shifted to the wild bush sprouting from her head. “Wow. Did I do that to your hair?” He looked oddly pleased at the thought. Rylann made a mental note to throw a flat iron in her purse the next time she had sex in the shower with a billionaire ex-con. Not that there was going to be a next time. “Not all of us are lucky enough to have freakishly perfect, shampoo-commercial hair. This is what happens when I get wet.” His expression turned wicked. “I know exactly what happens when you get wet, counselor.” Yep, she’d walked right into that one.

I have never sneered in my life. Sneering doesn't become either the human face or the human soul. I am expressing my righteous contempt for Commercialism. I don't and wont trade in affection. You call me a brute because you couldn't buy a claim on me by fetching my slippers and finding my spectacles. You were a fool: I think a woman fetching a man's slippers is a disgusting sight: did I ever fetch your slippers? I think a good deal more of you for throwing them in my face. No use slaving for me and then saying you want to be cared for: who cares for a slave?

Literature, the ultimate gift for expressing the most subtle aspects of man's thought and feeling, may not survive persecution: first by religion, then by the bourgeoisie, then by Marxism, and now by commercialism. The

White institutions are constantly communicating how much Blackness they want. It begins with numbers. How many scholarships are being offered? How many seats are being “saved” for “neighborhood kids”? How many Black bodies must be present for us to have “good” diversity numbers? How many people of color are needed for the website, the commercials, the pamphlets? But numbers are only the beginning. Whiteness constantly polices the expressions of Blackness allowed within its walls, attempting to accrue no more than what’s necessary to affirm itself. It wants us to sing the celebratory “We Shall Overcome” during MLK Day but doesn’t want to hear the indicting lyrics of “Strange Fruit.” It wants to see a Black person seated at the table but doesn’t want to hear a dissenting viewpoint. It wants to pat itself on the back for helping poor Black folks through missions or urban projects but has no interest in learning from Black people’s wisdom, talent, and spiritual depth. Whiteness wants enough Blackness to affirm the goodness of whiteness, the progressiveness of whiteness, the openheartedness of whiteness. Whiteness likes a trickle of Blackness, but only that which can be controlled.

We may say, in a broad way, that Greek philosophy down to Aristotle expresses the mentality appropriate to the City State; that Stoicism is appropriate to a cosmopolitan despotism; that stochastic philosophy is an intellectual expression of the Church as an organization; that philosophy since Descartes, or at any rate since Locke, tends to embody the prejudices of the commercial middle class; and that Marxism and Fascism are the philosophies appropriate to the modern industrial state.

The only reason I made a commercial for American Express was to pay off my American Express Bill" - Peter Ustinov, 1921-2004

Libraries represent the sole contemporary American institution with the potential for making available a wide-ranging, genuinely diverse spectrum of opinions, cultural expressions, and ideas in an environment that is commercial-free and huckster-free, a commons where people can gather and select, in an un-intimidating atmosphere, whatever interests them, delights them, or even repels them--whatever they want to know about.

the best films are about expanding our understanding of what it means to be human, they’re a journey into pushing the boundaries of form, an adventure beyond the clichés of commercial cinema, an expression of our deeper consciousness

The allure of unthinking animal bliss is powerful; it always calls to us, in the same way as the edge of a cliff or the waves of the ocean: Jump. It is a necessary part of our natures, full of delight and danger in equal measure. Yet to the mind trained in language, taught to spy subtleties and take joy in them, such crude, baser matters can pale after a while. But there lies grave peril also: The propensity to empathize with pain expressed in words encourages a poet to avoid the real thing, and a too-passionate love of books can mew one in a cloister, putting up walls where there should be free range. I decided long ago—to keep myself sane amongst the illiterate and unthinking—that there would be poetry in my life. But there would also be fucking. I would have them both, but follow the sage advice of modern beer commercials and enjoy responsibly.

Dear Jeff, I happened to see the Channel 7 TV program "Hooray for Hollywood" tonight with the segment on Blade Runner. (Well, to be honest, I didn't happen to see it; someone tipped me off that Blade Runner was going to be a part of the show, and to be sure to watch.) Jeff, after looking—and especially after listening to Harrison Ford discuss the film—I came to the conclusion that this indeed is not science fiction; it is not fantasy; it is exactly what Harrison said: futurism. The impact of Blade Runner is simply going to be overwhelming, both on the public and on creative people—and, I believe, on science fiction as a field. Since I have been writing and selling science fiction works for thirty years, this is a matter of some importance to me. In all candor I must say that our field has gradually and steadily been deteriorating for the last few years. Nothing that we have done, individually or collectively, matches Blade Runner. This is not escapism; it is super realism, so gritty and detailed and authentic and goddam convincing that, well, after the segment I found my normal present-day "reality" pallid by comparison. What I am saying is that all of you collectively may have created a unique new form of graphic, artistic expression, never before seen. And, I think, Blade Runner is going to revolutionize our conceptions of what science fiction is and, more, can be. Let me sum it up this way. Science fiction has slowly and ineluctably settled into a monotonous death: it has become inbred, derivative, stale. Suddenly you people have come in, some of the greatest talents currently in existence, and now we have a new life, a new start. As for my own role in the Blade Runner project, I can only say that I did not know that a work of mine or a set of ideas of mine could be escalated into such stunning dimensions. My life and creative work are justified and completed by Blade Runner. Thank you...and it is going to be one hell of a commercial success. It will prove invincible. Cordially, Philip K. Dick

I am not anti-technology. After all, there are forms of technology—from tools that let us observe the natural world to decentralized, noncommercial social networks—that might situate us more fully in the present. Rather, I am opposed to the way that corporate platforms buy and sell our attention, as well as to designs and uses of technology that enshrine a narrow definition of productivity and ignore the local, the carnal, and the poetic. I am concerned about the effects of current social media on expression—including the right not to express oneself—and its deliberately addictive features. But the villain here is not necessarily the Internet, or even the idea of social media; it is the invasive logic of commercial social media and its financial incentive to keep us in a profitable state of anxiety, envy, and distraction. It is furthermore the cult of individuality and personal branding that grow out of such platforms and affect the way we think about our offline selves and the places where we actually live.

Remember, we all make our work available in a commercial transaction, the terms of which we, ourselves, dictate. If we give it away for free, that’s our decision, and there is no refuge in the lame defense, “what do you want for nothing?” The buyer does not waive his right to express his opinion." [Thick Skin and Bad Reviews, Blog post, June 26, 2013]

How does a successful television commercial affect the viewer?" "It makes him want to change the way he lives." "In what way?" I said. "It moves him from first person consciousness to third person. In this country there is a universal third person, the man we all want to be. Advertising has discovered this man. It uses him to express the possibilities open to the consumer. To consume in America is not to buy; it is to dream. Advertising is the suggestion that the dream of entering the third person singular might possibly be fulfilled.

He's as bad as my mother. Maybe worse. He's a market-research consultant. He studies people's facial expressions to see how they feel about commercials and products. He used to be a psychologist but he makes more money helping big corporations dupe the public. The worst part is he can look at your face and say 'Your upper lip just twitched! Anger! You're angry. Don't try to hide it from me, young man. Why does it make you angry when I say those pants make you look like a girl? Doe you have something against girls? Perhaps some unresolved Oedipal feelings?

They knew by instinct rather than by insight that this new expansion movement, in which “patriotism . . . is best expressed in money-making” (Huebbe-Schleiden) and the national flag is a “commercial asset” (Rhodes), could only destroy the political body of the nation-state.

Self-consciousness is fatal to love. The self-conscious lover never ‘arrives.’ … And so too the whole modern period of commercial civilization and Christianity has been fatal to love… They have bred the self-regarding consciousness in the highest degree; and so — though they may have had their uses and their parts to play in the history of mankind, they have been fatal to the communal spirit in society, and they have been fatal to the glad expression of the soul in private life. Self-consciousness is fatal to love, which is the true expression of the soul.

The choice word, the correct phrase, are instruments that may reach the heart, and awake the soul if they fall upon the ear in melodious cadence; but if the utterance be harsh and discordant they fail to interest, fall upon deaf ears, and are as barren as seed sown on fallow ground.

Because of the headwaiter mentality that prevails among customs officials, no commercial shipper of marijuana or anything else illegal would make the mistake of using Hell’s Angels for runners. It would be like sending a car up to the border with “Opium Express” painted in red letters on both sides.

Amma likes very slow foreign films with no plot and lots of atmosphere because ‘the best films are about expanding our understanding of what it means to be human, they’re a journey into pushing the boundaries of form, an adventure beyond the clichés of commercial cinema, an expression of our deeper consciousness

I was not doing what I was told to do. And they sued me for making music "uncharacteristic of Neil Young." That was Geffen Rocords' biggeest mistake, I think. The mistakes all started when I caved and didn't give them Island in the Sun. They wanted me to be commercially successful, and I wanted to be an artist expressing myself-those two goals are not always compatible. I was expecting to have the same artistic freedom that I had at Asylum Records, but Geffen Records wanted me to be a smash, selling millions of records. Most important, Geffen was not a hands-on at Geffen Records. He had other people doing that. It showed.

From then on he would make two or three trips a week to similar premises – bookstores, crystal shops, candle parlours, short-let niche operations selling a mix of pop-cultural memorabilia and truther merchandise from two or three generations ago – which had flourished along the abandoned high streets of the post-2007 austerity, run by a network of shabby voters hoping to take advantage of tumbling rents. Their real obsession lay in the idea of commerce as a kind of politics, expression of a fundamental theology. They had bought the rhetoric without having the talent or the backing. The internet was killing them. The speed of things was killing them. They were like old-fashioned commercial travellers, fading away in bars and single rooms, exchanging order books on windy corners as if it was still 1981 – denizens of futures that failed to take, whole worlds that never got past the economic turbulence and out into clear air, men and women in cheap business clothes washed up on rail platforms, weak-eyed with the brief energy of the defeated, exchanging obsolete tradecraft like Thatcherite spies.

I am concerned about the effects of current social media on expression—including the right not to express oneself—and its deliberately addictive features. But the villain here is not necessarily the Internet, or even the idea of social media; it is the invasive logic of commercial social media and its financial incentive to keep us in a profitable state of anxiety, envy, and distraction.

Mountaineering, she understood, was an essential expression of some odd, immutable aspect of my personality that I could no sooner alter than change the color of my eyes. Then, in the midst of this delicate rapprochement, Outside magazine confirmed it was sending me to Everest. At first I pretended that I’d be going as a journalist more than a climber—that I’d accepted the assignment because the commercialization of Everest was an interesting subject and the money was pretty good. I explained to Linda and anyone else who expressed skepticism about my Himalayan qualifications that I didn’t expect to ascend very high on the mountain. “I’ll probably climb only a little way above Base Camp,” I insisted. “Just to get a taste of what high altitude is about.” This was bullshit, of course. Given the length of the trip and the time I’d have to spend training for it, I stood to make a lot more money staying home and taking other writing jobs. I accepted the assignment because I was in the grip of the Everest mystique. In truth, I wanted to climb the mountain as badly as I’d ever wanted anything in my life.

Hey Pete. So why the leave from social media? You are an activist, right? It seems like this decision is counterproductive to your message and work." A: The short answer is I’m tired of the endless narcissism inherent to the medium. In the commercial society we have, coupled with the consequential sense of insecurity people feel, as they impulsively “package themselves” for public consumption, the expression most dominant in all of this - is vanity. And I find that disheartening, annoying and dangerous. It is a form of cultural violence in many respects. However, please note the difference - that I work to promote just that – a message/idea – not myself… and I honestly loath people who today just promote themselves for the sake of themselves. A sea of humans who have been conditioned into viewing who they are – as how they are seen online. Think about that for a moment. Social identity theory run amok. People have been conditioned to think “they are” how “others see them”. We live in an increasing fictional reality where people are now not only people – they are digital symbols. And those symbols become more important as a matter of “marketing” than people’s true personality. Now, one could argue that social perception has always had a communicative symbolism, even before the computer age. But nooooooothing like today. Social media has become a social prison and a strong means of social control, in fact. Beyond that, as most know, social media is literally designed like a drug. And it acts like it as people get more and more addicted to being seen and addicted to molding the way they want the world to view them – no matter how false the image (If there is any word that defines peoples’ behavior here – it is pretention). Dopamine fires upon recognition and, coupled with cell phone culture, we now have a sea of people in zombie like trances looking at their phones (literally) thousands of times a day, merging their direct, true interpersonal social reality with a virtual “social media” one. No one can read anymore... they just swipe a stream of 200 character headlines/posts/tweets. understanding the world as an aggregate of those fragmented sentences. Massive loss of comprehension happening, replaced by usually agreeable, "in-bubble" views - hence an actual loss of variety. So again, this isn’t to say non-commercial focused social media doesn’t have positive purposes, such as with activism at times. But, on the whole, it merely amplifies a general value system disorder of a “LOOK AT ME! LOOK AT HOW GREAT I AM!” – rooted in systemic insecurity. People lying to themselves, drawing meaningless satisfaction from superficial responses from a sea of avatars. And it’s no surprise. Market economics demands people self promote shamelessly, coupled with the arbitrary constructs of beauty and success that have also resulted. People see status in certain things and, directly or pathologically, use those things for their own narcissistic advantage. Think of those endless status pics of people rock climbing, or hanging out on a stunning beach or showing off their new trophy girl-friend, etc. It goes on and on and worse the general public generally likes it, seeking to imitate those images/symbols to amplify their own false status. Hence the endless feedback loop of superficiality. And people wonder why youth suicides have risen… a young woman looking at a model of perfection set by her peers, without proper knowledge of the medium, can be made to feel inferior far more dramatically than the typical body image problems associated to traditional advertising. That is just one example of the cultural violence inherent. The entire industry of social media is BASED on narcissistic status promotion and narrow self-interest. That is the emotion/intent that creates the billions and billions in revenue these platforms experience, as they in turn sell off people’s personal data to advertisers and governments. You are the product, of course.

In the classic liberal formulation, the press is seen as a pure expression of democracy. Thus, in the United States, the Constitution protects the press from the government, which, despite having been elected democratically, is assumed by American political culture to harbour undemocratic tendencies. In the Singapore model, the formula is reversed. The elected government is the embodiment of democratic expression. Government, which expresses the will of the people, must be protected by the unelected press, which is prone to being swayed by private commercial interests, narrow ideological missions or, at the very least, the hubris of journalists' inflated egos.

It has been noted in various quarters that the half-illiterate Italian violin maker Antonio Stradivari never recorded the exact plans or dimensions for how to make one of his famous instruments. This might have been a commercial decision (during the earliest years of the 1700s, Stradivari’s violins were in high demand and open to being copied by other luthiers). But it might also have been because, well, Stradivari didn’t know exactly how to record its dimensions, its weight, and its balance. I mean, he knew how to create a violin with his hands and his fingers but maybe not in figures he kept in his head. Today, those violins, named after the Latinized form of his name, Stradivarius, are considered priceless. It is believed there are only around five hundred of them still in existence, some of which have been submitted to the most intense scientific examination in an attempt to reproduce their extraordinary sound quality. But no one has been able to replicate Stradivari’s craftsmanship. They’ve worked out that he used spruce for the top, willow for the internal blocks and linings, and maple for the back, ribs, and neck. They’ve figured out that he also treated the wood with several types of minerals, including potassium borate, sodium and potassium silicate, as well as a handmade varnish that appears to have been composed of gum arabic, honey, and egg white. But they still can’t replicate a Stradivarius. The genius craftsman never once recorded his technique for posterity. Instead, he passed on his knowledge to a number of his apprentices through what the philosopher Michael Polyani called “elbow learning.” This is the process where a protégé is trained in a new art or skill by sitting at the elbow of a master and by learning the craft through doing it, copying it, not simply by reading about it. The apprentices of the great Stradivari didn’t learn their craft from books or manuals but by sitting at his elbow and feeling the wood as he felt it to assess its length, its balance, and its timbre right there in their fingertips. All the learning happened at his elbow, and all the knowledge was contained in his fingers. In his book Personal Knowledge, Polyani wrote, “Practical wisdom is more truly embodied in action than expressed in rules of action.”1 By that he meant that we learn as Stradivari’s protégés did, by feeling the weight of a piece of wood, not by reading the prescribed measurements in a manual. Polyani continues, To learn by example is to submit to authority. You follow your master because you trust his manner of doing things even when you cannot analyze and account in detail for its effectiveness. By watching the master and emulating his efforts in the presence of his example, the apprentice unconsciously picks up the rules of the art, including those which are not explicitly known to the master himself. These hidden rules can be assimilated only by a person who surrenders himself to that extent uncritically to the imitation of another.

How develop the psychic forces? So live in body, in mind, that self may be a channel through which the Creative Forces may run. How is the current of life or of modern science used in the commercial world? By preparing a channel through which same may run into, or through, that necessary for the use in the material things. So with the body mentally, physically, spiritually, so make the body, the mind, the spiritual influences, a channel-and the natural consequence will be the manifestations. How best, then, to develop those latent forces in one now, those who have reached the years of maturity or responsibility in self? Let that mind be in you as was in Him who thought it not robbery to make Himself equal with God, yet took on Himself the burden of all, that through His physical suffering, His privation in body, in mind, there might come the blessings to others. Not self, but others. He, or she, that may lose self, then, for others, may develop those faculties that will give the greater expression of psychic forces in their experience.

Thanksgiving is an American holiday, but there’s nothing specifically American about it — we aren’t celebrating America, but American ideals. Its openness makes it available to anyone who feels like expressing thanks, and points beyond the crimes that made America possible, and the commercialization, kitsch, and jingoism that have been heaved onto the shoulders of the holiday. Thanksgiving is the meal we aspire for other meals to resemble. Of course most of us can’t (and wouldn’t want to) cook all day every day, and of course such food would be fatal if consumed with regularity, and how many of us really want to be surrounded by our extended families every single night? (It can be challenge enough to have to eat with myself.) But it’s nice to imagine all meals being so deliberate. Of the thousand-or-so meals we eat every year, Thanksgiving dinner is the one that we try most earnestly to get right. It holds the hope of being a good meal, whose ingredients, efforts, setting, and consuming are expressions of the best in us. More than any other meal, it is about good eating and good thinking.

This is why, where art is concerned, the most interesting thing would be to infiltrate the spongiform encephalon of the modern spectator, For this is where the mystery lies today: in the brain of the receiver, at the nerve centre of this servility before 'works of art'. What is the secret of it? In the complicity between the mortification 'creative artists' inflict on objects and themselves, and the mortification consumers inflict on themselves and their mental faculties. Tolerance for the worst of things has clearly increased considerably as a function of this general state of complicity. Interface and performance - these are the two current leitmotifs. In performance, all the forms of expression merge - the plastic arts, photography, video, installation, the interactive screen. This vertical and horizontal, aesthetic and commercial diversification is henceforth part of the work, the original core of which cannot be located. A (non-) event like The Matrix illustrates this perfectly: this is the very archetype of the global installation, of the total global fact: not just the film, which is, in a way, the alibi, but the spin-offs, the simultaneous projection at all points of the globe and the millions of spectators themselves who are inextricably part of it. We are all, from a global, interactive point of view, the actors in this total global fact.

The other strikingly modern feature of the type of poet which Euripides now introduced into the history of literature is his apparently voluntary refusal to take any part whatever in public life. Euripides was not a soldier as Aeschylus was, nor a priestly dignitary as Sophocles was, but, on the other hand, he is the very first poet who is reported to have possessed a library, and he appears to be also the first poet to lead the life of a scholar in complete retirement from the world. If the bust of him, with its tousled hair, its tired eyes and the embittered lines round the mouth, is a true portrait, and if we are right in seeing in it a discrepancy between body and spirit, and the expression of a restless and dissatisfied life, then we may say that Euripides was the first unhappy poet, the first whose poetry brought him suffering. The notion of genius in the modern sense is not merely completely strange to the ancient world; its poets and artists have nothing of the genius about them. The rational and craftsmanlike elements in art are far more important for them than the irrational and intuitive. Plato’s doctrine of enthusiasm emphasized, indeed, that poets owed their work to divine inspiration and not to mere technical ability, but this idea by no means leads to the exaltation of the poet; it only increases the gulf between him and his work, and makes of him a mere instrument of the divine purpose. It is, however, of the essence of the modern notion of genius that there is no gulf between the artist and his work, or, if such a gulf is admitted, that the genius is far greater than any of his works and can never be adequately expressed in them. So genius connotes for us a tragic loneliness and inability to make itself fully understood. But the ancient world knows nothing of this or of the other tragic feature of the modern artist—his lack of recognition by his own contemporaries and his despairing appeals to a remote posterity. There is not a trace of all this—at least before Euripides. Euripides’ lack of success was mainly due to the fact that there was nothing in classical times that could be called an educated middle class. The old aristocracy took no pleasure in his plays, owing to their different outlook on life, and the new bourgeois public could not enjoy them either, owing to its lack of education. With his philosophical radicalism, Euripides is a unique pheno menon, even among the poets of his age, for these are in general as conservative in their outlook as were those of the classical age —in spite of a naturalism of style which was derived from the urban and commercial society they lived in, and which had reached a point at which it was really incompatible with political conservatism. As politicians and partisans these poets hold to their conservative doctrines, but as artists they are swept along in the progressive stream of their times. This inner contradiction in their work is a completely new phenomenon in the social history of art.

All these appeals to art to set herself more in harmony with modern progress and civilisation, and to make herself the mouthpiece for the voice of humanity, these appeals to art 'to have a mission,' are appeals which should be made to the public. The art which has fulfilled the conditions of beauty has fulfilled all conditions: it is for the critic to teach the people how to find in the calm of such art the highest expression of their own most stormy passions. 'I have no reverence,' said Keats, 'for the public, nor for anything in existence but the Eternal Being, the memory of great men and the principle of Beauty.' Such then is the principle which I believe to be guiding and underlying our English Renaissance, a Renaissance many-sided and wonderful, productive of strong ambitions and lofty personalities, yet for all its splendid achievements in poetry and in the decorative arts and in painting, for all the increased comeliness and grace of dress, and the furniture of houses and the like, not complete. For there can be no great sculpture without a beautiful national life, and the commercial spirit of England has killed that; no great drama without a noble national life, and the commercial spirit of England has killed that too. It is not that the flawless serenity of marble cannot bear the burden of the modern intellectual spirit, or become instinct with the fire of romantic passion - the tomb of Duke Lorenzo and the chapel of the Medici show us that - but it is that, as Theophile Gautier used to say, the visible world is dead, LE MONDE VISIBLE A DISPARU.

It is easy to put down Frances Trollope as a Tory embittered by her American business failure. But her observations on American manners, confirmed by many other observers foreign and domestic, actually provide a sharply drawn picture of daily life in the young republic. Most observers at the time agreed with her in finding Americans obsessively preoccupied with earning a living and relatively uninterested in leisure activities. Not only Tories but reformers like Martineau and Charles Dickens angered their hosts by complaining of the overwhelmingly commercial tone of American life, the worship of the 'almighty dollar.' Americans pursued success so avidly they seldom paused to smell the flowers. A kind of raw egotism, unsoftened by sociability, expressed itself in boastful men, demanding women, and loud children. The amiable arts of conversation and cooking were not well cultivated, foreigners complained; Tocqueville found American cuisine 'the infancy of the art' and declared one New York dinner he attended 'complete barbarism.' Despite their relatively broad distribution of prosperity, Americans seemed strangely restless; visitors interpreted the popularity of the rocking chair as one symptom of this restlessness. Another symptom, even more emphatically deplored, was the habit, widespread among males, of chewing tobacco and spitting on the floor. Women found their long dresses caught the spittle, which encouraged them to avoid male company at social events. Chewing tobacco thus reinforced the tendency toward social segregation of the sexes, with each gender talking among themselves about their occupations, the men, business and politics; the women, homemaking and children.

To the degree that advertising reaches us, occupying our time and thought, it keeps us vibrating within strict limits. If forty million people see a commercial for a car, then forty million people have a car commercial in their heads, all at the same time. This is bound to have more beneficial effect on the commodity system than if, at that moment, all those people were thinking separate thoughts which, in some cases, might not be about commodities at all. Of course, advertising people will argue against the notion that the purpose and result of their activities is to unify and homogenize people and culture. They are forever speaking of the dazzling array of choices our market system provides and how advertising provides the information we need to make choices. It is an ominous sign that so many people can accept this argument, which confuses diversity of product choice with diversity of life-style or thoughts. It ought to be self-evident that if I choose a Ford and you choose a Volvo, we are not expressing diversity, we are expressing unity. Moreover, if you and I at any one moment are both occupied with mental images and feelings related to products—any products— rather than some experience which is not connected to purchasing, then in terms of the commodity system, the gross national product, and the world of advertising, we are indistinguishable; we have merged as “market.” While it might matter to Upjohn or Cutter Laboratories which drug a consumer buys, both are in agreement that they benefit whenever people seek any drug rather than a nondrug solution to a problem. Advertising, then, serves to further the movement of humans into artificial environments by narrowing the conception of diversity to fit the framework of commodities while unifying people within this conception. The result is a singularly channeled mentality, nicely open to receiving commercial messages, ready to confuse brand diversity with diversity itself, and to confuse human need with the advertiser’s need to sell commodities.

I think sexy is a grown-up word to describe a person who’s confident that she is already exactly who she was made to be. A sexy woman knows herself and she likes the way she looks, thinks, and feels. She doesn’t try to change to match anybody else. She’s a good friend to herself—kind and patient. And she knows how to use her words to tell people she trusts about what’s going on inside of her—her fears and anger, love, dreams, mistakes, and needs. When she’s angry, she expresses her anger in healthy ways. When she’s joyful, she does the same thing. She doesn’t hide her true self because she’s not ashamed. She knows she’s just human—exactly how God made her and that’s good enough. She’s brave enough to be honest and kind enough to accept others when they’re honest. When two people are sexy enough to be brave and kind with each other, that’s love. Sexy is more about how you feel than how you look. Real sexy is letting your true self come out of hiding and find love in safe places. That kind of sexy is good, really good, because we all want and need love more than anything else. “Fake sexy is different. It’s just more hiding. Real sexy is taking off all your costumes and being yourself. Fake sexy is just wearing another costume. Lots of people are selling fake sexy costumes. Companies know that people want to be sexy so badly because people want love. They know that love can’t be sold, so they have big meetings in boardrooms and they say, ‘How can we convince people to buy our stuff? I know! We’ll promise them that this stuff will make them sexy!’ Then they make up what sexy means so they can sell it. Those commercials you see are stories they’ve written to convince us that sexy is the car or mascara or hair spray or diet they’re selling. We feel bad, because we don’t have what they have or look how they look. That’s what they want. They want us to feel bad, so we’ll buy more. It almost always works. We buy their stuff and wear it and drive it and shake our hips the way they tell us to—but that doesn’t get us love, because none of that is real sexiness. People are even more hidden underneath fake sexiness, and the one thing you can’t do if you want to be loved is hide. You can’t buy sexy, you have to become sexy through a lifetime of learning to love who God made you to be and learning who God made someone else to be.” My

you? Sometimes I just want to prove I can do it. That I can make them comfortable, make them believe. But the question is always, Is it worth it? White institutions are constantly communicating how much Blackness they want. It begins with numbers. How many scholarships are being offered? How many seats are being “saved” for “neighborhood kids”? How many Black bodies must be present for us to have “good” diversity numbers? How many people of color are needed for the website, the commercials, the pamphlets? But numbers are only the beginning. Whiteness constantly polices the expressions of Blackness allowed within its walls, attempting to accrue no more than what’s necessary to affirm itself. It wants us to sing the celebratory “We Shall Overcome” during MLK Day but doesn’t want to hear the indicting lyrics of “Strange Fruit.” It wants to see a Black person seated at the table but doesn’t want to hear a dissenting viewpoint. It wants to pat itself on the back for helping poor Black folks through missions or urban projects but has no interest in learning from Black people’s wisdom, talent, and spiritual depth. Whiteness wants enough Blackness to affirm the goodness of whiteness, the progressiveness of whiteness, the openheartedness of whiteness. Whiteness likes a trickle of Blackness, but only that which can be controlled.

Cixi began to revolutionise China's legal system. In May 1902, she decreed a wholesale review of 'all existing laws...with reference to the laws of other nations...to ensure that Chinese laws are compatible with those of foreign countries'. With a legal reform team headed by a remarkable mind, Shen Jiaben, who had a comprehensive knowledge of traditional laws and had studied several differentWestern codes, a brand-new legal structure based on Western models was created in the course of the decade, covering a whole range of commercial, civil, criminal laws and judicial procedures. Cixi approved the team's recommendations and personally decreed many landmark changes. On 24 April 1905, the notorious 'death by a thousand cuts' was abolished, with a somewhat defensive explanation from Ci:xi that this horrific form of execution had not been a Manchu practice in the first place. In a separate decree, torture during interrogation was prohibited. Up to that point it was universally regarded as indispensable to obtain confessions; now it was deemed 'only permissible to be used on those whom there was enough evidence to convict and sentence to death, but who still would not admit guilt'. Cixi made a point of expressing her 'loathing' for those who had a penchant for torture, and warned that they would be severely punished if they failed to observe the. new constraints. Prisons and detention centres were to be run humanely; the abuse of inmates would not be tolerated. Law schools were to be set up in the capital and provinces, and law studies were to be made a part of general education. Under her a legal framework began to be constructed.

. Propaganda has become a substitute for ideas and ideology. Knowledge is confused with how we are made to feel. Commercial brands are mistaken for expressions of individuality. And in this precipitous decline of values and literacy, among those who cannot read and those who have given up reading, fertile ground for a new totalitarianism is being seeded.

For years Matisse had battled his conflicting impulses, between commercially viable conservatism and something else, although he had not yet grasped what that something else was. Earlier that year he had helped organize the first official exhibition of Vincent van Gogh’s works, as part of the Salon des Indépendants—certainly an influence, for he later gave credit to van Gogh as well as Gauguin for his summer breakthrough. But it was the little fishing village of Collioure that dazzled him with color and light, and drove him to take more risks than ever before. Two summers in the south of France had exposed this northerner to vibrant color, and he responded ardently, even gratefully. Collioure radiated color and light, but it also exuded an element of savagery, for there was a fierce primitivism in this Catalan town that expressed itself in the explosive colors and contrasts of Fauvism, so unlike the gentler colors of the Impressionists. Embracing Gauguin’s insistence that art should primarily communicate emotion, Matisse forged ahead, daring all by rejecting art as representation, and producing works of shattering impact.

Ollie knew that the brighter Nick's expression, the more upset he was. Right now, he resembled a toothpaste commercial.

And then someone asks if Callum is as skilled in the bedroom as he is in the kitchen. That's when my blood turns to magma. I slam my hand on top of the metal countertop. "Listen the hell up!" My shout silences every last one of the vloggers. The high schooler looks on with a shocked expression and mutters, "Yes, ma'am." "My personal life isn't up for discussion. I'm also not interested in name-dropping any of you in a commercial when you've been harassing me and my customers every day since the festival. I'm here to cook and serve food, and you goddamn piranhas are crowding around my truck, making it impossible for my mother and me to serve our customers. Either get the hell out of the way so my customers can order, or else." There's silence, followed by soft mutters. A scrawny, white guy in the back of the crowd tucks his phone into his pocket and crosses his arms, stubborn written across his frown. "Or else what?" Leaning my head back, I puff out all the hot air pent up in my body. He's the pissant who asked about Callum's bedroom performance. I swipe a bottle of lemon-lime soda from the counter and give it a dozen of the most violent shakes I can manage. I stomp out of the truck and up to the offending vlogger. Even when I'm standing two inches from him, he has the audacity to smirk. But when I twist off the cap, a stream of soda smashes him square in the face. My frustration dissipates with each violent burst of carbonated liquid.

It is easy to underrate how long it takes to implement a new idea. Researchers estimate that it takes 30 years for a groundbreaking development to progress from initial idea to a commercially viable product. Middle management often extols the value of short-term strategies that react to market circumstances. Kodak used short-term strategies to keep its analogue photography business going. But the expression 'short-term strategy' is in fact an oxymoron, because trying to reach short-term goals is not strategic by definition.

THE TEN STEPS TO BUILDING A COMPANY CULTURE 1. Define the company’s core values and align them with aspects such as mission, vision, principles or purpose to create a solid foundation for the organisation. 2. Integrate the desired culture into every aspect of the company, including hiring policies, processes and procedures across all departments and functions. 3. Agree upon expected behaviours and standards for all team members, promoting a positive work environment. 4. Establish a purpose that goes beyond the company’s commercial goals, fostering a deeper connection for employees. 5. Use myths, stories, company-specific vocabulary and legends, along with symbols and habits, to reinforce the company culture and embed it in the collective consciousness. 6. Develop a unique identity as a group and cultivate a sense of exclusivity and pride within the team. 7. Create an atmosphere that celebrates achievements, progress, and living the company culture, boosting motivation and pride. 8. Encourage camaraderie, community and a sense of belonging among team members, encourage mutual dependence and a collective sense of obligation, reinforcing the interconnected nature of the team. 9. Remove barriers and enable employees to express themselves authentically and embrace their individuality within the organisation. 10. Emphasise the unique qualities and contributions of both employees and the collective, positioning them as distinct and exceptional.

Everyone experiences grace, even if they don't realize it. It's kind of like Moby's music. You could ask your average sixty-something-year-old retired banker in Connecticut if he's ever heard of Moby and/or his music and the response you'd receive more than likely would be a resounding, “No—what's a Moby?” But if you say, “Remember that American Express commercial where Tiger Woods is putting around New York City? Remember the song playing? That was Moby.” “Oh, then, OK. I guess I have heard Moby,” our theoretical retired banker in New Canaan might say. “So … what exactly is a Moby?” That's like grace. Not that grace is a pretentious vegan techno-rocker, but you get the idea. Grace is everywhere, all around us, all of the time. We only need the ears to hear it and the eyes to see it.

The words we use are an unmistakable indication of our thought habits, tastes, ideals, and interests in life. In like manner, the habitual language of a people is a barometer of their intellectual, civil, moral, and spiritual ideals.

It is within the commercial realm of advertising that the drama of Otherness finds expression. Encounters with Otherness are clearly marked as more exciting, more intense, and more threatening. The lure is the combination of pleasure and danger.

Propaganda has become a substitute for ideas and ideology. Knowledge is confused with how we are made to feel. Commercial brands are mistaken for expressions of individuality. And in this precipitous decline of values and literacy, among those who cannot read and those who have given up reading, fertile ground for a new totalitarianism is being seeded..

Did you know it was from up here they got the word sitting duck? It comes because commercial hunters used to take a live wild duck and put a collar on it and fasten it to a stool—this is also where they got the expression stool pigeon, because they did the same thing with a wild dove—lots of folks couldn’t tell the difference between a pigeon and a dove. They’d put the duck out at the edge of a marsh an’ when the big flocks go over, the fastened-down duck would call and the others would come in for a landing and get shot. Or a dove stuck out in a field would call its friends to help. They used to send barrels full of ducks and pigeons and geese to Chicago restaurants.

Now I ask you: could any muck-raker in a rage make up a list of titles more completely expressive of vulgarity, commercialism and general “bunk” than the above real ones? I

It is easy to blame television or the movies or rap music for desensitizing our children to human suffering, to violence, and even to death. Yet the fundamental invulnerability does not come from commercialized culture, reprehensible as it is for pandering to and exploiting children's emotional hardening and immaturity. The invulnerability of peer-oriented kids is fueled from the inside. Even if there were no movies or television programs to shape its expression, it still would spring forth spontaneously as the modus operandi of peer-oriented youth. Though peer-oriented children can come from all over the world and belong to an infinite number of subcultures, the theme of invulnerability is universal in youth culture. Fashions may come and go, music can change form, the language may vary, but cool detachment and emotional shutdown seem to permeate it all. The pervasiveness of this culture is a powerful testimony to the desperate flight from vulnerability of its members.

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Anna, did you just indirectly admit to liking me?” She drew in a swift breath and saw from his expression that while he was teasing, he was also… fishing. “Of course I like you. I like you entirely too well, and it is badly done of you to make me admit it.” “Well, let’s go from bad to worse, then, and you can tell me precisely why you like me.” “You are serious?” “I am. If you want, I will return the favor, though we have only several hours, and my list might take much longer than that.” He is flirting with me, Anna thought, incredulous. In his high-handed, serious way, the Earl of Westhaven had just paid her a flirtatious compliment. A lightness spread out from her middle, something of warmth and humor and guilty pleasure in it. “All right.” Anna nodded briskly. “I like that you are shy and honorable in the ways that count. I like that you are kind to Morgan, and to your animals, and old Nanny Fran. You are as patient with His Grace as a human can be, and you adore your brother. You are fierce, too, though, and can be decisive when needs must. You are also, I think, a romantic, and this is no mean feat for a man who spends half his days with commercial documents. Mostly, I like that you are good; you look after those who depend on you, you have gratitude for your blessings, and you don’t think enough of yourself.” Beside her, the earl was again silent. “Shall I go on?” Anna asked, feeling a sudden awkwardness. “You could not possibly pay me any greater series of compliments than you just have,” he said. “The man you describe is a paragon, a fellow I’d very much like to meet.” “See?” Anna nudged him with her shoulder. “You do not think enough of yourself. But I can also tell you the parts of you that irritate me—if that will make you feel better?” “I irritate you?” The earl’s eyebrows rose. “This should be interesting. You gave me the good news first, fortifying me for more burdensome truths, so let fly.” “You are proud,” Anna began, her tone thoughtful. “You don’t think your papa can manage anything correctly, and you won’t ask your brothers nor mother nor sisters even, for help with things directly affecting them. I wonder, in fact, if you have anybody you would call a friend.” “Ouch. A very definite ouch, Anna. Go on.” “You have forgotten how to play,” Anna said, “how to frolic, though I cannot fault you for a lack of appreciation for what’s around you. You appreciate; you just don’t seem to… indulge yourself.” “I see. And in what should I indulge myself?” “That is for you to determine,” she replied. “Marzipan has gone over well, I think, and sweets in general. You have indulged your love of music by having Val underfoot. As to what else brings you pleasure, you would be the best judge of that.” The earl turned down a shady lane lined with towering oaks and an understory of rhododendrons in vigorous bloom. “It was you,” he said. “Before Val moved in, I thought it was a neighbor playing the piano late in the evenings, but it was you. Were you playing for me?” Anna glanced off to the park beyond the trees and nodded.

When Donald Trump's crude comments about women surfaced during his presidential campaign, these progressive university folk were among the first to criticize him. The same people who tell their students anything goes when it comes to sex acted offended in order to score political points. I'm not defending his comments--not at all--but since when did they care about the adverse [e]ffects of objectifying women? Why should Trump's comments come as a surprise when many of those same professors champion "sex weeks" on their respective campuses, replete with seminars that include porn stars and even prostitutes as guest speakers? Doesn't the feigned shock expressed by the progressive Left seem just a bit disingenuous when we know as empirical fact this same faculty has no compunction at all about using similar vulgar language in their classes and would quickly belittle and shout down any "prudish" conservative such as me who tried to say otherwise? Everything, from their celebration of The Vagina Monologues to the cover of Cosmo to the swimsuit edition of Sports Illustrated and nearly every beer commercial known to man, unapologetically portrays females as literal objects of sport to be enjoyed first and foremost for their body parts. So why the feigned outrage over Trump's comments?

Sexual creativity is a mystery that will never be solved by commercialism.

This Black feminist uprising is not about violence.  It’s about safety.  The dangerous structures of oppressive thought are destroyed when voices of people who are free from the control of these structures are amplified.  When we have listened to them and internalized what they have taught us, and when we have turned away from the racist patriarchy and tuned out its voices, we have already destroyed their power over us.  No gun is necessary.  Yet this is what they fear more than anything: that we will stop listening to them and stop obeying them, and instead begin to listen to the people whose voices and lives they have tried the hardest to silence and trample.  When we turn off our televisions, or at least begin to watch white racist commercials and programming by white racist networks through the educated perspective of Black feminism, amerika no longer controls us.  As soon as we begin to see these things for what they really are—the emptiness they create, the pain they inflict, the anxiety and hate they profit from—they know we won’t freely choose these things.  It is not in the nature of human beings to choose things which are inhumane.

As a consumer an individual expresses “personal or self-regarding wants and interests”; as a citizen she expresses her “judgements about what is right or good”. The mistake of market approaches to environmental problems is that they transform an issue that requires public deliberation by citizens into one to be resolved by consumer preferences. The market responds only to those preferences that can be articulated through acts of buying and selling. Hence the interests of the commercially inarticulate, both those who are contingently so (the poor) and those who are necessarily so (future generations and non-humans) cannot be adequately represented.

Artists are often repulsed by the anti-human values and commercialized culture of their society, but they are also aware that they have a unique status within it that allows them to express their creative individuality - as long as it sells. They fear that socialism would strip them of that status and reduce them to the level of mere workers, because they are unable to imagine a world that values and encourages the artistic expression of all of its members.

his novel is set in the period of Roman history called the Decadence, which began about 160 AD, a distinction it richly deserved: social distinctions had become lax; the bureaucracy was increasingly corrupt, due in large part to the privatizing of most of the civil service; the nobility were competing in luxury and excess, and were rarely held accountable for their overindulgence, either legally or politically; the Emperors were more often than not puppets for powerful families and influential plutocrats; maintenance of Roman roads, the most successful communication routes in the ancient world, was reduced or abandoned even as the Romans strength, now filled their ranks with client-nation soldiers and gave high rank positions to mercenaries; the standards of education and language-use had declined and the quality of linguistic communication and literary expression were eroding; public entertainments, from the arena to the stage, were violent, sensationalistic, and debauched. The attempt to maintain a society of laws was giving way to one of political and commercial influence, and all the while the gulf between rich and poor was widening, and the legal rights of women and slaves were diminishing steadily.

the splendid future of an Independent South.” “Stimulate domestic manufacturing & local commerce,” said Davis. Thus Charleston and New Orleans would vie with Boston and New York as commercial centers. Though Davis was only reiterating his oft-expressed wish for economic

I’ve heard people with homeland defense say, ‘Oh, we keep a good control on whatever genes are synthesized commercially, blah blah blah.’ ” Pincus takes no comfort there. He related another story. “For therapeutic reasons, we wanted to synthesize a gene that encoded the toxic part of ricin, that would be expressed—i.e., produced—in human cells. This should have set off a lot of red flags if anyone was looking for that kind of thing. But, man, we ordered it, and we had the gene two weeks later. So if you think the Select Agent list protects us from sophisticated terrorists …” I’ll finish the sentence for him. It’s a load of horse spleen.

Would you like to see my vacuum?” he asked, and she eyed him as Theo gave an amused snort. “Is your vacuum interesting?” Since this was Wes, Kit had a feeling he could make even boring household appliances fascinating. “Yes. It’s automated, but it doesn’t just bump around blindly like the commercial versions. This one can actually make decisions regarding suction and direction.” “Then yes.” She moved to stand next to Wes, and he gave her a pleased smile. “I’d love to see your vacuum.” When Theo gave a choked laugh as they started to walk away, Kit raised an eyebrow at him over her shoulder. Although she kept her expression innocent, she knew perfectly well why he was smirking like a twelve-year-old.

was not that the building won fame for its style, although the WPA Guide said that it had a “directness of expression evident in few commercial buildings,” it’s because working with General Motors, Shreve and Lamb got to know John J. Raskob of General Motors, who would later call upon them to design the Empire State Building.

In the long term,” wrote the English economist John Maynard Keynes, “we are all dead.” The Scottish Enlightenment learned a different lesson from the changes brought by union with England. Its greatest thinkers, such as Adam Smith and David Hume, understood that change constantly involves trade-offs, and that short-term costs are often compensated by long-term benefits. “Over time,” “on balance,” “on the whole”—these are favorite sentiments, if not expressions, of the eighteenth-century enlightened Scot. More than any other, they capture the complex nature of modern society. And the proof came with the Act of Union. Here was a treaty, a legislative act inspired not by some great political vision or careful calculation of the needs of the future, or even by patriotism. Most if not all of those who signed it were thinking about urgent and immediate circumstances; they were in fact thinking largely about themselves, often in the most venal terms. Yet this act—which in the short term destroyed an independent kingdom, created huge political uncertainties both north and south, and sent Scotland’s economy into a tailspin—turned out, in the long term, to be the making of modern Scotland Nor did Scots have to wait that long. Already by the 1720s, as the smoke and tumult of the Fifteen was clearing, there were signs of momentous changes in the economy. Grain exports more than doubled, as Scottish agriculture recovered from the horrors of the Lean Years and learned to become more commercial in its outlook. Lowland farmers would be faced now not with starvation, but with falling prices due to grain surpluses. Glasgow merchants entered the Atlantic trade with English colonies in America, which had always been closed to them before. By 1725 they were taking more than 15 percent of the tobacco trade. Inside of two decades, they would be running it. A wide range of goods, not just tobacco but also molasses, sugar, cotton, and tea, flooded into Scotland. Finished goods, particularly linen textiles and cotton products, began to flood out, despite the excise tax. William Mackintosh of Borlum saw even in 1729 that Scotland’s landed gentry were living better than they ever had, “more handsomely now in dress, table, and house furniture.” Glasgow, the first hub of Scotland’s transatlantic trade, would soon be joined by Ayr, Greenock, Paisley, Aberdeen, and Edinburgh. By the 1730s the Scottish economy had turned the corner. By 1755 the value of Scottish exports had more than doubled. And it was due almost entirely to the effect of overseas trade, “the golden ball” as Andrew Fletcher had contemptuously called it, which the Union of 1707 had opened.

Ikeda:  Freedom of speech and expression is absolutely indispensable to the building of a culture of peace and tolerance. Many people, however, question the purpose of such freedom when its name is used by the mass media to threaten human rights through licence and irresponsible commercialism. The tendency to complain about this seems to justify authorities’ attempts to restrict freedom. In other words, the media themselves endanger the foundations of liberty.

Only now are art critics, scholars of children’s literature, historians of book-cover design and commercial illustration, and chroniclers of the gay experience in postwar America waking up to the fact that Gorey is a critically neglected genius. His consummately original vision--expressed in virtuosic illustrations and poetic texts but articulated with equal verve in book-jacket design, verse plays, puppet shows, and costumes and sets for ballets and Broadway productions--has earned him a place in the history of American art and letters.

Express Empathy When Bill Clinton delivered his now-famous line “I feel your pain” in 1992, he did more than just clinch a victory over George H. W. Bush; he positioned himself as the guide in the American voters’ story. A guide expresses an understanding of the pain and frustration of their hero. In fact, many pundits believe Clinton locked up the election during a town hall debate in which Bush gave a rambling answer to a young woman when she asked what the national debt meant to the average American. Clinton countered Bush’s linear, cerebral answer by asking the woman if she knew anybody who’d lost their job. He asked whether it pained her that she had friends out of work, and when the woman said yes, he went on to explain how the national debt is tied to the well-being of every American, even her and her friends.5 That’s empathy. When we empathize with our customers’ dilemma, we create a bond of trust. People trust those who understand them, and they trust brands that understand them too. Oprah Winfrey, an undeniably successful guide to millions, once explained the three things every human being wants most are to be seen, heard, and understood. This is the essence of empathy. Empathetic statements start with words like, “We understand how it feels to . . .” or “Nobody should have to experience . . .” or “Like you, we are frustrated by . . .” or, in the case of one Toyota commercial inviting Toyota owners to engage their local Toyota service center, simply, “We care about your Toyota.” Expressing empathy isn’t difficult. Once we’ve identified our customers’ internal problems, we simply need to let them know we understand and would like to help them find a resolution. Scan your marketing material and make sure you’ve told your customers that you care. Customers won’t know you care until you tell them.

Haley was a fierce critic of industrial elites, telling a crowd, "Two ideals are struggling for supremacy in American life today; one the industrial ideal dominating through the superiority of commercialism, which subordinates the worker to the product and the machines; the other, the ideal of democracy, the ideal of the educators, which places humanity above all machines, and demands that all activity shall be the expression of life.

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Oddly, almost no one seems to have expressed gratitude to the British and American banks, which recouped something like half of their losses. It may be that people simply don’t thank banks, except in television commercials.

Flickr is no such thing, just as Google is not operating a library. They are commercial enterprises designed to maximize revenue, not defend political expression, preserve our collective heritage, or facilitate creativity, and the people who work there are private employees, not public servants.7

The town they entered differed little from any other he had been in lately. The ubiquitous Perkins, Applebees, Buffalo Wild Wings, Qdoba, and Panda Express were situated around the central hub that was Walmart, like appendages of some spider or octopus. Like some metastasizing tumor that threatened to overwhelm the town.

They can create their own expressions, and they can seek out the information they need, with substantially less dependence on the commercial mass media of the twentieth century.

The effort of religions to inspire a sense of community does not stop at introducing us to one other. Religions have also been clever at solving some of what goes wrong inside groups once they are formed. It has been the particular insight of Judaism to focus on anger: how easy it is to feel it, how hard it is to express it and how frightening and awkward it is to appease it in others. We can see this especially clearly in the Jewish Day of Atonement, one of the most psychologically effective mechanisms ever devised for the resolution of social conflict. Falling on the tenth day of Tishrei, shortly after the beginning of the Jewish new year, the Day of Atonement (or Yom Kippur) is a solemn and critical event in the Hebrew calendar. Leviticus instructs that on this date, Jews must set aside their usual domestic and commercial activities and mentally review their actions over the preceding year, identifying all those whom they have hurt or behaved unjustly towards. Together in synagogue, they must repeat in prayer: ‘We have sinned, we have acted treacherously, we have robbed, we have spoken slander. We have acted perversely, we have acted wickedly, we have acted presumptuously, we have been violent, we have framed lies.’ They must then seek out those whom they have frustrated, angered, discarded casually or otherwise betrayed and offer them their fullest contrition. This is God’s will, and a rare opportunity for blanket forgiveness. ‘All the people are in fault,’ says the evening prayer, and so ‘may all the people of Israel be forgiven, including all the strangers who live in their midst’.

The word “counterculture” was used a lot in the late 1960s, but Day was living according to a true counterculture, a culture that stood athwart not only the values of the mainstream culture of the day—the commercialism, the worship of success—but also against the values of the Woodstock counterculture the media was prone to celebrate—the antinomianism, the intense focus on the liberated individual and “doing your own thing.” The Woodstock counterculture seemed, superficially, to rebel against mainstream values, but as the ensuing decades have demonstrated, it was just a flipside version of the culture of the Big Me. Both capitalism and Woodstock were about the liberation of self, the expression of self. In commercial society you expressed self by shopping and building a “lifestyle.” In Woodstock culture you expressed self by casting off restraint and celebrating yourself. The bourgeois culture of commerce could merge with the bohemian culture of the 1960s precisely because both favored individual liberation, both encouraged people to measure their lives by how they were able to achieve self-gratification.

Trump was made for these moments, having spent decades mastering camera angles and production quality, distorting his expressions and gestures for maximum dramatic impact. He was having the time of his life. Bush was not. Awkward and reticent, with his six-foot-four frame coiling into itself due to poor posture, the former governor was already sore about having to compete with the Judas known as Rubio. Now he was forced to endure the indignity of sharing top billing with a man who had spent the last year mocking his family. Trump could read the repulsion on his rival’s face. At one commercial break, he turned to Bush. “Jeb, how you doing?” he asked. “I’m fine, Donald.” “So, where are you going after this?” “Headed to New York for some fund-raising events tomorrow.” Trump beamed. “You want a ride? I’ve got my plane here. We’re heading back tonight.” Bush stared blankly. “No. I’m good. We’ve got a ride.” “You sure?” Bush nodded briskly. “Okay. Let me know if you change your mind.” Trump, feet still positioned perfectly over his stage mark for the television cameras, turned toward his family in the front row and winked. It was a down payment on the space he would occupy inside Bush’s head for the duration of the campaign.

The allure of unthinking animal bliss is powerful; it always calls to us, in the same way as the edge of a cliff or the waves of the ocean: Jump. It is a necessary part of our natures, full of delight and danger in equal measure. Yet to the mind trained in language, taught to spy subtleties and take joy in them, such crude, baser matters can pale after a while. But there lies grave peril also: The propensity to empathize with pain expressed in words encourages a poet to avoid the real thing, and a too-passionate love of books can mew one in a cloister, putting up walls where there should be free range. I decided long ago—to keep myself sane amongst the illiterate and unthinking—that there would be poetry in my life. But there would also be fucking. I would have them both, but follow the sage advice of modern beer commercials and enjoy responsibly. There was nothing responsible about the god of the vine.

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There are hints, too, of wider social trends. The first edition of the Dictionary contains more than thirty references to coffee, and even more to tea. Johnson would vigorously defend the latter, not long after the Dictionary was published, in his review of an essay by the umbrella-toting Hanway, who believed it was ‘pernicious to health, obstructing industry and impoverishing the nation’.2 Johnson’s love of tea was deep but not exceptional: the leaf had been available in England since the 1650s (Pepys records drinking it for the first time in September 1660), and by 1755 it was being imported to Britain at the rate of 2,000 tons a year. The fashion for tea-drinking, facilitated by Britain’s imperial resources, drove demand for another fruit of the colonies, sugar (‘the native salt of the sugar-cane, obtained by the expression and evaporation of its juice’). Tea also played a crucial role in the dissolution of the eighteenth-century British Empire, for it was of course Bostonian opponents of a British tax on tea who opened the final breach between Britain and colonial America. All the same, it was coffee that proved the more remarkable phenomenon of the age. Johnson gives a clue to this when he defines ‘coffeehouse’ as ‘a house of entertainment where coffee is sold, and the guests are supplied with newspapers’. It was this relationship between coffee and entertainment (by which Johnson meant ‘conversation’) that made it such a potent force. Coffee was first imported to Europe from Yemen in the early part of the seventeenth century, and the first coffee house opened in St Mark’s Square in Venice in 1647. The first in England opened five years later—a fact to which Johnson refers in his entry for ‘coffee’—but its proprietor, Daniel Edwards, could hardly have envisioned that by the middle of the following century there would be several thousand coffee houses in London alone, along with new coffee plantations, run by Europeans, in the East Indies and the Caribbean. Then as now, coffee houses were meeting places, where customers (predominantly male) could convene to discuss politics and current affairs. By the time of the Dictionary they were not so much gentlemanly snuggeries as commercial exchanges. As the cultural historian John Brewer explains, ‘The coffee house was the precursor of the modern office’; in later years Johnson would sign the contract for his Lives of the English Poets in a coffee house on Paternoster Row, and the London Stock Exchange and Lloyd’s have their origins in the coffee-house culture of the period. ‘Besides being meeting places’, the coffee houses were ‘postes restantes, libraries, places of exhibition and sometimes even theatres’. They were centres, too, of political opposition and, because they were open to all ranks and religions, they allowed a rare freedom of information and expression.

Socially, the typographic extension of man brought in nationalism, industrialism, mass markets, and universal literacy and education. For print presented an image of repeatable precision that inspired totally new forms of extending social energies. Print released great psychic and social energies in the Renaissance, as today in Japan or Russia, by breaking the individual out of the traditional group while providing a model of how to add individual to individual in massive agglomeration of power. The same spirit of private enterprise that emboldened authors and artists to cultivate self-expression led other men to create giant corporations, both military and commercial.

When I express what I do, think, or feel in my solitude, I feel like I betray something sacred. I feel like I betray my feelings by exposing them, by putting them into words. Because solitude is being alone, after all; it's not suitable for any kind of external audience, or it turns into a commercial corruption.

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【V信83113305】：Japan Photographic Art College (Nihon Shashin Geijutsu Senmon Gakkō) is a prestigious institution dedicated to nurturing the next generation of photographers and visual artists. Located in Tokyo, the school offers a comprehensive curriculum that blends technical mastery with creative expression, covering areas such as commercial photography, fine art, and digital imaging. Students benefit from hands-on training in state-of-the-art facilities, guided by experienced instructors who are active professionals in the industry. The college emphasizes both traditional and contemporary techniques, encouraging innovation while honoring Japan’s rich photographic heritage. With a strong focus on portfolio development and real-world projects, graduates are well-prepared for careers in photography, media, and beyond. Its vibrant community and industry connections make it a top choice for aspiring photographers worldwide.，日本写真艺术专门学校电子版毕业证与日本日本写真芸術専門学校学位证书纸质版价格, 日本日本写真芸術専門学校毕业证仪式感|购买日本写真芸術専門学校日本写真艺术专门学校学位证, 原版复刻日本日本写真艺术专门学校毕业证办理成绩单修改, 日本写真艺术专门学校毕业证-日本写真芸術専門学校毕业证书, 购买日本写真艺术专门学校文凭, 1:1原版日本写真芸術専門学校日本写真艺术专门学校毕业证+日本写真芸術専門学校成绩单, 网上制作日本写真艺术专门学校毕业证-日本写真芸術専門学校毕业证书-留信学历认证

【V信83113305】：The Paris School of Photography, located in the heart of France’s vibrant capital, is a prestigious institution renowned for nurturing artistic vision and technical excellence. Established to cultivate the next generation of photographers, the school offers a dynamic curriculum blending traditional techniques with cutting-edge digital practices. Students benefit from hands-on training, mentorship by industry professionals, and access to state-of-the-art facilities. The program emphasizes creative expression, storytelling, and mastery of both analog and digital formats, preparing graduates for diverse careers in fashion, journalism, fine art, and commercial photography. Surrounded by Paris’s rich cultural heritage and iconic landmarks, the school provides endless inspiration. Its global reputation attracts aspiring photographers worldwide, making it a hub for innovation and artistic growth in the field of visual arts.，Speos文凭制作服务您学历的展现, 专业办理Speos巴黎摄影学院成绩单高质学位证书服务, 购买巴黎摄影学院成绩单, 办巴黎摄影学院毕业证SPEOS Paris Photographic Institute Diploma, 1:1原版巴黎摄影学院毕业证+SPEOS Paris Photographic Institute成绩单, 办理巴黎摄影学院成绩单高质量保密的个性化服务, SPEOS Paris Photographic Institute巴黎摄影学院原版购买, 办理法国巴黎摄影学院毕业证SPEOS Paris Photographic Institute文凭版本

【V信83113305】：Japan Photographic Art College (JPAC) is a prestigious institution dedicated to nurturing the next generation of photographers and visual artists. Located in Tokyo, the school offers a comprehensive curriculum that blends technical mastery with creative expression, covering areas such as commercial photography, fine art, and digital imaging. With state-of-the-art facilities and experienced instructors, JPAC provides students with hands-on training and exposure to industry trends. The school emphasizes both traditional and contemporary techniques, encouraging students to develop their unique artistic voices. Alumni have gone on to successful careers in fashion, journalism, and gallery exhibitions, showcasing the school’s impact on the global photography scene. JPAC’s vibrant community and commitment to innovation make it a top choice for aspiring photographers worldwide.，日本写真芸術専門学校日本写真艺术专门学校电子版毕业证与日本日本写真芸術専門学校学位证书纸质版价格, 定做日本写真艺术专门学校毕业证-日本写真芸術専門学校毕业证书-毕业证, 日本写真艺术专门学校本科毕业证, 如何办理日本写真芸術専門学校日本写真艺术专门学校学历学位证, 日本写真艺术专门学校原版购买, 原版复刻日本日本写真艺术专门学校毕业证办理成绩单修改, 办理日本写真艺术专门学校成绩单高质量保密的个性化服务, 办日本写真艺术专门学校毕业证 Diploma

【V信83113305】：The Kogei School of Art and Design in Japan is a prestigious institution dedicated to nurturing creative talent in the fields of fine arts, design, and craftsmanship. Known for its innovative curriculum and hands-on approach, the school emphasizes both traditional techniques and contemporary artistic expression. Students benefit from small class sizes, personalized mentorship, and state-of-the-art facilities that foster experimentation across mediums like painting, sculpture, ceramics, and digital art. The school’s philosophy centers on blending aesthetic mastery with practical skills, preparing graduates for careers in galleries, studios, or commercial design. Located in a culturally rich environment, Kogei also encourages cross-disciplinary collaboration, making it a hub for emerging artists seeking to push boundaries in the global art scene.，办理創形美術学校创形美术学校毕业证文凭, 哪里买创形美术学校毕业证|創形美術学校成绩单, 办理创形美术学校毕业证-創形美術学校毕业证书-毕业证, 创形美术学校留学成绩单毕业证, 創形美術学校文凭制作, 创形美术学校文凭-創形美術学校, 創形美術学校本科毕业证

【V信83113305】：Tokyo College of Photography is a prestigious institution dedicated to nurturing creative talents in the field of photography. Located in the vibrant heart of Tokyo, the school offers a dynamic curriculum that blends technical skills with artistic expression. Students gain hands-on experience through practical workshops, studio sessions, and fieldwork, while learning from industry professionals. The program covers diverse genres, from commercial and fashion photography to documentary and fine art, encouraging students to develop their unique visual style. With state-of-the-art facilities and access to Tokyo’s rich cultural and photographic resources, the college provides an inspiring environment for aspiring photographers. Graduates leave equipped with the expertise and confidence to thrive in the competitive world of visual storytelling.，办理東京綜合写真専門学校东京综合写真专门学校毕业证文凭, 東京綜合写真専門学校毕业证书东京综合写真专门学校毕业证诚信办理, 正版日本東京綜合写真専門学校毕业证文凭学历证书, 安全办理-东京综合写真专门学校文凭東京綜合写真専門学校毕业证学历认证, 办东京综合写真专门学校毕业证学位证书文凭认证可查, 東京綜合写真専門学校学位证书办理打开职业机遇之门, 东京综合写真专门学校毕业证最放心办理渠道

【V信83113305】：Japan Photographic Art College (JPAC) is a prestigious institution dedicated to nurturing the next generation of photographers and visual artists in Japan. Located in Tokyo, the school offers a dynamic curriculum blending technical mastery with creative expression, covering genres from commercial photography to fine art. Students benefit from state-of-the-art facilities, including darkrooms and digital labs, as well as mentorship from industry professionals. JPAC emphasizes hands-on learning, encouraging students to develop a unique artistic voice while mastering traditional and contemporary techniques. With strong industry connections, the college provides opportunities for exhibitions, internships, and collaborations, ensuring graduates are well-prepared for careers in photography. JPAC’s vibrant community fosters innovation, making it a hub for aspiring photographers seeking to excel in the ever-evolving visual arts landscape.，Offer(日本写真芸術専門学校成绩单)日本写真芸術専門学校日本写真艺术专门学校如何办理?, 极速办日本写真艺术专门学校毕业证日本写真芸術専門学校文凭学历制作, 挂科办理日本写真芸術専門学校日本写真艺术专门学校毕业证文凭, 办理日本写真艺术专门学校毕业证日本写真芸術専門学校毕业证书毕业证, 挂科办理日本写真艺术专门学校学历学位证, 1分钟获取日本写真艺术专门学校毕业证最佳办理渠道, 加急日本写真艺术专门学校毕业证日本写真芸術専門学校毕业证书办理多少钱, 日本写真芸術専門学校日本写真艺术专门学校电子版毕业证与日本日本写真芸術専門学校学位证书纸质版价格

【V信83113305】：Tokyo Designer Gakuin College stands as a premier institution for nurturing creative talent in Japan's vibrant capital. For decades, it has been at the forefront of design education, offering a dynamic, industry-focused curriculum spanning graphic design, fashion, interior design, illustration, and cutting-edge digital media like VR and game design. The college's philosophy is deeply practical, emphasizing hands-on experience and real-world projects that equip students with a robust portfolio. Its location in the bustling cultural and commercial hub of Tokyo provides an unparalleled environment for inspiration and professional networking. By fostering a unique blend of technical mastery, artistic expression, and innovative thinking, the school consistently produces graduates who are ready to become the next generation of leaders in the global creative industries.，在线办理东京设计师学院专门学校毕业证成绩单, 在线办理専門学校東京デザイナー学院东京设计师学院专门学校毕业证offer外壳皮, 东京设计师学院专门学校毕业证制作, 网上制作専門学校東京デザイナー学院毕业证-东京设计师学院专门学校毕业证书-留信学历认证放心渠道, 挂科办理东京设计师学院专门学校毕业证本科学位证书, 网络在线办理东京设计师学院专门学校毕业证文凭学历证书, 极速办东京设计师学院专门学校毕业证専門学校東京デザイナー学院文凭学历制作

【V信83113305】：Japan's specialized fashion universities offer a unique, industry-focused education that bridges traditional craftsmanship with cutting-edge innovation. These institutions, such as Bunka Fashion College, provide intensive practical training in design, merchandising, and technology. Their curriculum is deeply connected to the global fashion industry, featuring collaborations with renowned brands and direct pathways to careers in Tokyo and beyond. By emphasizing both creative expression and commercial viability, they cultivate professionals who shape trends worldwide. This hands-on, specialized approach solidifies Japan's role as a critical incubator for the next generation of fashion leaders.，网上办理国际时尚专门职大学毕业证书流程, 日本学位证毕业证, 高质国際ファッション専門職大学国际时尚专门职大学成绩单办理安全可靠的文凭服务, 原版定制国際ファッション専門職大学毕业证书案例, 国际时尚专门职大学文凭, 网上购买假学历国际时尚专门职大学毕业证书, 如何办理国際ファッション専門職大学国际时尚专门职大学学历学位证

【V信83113305】：Japan Photographic Art College is a prestigious institution dedicated to nurturing the next generation of photographers and visual artists. Located in Tokyo, the school offers a comprehensive curriculum that blends technical mastery with creative expression, covering areas such as commercial photography, fine art, and digital imaging. Students benefit from state-of-the-art facilities, including professional studios and darkrooms, as well as guidance from industry-experienced instructors. The college emphasizes hands-on learning, encouraging students to develop their unique artistic voices while mastering cutting-edge techniques. With strong industry connections, it provides opportunities for internships and collaborations, helping graduates launch successful careers in photography, media, and beyond. A hub for innovation and tradition, the school embodies Japan’s rich photographic heritage while embracing contemporary trends.，日本写真艺术专门学校文凭复刻, 出售日本写真芸術専門学校日本写真艺术专门学校研究生学历文凭, 留学生买毕业证日本写真芸術専門学校毕业证文凭成绩单办理, 办日本写真艺术专门学校毕业证 Diploma, 日本写真艺术专门学校-日本写真芸術専門学校大学毕业证成绩单, 一比一原版日本写真芸術専門学校日本写真艺术专门学校毕业证购买, 申请学校!成绩单日本写真艺术专门学校成绩单改成绩, 日本写真芸術専門学校日本写真艺术专门学校原版购买