Famous Apprentice Quotes

Don’t talk to your horse, dear. People are watching,” Pauline said quietly. Halt turned a perplexed look toward her. “How do you know when I’m doing that?” She smiled at him. “Your nose twitches.” … On the way, Kane [stableboy] kept glancing surreptitiously at the famous Ranger, fascinated by the fact that he kept staring down his nose and tweaking its tip between his forefinger and thumb.

There’s no bouncer, no gatekeeper, and no barrier to entering these scenes: You don’t have to be rich, you don’t have to be famous, and you don’t have to have a fancy résumé or a degree from an expensive school. Online, everyone—the artist and the curator, the master and the apprentice, the expert and the amateur—has the ability to contribute something.

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.

The most interesting aspects of the story lie between the two extremes of coercion and popularity. It might be instructive to consider fascist regimes’ management of workers, who were surely the most recalcitrant part of the population. It is clear that both Fascism and Nazism enjoyed some success in this domain. According to Tim Mason, the ultimate authority on German workers under Nazism, the Third Reich “contained” German workers by four means: terror, division, some concessions, and integration devices such as the famous Strength Through Joy (Kraft durch Freude) leisure-time organization. Let there be no doubt that terror awaited workers who resisted directly. It was the cadres of the German Socialist and Communist parties who filled the first concentration camps in 1933, before the Jews. Since socialists and communists were already divided, it was not hard for the Nazis to create another division between those workers who continued to resist and those who decided to try to live normal lives. The suppression of autonomous worker organizations allowed fascist regimes to address workers individually rather than collectively. Soon, demoralized by the defeat of their unions and parties, workers were atomized, deprived of their usual places of sociability, and afraid to confide in anyone. Both regimes made some concessions to workers—Mason’s third device for worker “containment.” They did not simply silence them, as in traditional dictatorships. After power, official unions enjoyed a monopoly of labor representation. The Nazi Labor Front had to preserve its credibility by actually paying some attention to working conditions. Mindful of the 1918 revolution, the Third Reich was willing to do absolutely anything to avoid unemployment or food shortages. As the German economy heated up in rearmament, there was even some wage creep. Later in the war, the arrival of slave labor, which promoted many German workers to the status of masters, provided additional satisfactions. Mussolini was particularly proud of how workers would fare under his corporatist constitution. The Labor Charter (1927) promised that workers and employers would sit down together in a “corporation” for each branch of the economy, and submerge class struggle in the discovery of their common interests. It looked very imposing by 1939 when a Chamber of Corporations replaced parliament. In practice, however, the corporative bodies were run by businessmen, while the workers’ sections were set apart and excluded from the factory floor. Mason’s fourth form of “containment”—integrative devices—was a specialty of fascist regimes. Fascists were past masters at manipulating group dynamics: the youth group, the leisure-time association, party rallies. Peer pressure was particularly powerful in small groups. There the patriotic majority shamed or intimidated nonconformists into at least keeping their mouths shut. Sebastian Haffner recalled how his group of apprentice magistrates was sent in summer 1933 on a retreat, where these highly educated young men, mostly non-Nazis, were bonded into a group by marching, singing, uniforms, and drill. To resist seemed pointless, certain to lead nowhere but to prison and an end to the dreamed-of career. Finally, with astonishment, he observed himself raising his arm, fitted with a swastika armband, in the Nazi salute. These various techniques of social control were successful.

Onion Soup Gratinée YIELD: 4 SERVINGS ONE OF MY greatest treats when working in Paris was to go with my fellow chefs and commis to les Halles, the big market of Paris that spreads through many streets of the Châtelet neighborhood. The excitement in the streets and cafés started a little before 3:00 A.M. and ended around 7:00 or 8:00 A.M. Our nocturnal forays would, more often than not, finish at Le Pied de Cochon (The Pig’s Foot), the quintessential night brasserie of les Halles. There, large, vociferous butchers in bloody aprons would rub shoulders with tuxedoed and elegantly evening-gowned Parisians stopping by for late-night Champagne and a meal after the opera or the theater. The restaurant was famous for its onion-cheese gratinée; it was one of the best in Paris, and hundreds of bowls of it were served every night. For this recipe, you will need four onion soup bowls, each with a capacity of about 12 ounces and, preferably, with a lip or rim around the edge that the cheese topping will stick to as it melts to form a beautiful crust on top of the soup. 2 tablespoons unsalted butter 3 onions (about 12 ounces), cut into thin slices About 7 cups good-quality chicken stock, or a mixture of chicken and beef stock About ½ teaspoon salt, more or less, depending on the saltiness of the stock ½ teaspoon freshly ground black pepper 16 slices of baguette, each cut about ⅜ inch thick About 3 cups grated Swiss cheese, preferably Gruyère, Comté, or Emmenthaler (about 10 ounces) Melt the butter in a saucepan, and sauté the sliced onions in the butter over medium to high heat for about 8 minutes, or until lightly browned. Add the stock, salt, and pepper, and boil gently for 15 minutes. Meanwhile, preheat the oven to 400 degrees. Arrange the bread slices in a single layer on a tray, and bake them for 8 to 10 minutes, or until they are nicely browned. Divide the toast among the bowls, and sprinkle ¼ cup of cheese into each bowl. When the stock and onions have cooked for 15 minutes, pour the soup into the bowls, filling each to the top. Sprinkle on the remainder of the cheese, dividing it among the bowls and taking care not to push it down into the liquid. Press the cheese around the rim or lip of the bowls, so it adheres there as it cooks and the crust does not fall into the liquid. Arrange the soup bowls on a baking sheet, and bake for 35 to 45 minutes, or until a glorious brown, rich crust has developed on top. Serve hot right out of the oven.

Paul Child came on stage and made two batches of one of his famous drinks, which he called, whimsically, à la recherche de l’orange perdue. It was delicious, and we consumed both batches. The ingredients give a fair idea of our mental condition afterward: 6 tablespoons dark Jamaican rum 9 tablespoons dry white vermouth 2 teaspoons bottled sweetened lime juice Juice of 1 lime 1 tablespoon orange marmalade 1 whole seedless orange, quartered 5 shakes orange bitters 1 cup ice cubes

Ramequins au Fromage (SWISS CHEESE FONDUE) YIELD: 4 SERVINGS THIS IS an interpretation of the famous Swiss cheese fondue (French for “melted”) as we made it in the Lyon–Bourg-en-Bresse area. Traditional Swiss fondue is a combination of melted Gruyère and Emmenthaler cheeses, white wine, and nutmeg, boiled together and lightly thickened with cornstarch, then finished with kirschwasser. My version uses a lot of garlic, no thickening agent, and no kirsch. The cheese tends to thicken in the bottom of the pot (an enameled cast-iron pot is best), and the flavored white wine comes to the top. As diners drag their bread cubes gently through the fondue, the liquid on the surface and the thicker mixture underneath combine. Only crusty, country-type French bread should be used. If it falls off your fork into the cheese, custom requires that you buy a round of drinks for everyone at the table. Fondue is usually made in the kitchen at the last moment, then brought to the dining room and kept hot over a Sterno or gas burner set in the center of the table. My father always warned against drinking cold white wine with the fondue, claiming it would cause the stomach to swell, but I have drunk my wine throughout without any ill effects. Fondue is a meal in itself at our house and is usually followed by a salad and fruit for dessert.

I had to remind myself I was in a food shop. Even in New York, once famous for its rudeness, now stuck in a condition of permanent impatience, I had never seen anything like it. There, a retailer, however jaded, still pretends to honor the shopkeeper’s code that a customer is always right. Dario followed a much blunter, take no prisoners philosophy, that actually the customer is a dick.

Crow had few peers in the years before…before his transition. But of that latter—change—sufficient has already been recorded elsewhere. A one-time writer of macabre short stories, he occasionally chronicled his own adventures; at other times such work was undertaken by his lifelong friend Henri-Laurent de Marigny (son of Etienne, the world-famous New Orleans mystic), while others of his adventures were reported by mere acquaintances. All of the Titus Crow adventures, in short story or novelette form, are here collected in one volume. They are presented chronologically, as best as may be determined, and along with The Burrowers Beneath and the “post-transition” novels, they complete the Crow canon. In addition to the tales in which Titus Crow is a primary actor, there are three other closely related stories: The Mirror of Nitocris, the one and only personal chronicle of Crow’s apprentice and fellow traveller, de Marigny; Inception, in which Crow plays only a cameo role; and lastly The Black Recalled, in which nothing of Crow appears at all! …Or does it? Only one thing remains to be said. In the light of Titus Crow’s fascination and lifelong affair with matters of dark concern, much of this volume is naturally taken up with narratives of relentless horror. Therefore—it is not a book for the squeamish. You have been warned!

1776 BC Babylon was the world’s biggest city. The Babylonian Empire was probably the world’s largest, with more than a million subjects. It ruled most of Mesopotamia, including the bulk of modern Iraq and parts of present-day Syria and Iran. The Babylonian king most famous today was Hammurabi. His fame is due primarily to the text that bears his name, the Code of Hammurabi. This was a collection of laws and judicial decisions whose aim was to present Hammurabi as a role model of a just king, serve as a basis for a more uniform legal system across the Babylonian Empire, and teach future generations what justice is and how a just king acts. Future generations took notice. The intellectual and bureaucratic elite of ancient Mesopotamia canonised the text, and apprentice scribes continued to copy it long after Hammurabi died and his empire lay in ruins. Hammurabi’s Code is therefore a good source for understanding the ancient Mesopotamians’ ideal of social order.3 The text begins by saying that the gods Anu, Enlil and Marduk – the leading deities of the Mesopotamian pantheon – appointed Hammurabi ‘to make justice prevail in the land, to abolish the wicked and the evil, to prevent the strong from oppressing the weak’.4 It then lists about 300 judgements, given in the set formula ‘If such and such a thing happens, such is the judgment.

Trump, in a smart move, picked up his media reputation and relocated it from a hypercritical New York to a more value-free Hollywood, becoming the star of his own reality show, The Apprentice, and embracing a theory that would serve him well during his presidential campaign: in flyover country, there is no greater asset than celebrity. To be famous is to be loved—or at least fawned over.

My father was a renowned chef, who had learned his trade as an apprentice in Europe. During the depression with work hard to find, he accepted employment at Mafia run speakeasies “The Top Hat” and the “Gay Haven,” along with some other similar places, were roughshod, working class nightclubs in Union City, New Jersey, that hosted top performers. Ultimately, being recognized for his abilities, my father was offered the position of “Sous Chef” at the famous Lindy’s Restaurant in New York City, referred to as “Mindy’s” in Damon Runyon’s Broadway play “Guys and Dolls.” Being a loyal employee, he worked at Lindy’s for over three decades until his retirement. Union City, New Jersey, now has the second largest Cuban population concentration in the United States. But in earlier times it was known for having the rowdy “Hudson Burlesque,” as well as gathering places at the “Transfer Station,” where “men of means” could connect with “ladies of the night” and buy them a drink at one of the classy watering holes, such as the “Key Hole Bar and Grill.” I guess that it all came under the heading of “Entertainment.

It looks like we’re stuck here for a while,” Cass said, trying not to let her eyes wander down to Falco’s chest. His damp chemise was clinging to his body. The drizzle became a deluge, rain pounding the stone street so hard, it drowned out Falco’s response. Cass leaned in close. “What?” “I said I know someplace nearby we can go. Until the rain stops.” Falco’s lips were so close to her ear that she felt a puff of warm air with each p he spoke. Cass trembled slightly. She told herself it was from the weather, but she turned to face Falco even though it meant putting the right side of her dress out into the storm. His expression was neutral, but his eyes smiled at her. “What sort of place?” “Tommaso’s studio. It’s just a couple of streets over.” Cass watched the rain come down in sheets. “Tommaso?” “Vecellio. He’s my master.” Cass sucked in a deep breath. Tommaso Vecellio was descended from the same bloodlines as Titian, one of the most famous Venetian artists of all time. Titian had died before Cass was born, but his influence lingered in churches and private homes all across Venice. “You apprentice with Vecellio? How come you never told me?” Falco slicked his wet hair back from his face. “You never asked.