Famous Commercial Quotes

Can she be divorced?" I asked. "And famous for her commercials and ideas?" She can be anything," Boo told me, and this is what I remember most, her freckled face so solemn, as if she knew she was the first to tell me. "And so can you.

So what's your doll's name?" Boo asked me. "Barbie," I said. "All their names are Barbie." "I see," she said. "Well, I'd think that would get boring, everyone having the same name." I thought about this, then said, "Okay, then her name is Sabrina." "Well, that's a very nice name," Boo said. I remember she was baking bread, kneading the dough between her thick fingers. "What does she do?" "Do?" I said. "Yes." She flipped the dough over and started in on it from the other side. "What does she do?" "She goes out with Ken," I said. "And what else?" "She goes to parties," I said slowly. "And shopping." "Oh," Boo said, nodding. "She can't work?" "She doesn't have to work," I said. "Why not?" "Because she's Barbie." "I hate to tell you, Caitlin, but somebody has to make payments on that town house and the Corvette," Boo said cheerfully. "Unless Barbie has a lot of family money." I considered this while I put on Ken's pants. Boo started pushing the dough into a pan, smoothing it with her hand over the top. "You know what I think, Caitlin?" Her voice was soft and nice, the way she always spoke to me. "What?" "I think your Barbie can go shopping, and go out with Ken, and also have a productive and satisfying career of her own." She opened the oven and slid in the bread pan, adjusting its position on the rack. "But what can she do?" My mother didn't work and spent her time cleaning the house and going to PTA. I couldn't imagine Barbie, whose most casual outfit had sequins and go-go boots, doing s.uch things. Boo came over and plopped right down beside me. I always remember her being on my level; she'd sit on the edge of the sandbox, or lie across her bed with me and Cass as we listened to the radio. "Well," she said thoughtfully, picking up Ken and examining his perfect physique. "What do you want to do when you grow up?" I remember this moment so well; I can still see Boo sitting there on the floor, cross- legged, holding my Ken and watching my face as she tried to make me see that between my mother's PTA and Boo's strange ways there was a middle ground that began here with my Barbie, Sab-rina, and led right to me. "Well," I said abruptly, "I want to be in advertising." I have no idea where this came from. "Advertising," Boo repeated, nodding. "Okay. Advertising it is. So Sabrina has to go to work every day, coming up with ideas for commercials and things like that." "She works in an office," I went on. "Sometimes she has to work late." "Sure she does," Boo said. "It's hard to get ahead. Even if you're Barbie." "Because she wants to get promoted," I added. "So she can pay off the town house. And the Corvette." "Very responsible of her," Boo said. "Can she be divorced?" I asked. "And famous for her commercials and ideas?" "She can be anything," Boo told me, and this is what I remember most, her freckled face so solemn, as if she knew she was the first to tell me. "And so can you.

The fact that so many books still name the Beatles as "the greatest or most significant or most influential" rock band ever only tells you how far rock music still is from becoming a serious art. Jazz critics have long recognized that the greatest jazz musicians of all time are Duke Ellington and John Coltrane, who were not the most famous or richest or best sellers of their times, let alone of all time. Classical critics rank the highly controversial Beethoven over classical musicians who were highly popular in courts around Europe. Rock critics, instead, are still blinded by commercial success. The Beatles sold more than anyone else (not true, by the way), therefore they must have been the greatest. Jazz critics grow up listening to a lot of jazz music of the past, classical critics grow up listening to a lot of classical music of the past. Rock critics are often totally ignorant of the rock music of the past, they barely know the best sellers.

Michael Jordan, the basketball great, is a case in point. In a famous Nike commercial, he said: ‘I’ve missed more than nine thousand shots. I’ve lost almost three hundred games. Twenty-six times I’ve been trusted to take the game-winning shot and missed.’ For many the ad was perplexing. Why boast about your mistakes? But to Jordan it made perfect sense. ‘Mental toughness and heart are a lot stronger than some of the physical advantages you might have,’ he said. ‘I’ve always said that and I’ve always believed that.’ James

Nowadays, the work of Alfred Hitchcock is admired all over the world. Young people who are just discovering his art through the current rerelease of Rear Window and Vertigo, or through North by Northwest, may assume his prestige has always been recognized, but this is far from being the case. In the fifties and sixties, Hitchcock was at the height of his creativity and popularity. He was, of course, famous due to the publicity masterminded by producer David O. Selznick during the six or seven years of their collaboration on such films as Rebecca, Notorious, Spellbound, and The Paradine Case. His fame had spread further throughout the world via the television series Alfred Hitchcock Presents in the mid-fifties. But American and European critics made him pay for his commercial success by reviewing his work with condescension, and by belittling each new film. (...) In examining his films, it was obvious that he had given more thought to the potential of his art than any of his colleagues. It occurred to me that if he would, for the first time, agree to respond seriously to a systematic questionnaire, the resulting document might modify the American critics’ approach to Hitchcock. That is what this book is all about.

There is also another problem that commercial culture exacerbates: People feel a profound need to belong, and thus a kind of mob mentality takes over. If a person wants to advance his career it is necessary for him to belong to the "in-crowd." Therefore the criteria for thinking is not truth and logic, but group-dynamics and trendy "duckspeak." As Gustav le Bon showed in his famous study of crowd behavior, the "psychological crowd" possesses a low critical intelligence, and accepts the most idiotic nonsense as truth. It doesn't make the least difference if the individual is highly intelligent, if his emotional need to belong is active he will be reduced to idiocy.

This is the woman who brought us the idea of living our best life, of becoming our most authentic selves. And yet. In 2015, Oprah Winfrey bought a 10 percent stake in Weight Watchers, an investment of $40 million. In one of her many commercials for the brand, she says, ‘Let’s make this the year of our best body.’ The implication is, of course, that our current bodies are not our best bodies, not by a long shot. It is startling to realize that even Oprah, a woman in her early sixties, a billionaire and one of the most famous women in the world, isn’t happy with herself, her body. This is how pervasive damaging cultural messages about unruly bodies are – that even as we age, no matter what material status we achieve, we cannot be satisfied or happy unless we are also thin.

There is in this a cruel contradiction implicit in the art form itself. For true jazz is an art of individual assertion within and against the group. Each true jazz moment (as distinct from the uninspired commercial performance) springs from a contest in which each artist challenges all the rest; each solo flight, or improvisation, represents (like the successive canvases of a painter) a definition of his identity: as individual, as member of the collectivity and as a link in the chain of tradition. Thus, because jazz finds its very life in an endless improvisation upon traditional materials, the jazzman must lose his identity even as he finds it — how often do we see even the most famous of jazz artists being devoured alive by their imitators, and, shamelessly, in the public spotlight?

Steve Jobs was famous for what observers called his “reality distortion field.” Part motivational tactic, part sheer drive and ambition, this field made him notoriously dismissive of phrases such as “It can’t be done” or “We need more time.” Having learned early in life that reality was falsely hemmed in by rules and compromises that people had been taught as children, Jobs had a much more aggressive idea of what was or wasn’t possible. To him, when you factored in vision and work ethic, much of life was malleable. For instance, in the design stages for a new mouse for an early Apple product, Jobs had high expectations. He wanted it to move fluidly in any direction—a new development for any mouse at that time—but a lead engineer was told by one of his designers that this would be commercially impossible. What Jobs wanted wasn’t realistic and wouldn’t work. The next day, the lead engineer arrived at work to find that Steve Jobs had fired the employee who’d said that. When the replacement came in, his first words were: “I can build the mouse.” This was Jobs’s view of reality at work. Malleable, adamant, self-confident. Not in the delusional sense, but for the purposes of accomplishing something. He knew that to aim low meant to accept mediocre accomplishment. But a high aim could, if things went right, create something extraordinary. He was Napoleon shouting to his soldiers: “There shall be no Alps!” For most of us, such confidence does not come easy. It’s understandable. So many people in our lives have preached the need to be realistic or conservative or worse—to not rock the boat. This is an enormous disadvantage when it comes to trying big things. Because though our doubts (and self-doubts) feel real, they have very little bearing on what is and isn’t possible. Our

This is the woman who brought us the idea of living our best life, of becoming our most authentic selves. And yet. In 2015, Winfrey bought a 10 percent stake in Weight Watchers, an investment of $40 million. In one of her many commercials for the brand, she says, “Let’s make this the year of our best body.” The implication is, of course, that our current bodies are not our best bodies, not by a long shot. It is startling to realize that even Oprah, a woman in her early sixties, a billionaire and one of the most famous women in the world, isn’t happy with herself, her body. That is how pervasive damaging cultural messages about unruly bodies are—that even as we age, no matter what material successes we achieve, we cannot be satisfied or happy unless we are also thin. There

The demographic ageing of Europe and other leading industrial countries is multiplied by the economic burden of immigration. For the time being, we can still hold out, but this will not last. The lack of active workers, the burden of retirees and the expenses of healthcare will end, from 2005-2010, with burdening European economies with debt. Gains in productivity and technological advances (the famous ‘primitive accumulation of fixed capital’, the economists’ magic cure) will never be able to match the external demographic costs. Lastly, far from compensating for the losses of the working-age native-born population, the colonising immigration Europe is experiencing involves first of all welfare recipients and unskilled workers. In addition, this immigration represents a growing expense (insecurity, the criminal economy, urban policies, etc.). An economic collapse of Europe, the world’s leading commercial power, would drag down with it the United States and the entire Western economy.

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 next day we booked a three-hundred pound sow for a most unusual photoshoot. She was chauffeured to Hollywood from a farm in Central Valley, and arrived in style at the soundstage bright and early, ready for her close-up. She was a perfect pig, straight from the animal equivalent of Central casting: pink, with gray spots and a sweet disposition. Like Wilbur from Charlotte's Web, but all grown up. I called her "Rhonda." In a pristine studio with white walls and a white floor, I watched as Rhonda was coaxed up a ramp that led to the top of a white pedestal, four feet off the ground. Once she was situated, the ramp was removed, and I took my place beside her. It was a simple setup. Standing next to Rhonda, I would look into the camera and riff about the unsung heroes of Dirty Jobs. I'd conclude with a pointed question: "So, what's on your pedestal?" It was a play on that credit card campaign: "What's in your wallet?" I nailed it on the first take, in front of a roomful of nervous executives. Unfortunately, Rhonda nailed it, too. Just as I asked, "What's on your pedestal?" she crapped all over hers. It was an enormous dump, delivered with impeccable timing. During the second take, Rhonda did it again, right on cue. This time, with a frightful spray of diarrhea that filled the studio with a sulfurous funk, blackening the white walls of the pristine set, and transforming my blue jeans into something browner. I could only marvel at the stench, while the horrified executives backed into a corner - a huddled mass, if you will, yearning to breath free. But Rhonda wasn't done. She crapped on every subsequent take. And when she could crap no more, she began to pee. She peed on my cameraman, She peed on her handler. She peed on me. Finally, when her bladder was empty, we got the take the network could use, along with a commercial that won several awards for "Excellence in Promos." (Yes, they have trophies for such things.) Interestingly, the footage that went viral was not the footage that aired, but the footage Mary encouraged me to release on YouTube after the fact. The outtakes of Rhonda at her incontinent finest. Those were hysterical, and viewed more times than the actual commercial. Go figure. Looking back, putting a pig on a pedestal was maybe the smartest thing I ever did. Not only did it make Rhonda famous, it established me as the nontraditional host of a nontraditional show. One whose primary job was to appear more like a guest, and less like a host. And, whenever possible, not at all like an asshole.

I quickly learned that the congressional delegation from Alaska was deeply committed to the oil industry and other commercial interests, and senatorial courtesy prevented other members from disputing with Senators Ted Stevens (Republican) and Mike Gravel (Democrat) over a matter involving their home state. Former Idaho governor Cecil Andrus, my secretary of interior, and I began to study the history of the controversy and maps of the disputed areas, and I flew over some of them a few times. Environmental groups and most indigenous natives were my allies, but professional hunters, loggers, fishers, and the Chambers of Commerce were aligned with the oil companies. All the odds were against us until Cecil discovered an ancient law, the Antiquities Act of 1906, which permitted a president to set aside an area for “the protection of objects of historic and scientific interest,” such as Indian burial grounds, artifacts, or perhaps an ancient church building or the site of a famous battle. We decided to use this authority to set aside for preservation large areas of Alaska as national monuments, and eventually we had included more than 56 million acres (larger than the state of Minnesota). This gave me the bargaining chip I needed, and I was able to prevail in the subsequent debates. My efforts were extremely unpopular in Alaska, and I had to have extra security on my visits. I remember that there was a state fair where people threw baseballs at two targets to plunge a clown into a tank of water. My face was on one target and Iran’s Ayatollah Khomeini’s on the other, and few people threw at the Ayatollah’s.

He called back with an incredible report: there were people lined up around the store already. Wow, I thought. Wow! Wow didn’t begin to cover it. People lined up on two floors of the store to talk to Chris and get their books signed, hours before he was even scheduled to arrive. Chris was overwhelmed when he got there, and so was I. The week before, he’d been just another guy walking down the street. Now, all of a sudden he was famous. Except he was still the same Chris Kyle, humble and a bit abashed, ready to shake hands and pose for a picture, and always, at heart, a good ol’ boy. “I’m so nervous,” confided one of the people on the line as he approached Chris. “I’ve been waiting for three hours just to see you.” “Oh, I’m sorry,” said Chris. “Waitin’ all that time and come to find out there’s just another redneck up here.” The man laughed, and so did Chris. It was something he’d repeat, in different variations, countless times that night and over the coming weeks. We stayed for three or four hours that first night, far beyond what had been advertised, with Chris signing each book, shaking each hand, and genuinely grateful for each person who came. For their part, they were anxious not just to meet him but to thank him for his service to our country-and by extension, the service of every military member whom they couldn’t personally thank. From the moment the book was published, Chris became the son, the brother, the nephew, the cousin, the kid down the street whom they couldn’t personally thank. In a way, his outstanding military record was beside the point-he was a living, breathing patriot who had done his duty and come home safe to his wife and kids. Thanking him was people’s way of thanking everyone in uniform. And, of course, the book was an interesting read. It quickly became a commercial success beyond anyone’s wildest dreams, including the publisher’s. The hardcover debuted at number two on the New York Times bestseller list, then rose to number one and stayed there for more than two months. It’s remained a fixture on the bestseller lists ever since, and has been translated into twenty-four languages worldwide. It was a good read, and it had a profound effect on a lot of people. A lot of the people who bought it weren’t big book readers, but they ended up engrossed. A friend of ours told us that he’d started reading the book one night while he was taking a bath with his wife. She left, went to bed, and fell asleep. She woke up at three or four and went into the bathroom. Her husband was still there, in the cold water, reading. The funny thing is, Chris still could not have cared less about all the sales. He’d done his assignment, turned it in, and got his grade. Done deal.

What is your name?” she said crossing her legs. “I am Raj Singhania, owner of Singhania group of Industries and I am on my way to sign a 1000 crore deal.” “Oh my God, Oh my God!” she said laughing and looked at Bobby from top to bottom. “What’s with this OMG thing and girls, stop saying that. I am not going to propose you anytime soon. But it’s OK. I can understand how girls feel when they meet famous dudes like me,” Bobby said smiling. “What kind of an idiot are you?” she said laughing. “Indeed, a very rare one. The one that you find after searching for millions of years,” Bobby said. “Do you always talk like this?” she said laughing. “Only to strangers on bus or whenever I get bored,” Bobby said. “OK, tell me your real name,” she said. “My name is Mogaliputta Tissa and I am here to save the world.” “Oh no not again!” she said squeezing her head with both her hands. “I know you are dying inside to kiss me,” Bobby said flashing a smile. “Why would I kiss you?” she said with a pretended sternness. “Because, you are impressed with my intelligence level and the hotness quotient, I can see that in your eyes.” “You think you are hot! Oh no! You look like that cartoon guy in 7 up commercial,” she said laughing. “Thank you. He was the coolest guy I saw on TV,” Bobby said. “OK fine, let’s calm down. Tell me your real name,” she said calmly. “I don’t remember my name,” Bobby said calmly. “What kind of idiot forgets his name?” she said staring into Bobby’s eyes. “I am suffering from multiple personality disorder and I forgot my present personality’s name. Can you help me out?” Bobby said with an innocent look on his face. “I will kill you with my hair clip. Leave me alone,” she said and closed her eyes. “You look like a Pomeranian puppy,” Bobby said looking at her hair. “Don’t talk to me,” she said. “You look very beautiful,” Bobby said. “Nice try but I am not going to open my eyes,” she said. “Your ear rings are very nice. But I think that girl in the last seat has better rings,” Bobby said. “She is not wearing any ear rings. I know because I saw her when I was getting inside. It takes just 5 seconds for a girl to know what other girls around her are wearing,” she said with her eyes still closed. “Hey, look. They are selling porn CDs at a roadside shop,” Bobby said. “I have loads of porn in my personal computer. I don’t need them,” she said. “OMG, that girl looks hotter than you,” Bobby said. “I will not open my eyes no matter what. Even if an earthquake hits the road, I will not open my eyes,” she said crossing her arms over her chest. Bobby turned back and waved his hand to the kid who was poking his mom’s ear. The kid came running and halted at Bobby’s seat. “This aunty wants to give you a chocolate if you tell her your name,” Bobby whispered to the kid and the kid perked up smiling. “Hello Aunty! Wake up, my name is Bintu. Give me my chocolate, Aunty, please!” the kid said yanking at the girl’s hand. All of a sudden, she opened her eyes and glared at the kid. “Don’t call me aunty. What would everyone think? I am a teenage girl. Go away. I don’t have anything to give you,” she said and the kid went back to his seat. “This is what happens when you mess with an intelligent person like me,” Bobby said laughing. “Shut up,” she said. “OK dude.” “I am not a dude. Stop it.” “OK sexy. Oops! OK Saxena,” “I will scream.” “OK. Where do you study?” “Why should I tell you?” “Are you suffering from split personality disorder like me?” Bobby said staring into her eyes. “Shut up. Don’t talk to me,” she said with a pout. “What the hell! I have enlightened your mind with my thoughts, told you my name and now you are acting like you don’t know me. Girls are mad.

The Zen sect had been favored by the Ashikaga shogunate and had, during the Ashikaga (Muromachi) and the earlier Kamakura periods, supervised commercial and cultural relations with China through the famous Tenryūbune (Tenryūji ships) sponsored by the Tenryūji branch of the Rinzai school in Kyoto. Zen temples played an important cultural role with their schools, the so-called terakoya, and they controlled the celebrated Ashikaga College (referred to by Xavier as the "University of Bando"), a major center for classical Chinese learning. At the beginning of the Tokugawa period, the temples still had important administrative and diplomatic privileges, for instance in the issuing of passports (Boxer 1951, 262). Only later in that period did Zen suffer a setback owing to the rising tide of Confucian orthodoxy.

magnificent canyon of fashion.

television’s sole function these days is to drive permanent wedges between people with different philosophies in such a way that an insatiable furor keeps us coming back to confirm our biases and condemn our opponents. Reasonable discourse doesn’t sell commercial time. Intellectual inflammation rules the airwaves. That and reality shows about repugnant housewives yearning to be famous.

Experimentation also proved serendipitous for Greg Koch and Steve Wagner, when they were putting together the Stone Brewing Co. in Escondido, California, north of San Diego. It was destined to become one of the most successful brewing startups of the 1990s. In The Craft of Stone Brewing Co. Koch and Wagner confess that the home-brewed ale that became Arrogant Bastard Ale and propelled Stone to fame in the craft brewing world, started with a mistake. Greg Koch recalls that Wagner exclaimed “Aw, hell!” as he brewed an ale on his brand spanking new home-brewing system. “I miscalculated and added the ingredients in the wrong percentages,” he told Koch. “And not just a little. There’s a lot of extra malt and hops in there.” Koch recalls suggesting they dump it, but Wagner decided to let it ferment and see what it tasted like. Greg Koch and Steve Wagner, founders of Stone Brewery. Photograph © Stone Brewing Co. They both loved the resulting hops bomb, but they didn’t know what to do with it. Koch was sure that nobody was “going to be able to handle it. I mean, we both loved it, but it was unlike anything else that was out there. We weren’t sure what we were going to do with it, but we knew we had to do something with it somewhere down the road.”20 Koch said the beer literally introduced itself as Arrogant Bastard Ale. It seemed ironic to me that a beer from southern California, the world of laid back surfers, should produce an ale with a name that many would identify with New York City. But such are the ironies of the craft brewing revolution. Arrogant Bastard was relegated to the closet for the first year of Stone Brewing Co.’s existence. The founders figured their more commercial brew would be Stone Pale Ale, but its first-year sales figures were not strong, and the company’s board of directors decided to release Arrogant Bastard. “They thought it would help us have more of a billboard effect; with more Stone bottles next to each other on a retail shelf, they become that much more visible, and it sends a message that we’re a respected, established brewery with a diverse range of beers,” Wagner writes. Once they decided to release the Arrogant Bastard, they decided to go all out. The copy on the back label of Arrogant Bastard has become famous in the beer world: Arrogant Bastard Ale Ar-ro-gance (ar’ogans) n. The act or quality of being arrogant; haughty; Undue assumption; overbearing conceit. This is an aggressive ale. You probably won’t like it. It is quite doubtful that you have the taste or sophistication to be able to appreciate an ale of this quality and depth. We would suggest that you stick to safer and more familiar territory—maybe something with a multi-million dollar ad campaign aimed at convincing you it’s made in a little brewery, or one that implies that their tasteless fizzy yellow beverage will give you more sex appeal. The label continues along these lines for a couple of hundred words. Some call it a brilliant piece of reverse psychology. But Koch insists he was just listening to the beer that had emerged from a mistake in Wagner’s kitchen. In addition to innovative beers and marketing, Koch and Wagner have also made their San Diego brewery a tourist destination, with the Stone Brewing Bistro & Gardens, with plans to add a hotel to the Stone empire.

There were micro-squabbles almost unbelievable to imagine now. The BBC was giving live coverage to the Beaulieu Jazz Festival in 1961 and they had to actually shut down the broadcast when trad jazz and modern jazz fans started to beat the shit out of each other, and the whole crowd lost control. The purists thought of blues as part of jazz, so they felt betrayed when they saw electric guitars—a whole bohemian subculture was threatened by the leather mob. There was certainly a political undercurrent in all this. Alan Lomax and Ewan MacColl—singers and famous folk song collectors who were patriarchs, or ideologues, of the folk boom—took a Marxist line that this music belonged to the people and must be protected from the corruption of capitalism. That’s why “commercial” was such a dirty word in those days. In fact the slanging matches in the music press resembled real political fisticuffs: phrases like “tripe mongers,” “legalized murder,” “selling out.” There were ludicrous discussions about authenticity. Yet the fact is, there was actually an audience for the blues artists in England. In America most of those artists had got used to playing cabaret acts, which they quickly found out didn’t go down well in the UK. Here you could play the blues. Big Bill Broonzy realized he could pick up a bit of dough if he switched from Chicago blues to being a folksy bluesman for European audiences. Half of those black guys never went back to America, because they realized that they were being treated like shit at home and meanwhile, lovely Danish birds were tripping over themselves to accommodate them. Why go back? They’d found out after World War II that they were treated well in Europe, certainly in Paris, like Josephine Baker, Champion Jack Dupree and Memphis Slim. That’s why Denmark became a haven for so many jazz players in the ’50s.

As the eminent historian Gordon Wood has pointed out, we must understand that a majority of the Articles’ most famous critics — and the later constitutional framers — were basically aristocrats in the pre-industrial, pre-capitalist sense of the word. They feared inflation, paper money, and debt relief measures because they modeled their social and economic world on the systems and tendencies of the English gentry. Their entire societal and agrarian order was at risk during the 1780s — in fact it would later collapse in the increasingly commercial northern states, only to live on in the plantation life of the antebellum South. Much of their complaint about “excessive democracy” in the new American state governments may ring hollow to modern ears, but they believed in their position most emphatically.

Create your 3D Female Fantacy Warrior Character Model and Texturing by GameYan Studio. 3D Game Art Studio are among the most popular entertainment medium for people worldwide and take them into a highly interactive fantastic world that can exist only in imaginations. What are 3D games without the famous 3D character Modelling who have awed a generation? We are experts at creating 3d characters that appear extraordinarily appealing and more than graphics. Our main focus is on the 3D character Modeling and rigging for game development, Movie and short films, cinematic video content, TV advertisement & commercials animation content. Our Professional Team Of Artists Can Develop Variety Of 3d Art Content For Movie And Video Games Along With Low Optimized Characters For Mobile And Virtual Reality Interactive Games. In our modern digital workflows we use software like Autodesk Maya and ZBrush to get that same effect. This combination of tools is like working with digital clay—we are able to create a base model of the design and then sculpt on more complex details and anatomical notes. Once a Game Character Modelling Studio is finalized it’s ready for rigging and the rest of the animation pipeline. This art of modeling and Character sculpting studio characters is a wonderful blend of the technical and creative sides of the brain and a highly rewarding profession. Our team amazes you with their 3D character Models talent and expertise. We break the boundaries with our real to world 3D characters and animations, delivering a near-to-life gaming experience to the game players. Our team of highly skilled and creative 3D artists and developers generate 3D character models using the latest techniques and trends that give your game a competitive edge in the market. With our groundbreaking 3D Character Modeling Services, we deliver fantastic 3D Character Modelling for Games with the highest level of image quality with low poly game character resolution.

Iraq, later reflected that from a cultural standpoint, Iraq ‘suffered a big shock when the Jews left.’ One reason was that ‘all of Iraq’s famous musicians and composers were Jewish,’ as were a large portion of its other artists. In addition, ‘Jews were so central to commercial life in Iraq that business across the country used to shut down on Saturdays because it was the Jewish Shabbat. They were the most prominent members of every elite profession–bankers, doctors, lawyers, professors, engineers, etc.’ In Kashi’s view, had the Jews stayed, they would have

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.

Python is a mainstream programming language that is commonly used to solve cognitive and mathematical problems. Many Python modules and useful Python libraries, such as IPython, Pandas, SciPy, and others, are most commonly used for these tasks. Usage of Business Applications Python is used by many engineers to assemble and maintain their commercial programs or apps. Python is used by many designers to maintain their web-based company sites. An application that runs on the console Python can be used to create help-based software. IPython, for example, can be used to create a variety of support-based applications. Audio or Video-based Application Programming Python is an excellent programming language for a variety of video and audio projects. Python is used by many professionals to create a variety of media applications. You can do this with the help of cplay, another Python compiler. 3D based Computer-Aided Drafting Applications Python is used by many designers to create 3D-based Computer-Aided Drafting systems. Fandango is a very useful Python-based application that allows you to see all of the capabilities of CAD to expand these types of applications. Applications for Business Python is used by many Python experts to create a variety of apps that can be used in a business. Tryton and Picalo are the most famous applications in this regard.

From the Saturday afternoon Piper and her mother had gone to the animal shelter and spotted the little white dog with the floppy ears and a big brown patch around his left eye, they were goners. Piper had still been working on A Little Rain Must Fall, and it was the week before she attended her first---and last---Daytime Emmy Awards ceremony. She'd named the terrier Emmett in honor of the occasion, only later realizing how appropriate the moniker would be. The dog could just as easily have been named for world-famous clown Emmett Kelly. Happy-go-lucky and friendly, Emmett was very smart and responded exceptionally well to the obedience training Piper's father had insisted upon. But it was Piper's mother who cultivated the terrier's special talents, teaching him a series of tricks using food as a reward. The dog had already provided the Donovan family and their neighbors with hours and hours of delight and laughter when Terri came up with the idea of having Emmett featured in commercials for the bakery, which ran on the local-access cable channel. As a result, Emmett had become something of a celebrity in Hillwood.

Standing out from the (New York City) map's delicate tracery of gridirons representing streets are heavy lines, lines girdling the city or slashing across its expanses. These lines denote the major roads on which automobiles and trucks move, roads whose very location, moreover, does as much as any single factor to determine where and how a city's people live and work. With a single exception, the East River Drive, Robert Moses built every one of those roads. (...) Only one borough of New York City—the Bronx—is on the mainland of the United States, and bridges link the island boroughs that form metropolis. Since 1931, seven such bridges were built, immense structures, some of them anchored by towers as tall as seventy-story buildings, supported by cables made up of enough wire to drop a noose around the earth. (...) Robert Moses built every one of those bridges. (He also built) Lincoln Center, the world's most famous, costly and imposing cultural complex. Alongside another stands the New York Coliseum, the glowering exhibition tower whose name reveals Moses' preoccupation with achieving an immortality like that conferred on the Caesars of Rome. The eastern edge of Manhattan Island, heart of metropolis, was completely altered between 1945 and 1958. (...) Robert Moses was never a member of the Housing Authority and his relationship with it was only hinted at in the press. But between 1945 and 1958 no site for public housing was selected and no brick of a public housing project laid without his approval. And still further north along the East River stand the buildings of the United Nations headquarters. Moses cleared aside the obstacles to bringing to New York the closest thing to a world capitol the planet possesses, and he supervised its construction. When Robert Moses began building playgrounds in New York City, there were 119. When he stopped, there were 777. Under his direction, an army of men that at times during the Depression included 84,000 laborers. (...) For the seven years between 1946 and 1953, no public improvement of any type—not school or sewer, library or pier, hospital or catch basin—was built by any city agency, even those which Robert Moses did not directly control, unless Moses approved its design and location. To clear the land for these improvements, he evicted the city's people, not thousands of them or tens of thousands but hundreds of thousands, from their homes and tore the homes down. Neighborhoods were obliterated by his edict to make room for new neighborhoods reared at his command. “Out from the heart of New York, reaching beyond the limits of the city into its vast suburbs and thereby shaping them as well as the city, stretch long ribbons of concrete, closed, unlike the expressways, to trucks and all commercial traffic, and, unlike the expressways, bordered by lawns and trees. These are the parkways. There are 416 miles of them. Robert Moses built every mile. (He also built the St. Lawrence Dam,) one of the most colossal single works of man, a structure of steel and concrete as tall as a ten-story apartment house, an apartment house as long as eleven football fields, a structure vaster by far than any of the pyramids, or, in terms of bulk, of any six pyramids together. And at Niagara, Robert Moses built a series of dams, parks and parkways that make the St. Lawrence development look small. His power was measured in decades. On April 18, 1924, ten years after he had entered government, it was formally handed to him. For forty-four years thereafter (until 1968), he held power, a power so substantial that in the field s in which he chose to exercise it, it was not challenged seriously by any (of 6) Governors of New York State or by any Mayor of New York City.

Today, Adam Smith is famous as the father of capitalism and an advocate of a central tenet of free market thought: that greed is supposedly good and it drives markets. This was an idea pushed by neoliberal economists, inspired by Friedrich Hayeck and Milton Friedman, who had no knowledge of the history of moral philosophy, or of Scotland. What they missed is that no gentleman of his time could ever espouse greed, least of all a professor of moral philosophy. Indeed, Adam Smith recognized greed as an economic driver, and saw it as necessary, but also realized that it was a problem for society. His work was not an espousal of greed, but rather a response to it. His work was an attempt to find a way to reign in commercial greed to support the agrarian order, which he believed to be inherently more productive than business.

The most famous ruler of this period was Hammurabi, who lived circa 1810–1750 BCE. He is best known for the Code of Hammurabi—a set of laws inscribed on a black basalt pillar that now stands in the Louvre Museum. Hammurabi’s code specifies the rate of interest on silver at 20% and on barley at 33⅓%. What is most important about the code is not what is says but what it represents. The code is a uniform legal framework for the entire Babylonian empire. It covered everything from criminal law to family law, commercial practice to property rights. It details a range of punishments for transgressions, methods of dispute resolution, and attributions of fault for various offenses. It specifies the roles of judge, jury, witnesses, plaintiffs, and defendants. It recognizes and elaborates the rights of ownership of property, including rights to lease and rights of eminent domain. It specifies the role of the written document in a contractual obligation, the necessity of receipts, and what should be done if they do not exist. It specifies legal tender. It describes the obligations of merchants, brokers, and agents and their fiduciary duties and limits to their liabilities in case of attack or theft. It places limits on the term of debt indenture (three years). In short, it creates a comprehensive, uniform framework for commerce.

The less-famous history of an ultra-famous icon captures one person’s evolution toward this balance. During Steve Jobs’s first stint at Apple, he called his loonshot group working on the Mac “pirates” or “artists” (he saw himself, of course, as the ultimate pirate-artist). Jobs dismissed the group working on the Apple II franchise as “regular Navy.” The hostility he created between the two groups, by lionizing the artists and belittling the soldiers, was so great that the street between their two buildings was known as the DMZ—the demilitarized zone. The hostility undermined both products. Steve Wozniak, Apple’s cofounder along with Jobs, who was working on the Apple II franchise, left, along with other critical employees; the Mac launch failed commercially; Apple faced severe financial pressure; Jobs was exiled; and John Sculley took over (eventually rescuing the Mac and restoring financial stability). When Jobs returned twelve years later, he had learned to love his artists (Jony Ive) and soldiers (Tim Cook) equally.

Curiously, we are the rare animal that actually likes the bitter taste of radicchio or black tea. I fear, however, that Americans raised on sugary things are losing the taste for things savory, sour, and bitter. It’s pitiful that commercial salad dressings contain sugar, and even sweet corn hybrids are much sweeter than when I was little. We’re not alone. In Britain, plant scientists are breeding sweeter hybrids of the brussels sprout, famous for its dour presence at Christmas lunch, but the more palatable sprouts may lack the healthy, bitter compounds.

49.​TRUE OR FALSE: 2006’S CASINO ROYALE WAS THE FIRST BOND MOVIE THAT COULD BE WATCHED IN CHINA. True. It was the first film in the James Bond series that the Chinese censor board approved. 50.​TRUE OR FALSE: THE FIRST INTERRACIAL KISS IN TELEVISION HISTORY HAPPENED ON STAR TREK. True. Although the network originally didn’t want to air it, William Shatner reportedly sabotaged all of the other shoots, forcing the network to run the kiss. 51.​TRUE OR FALSE: THE FIRST TELEVISION COMMERCIAL EVER WAS A CAR COMMERCIAL. False. It was actually a commercial for watches, and it aired in 1941. 52.​TRUE OR FALSE: ACTOR JIM CAVIEZEL WAS STRUCK BY LIGHTNING WHILE PORTRAYING JESUS IN THE PASSION OF THE CHRIST. True. Caviezel suffered a large number of calamities during the filming, but this one seemed like a bit of an omen. 53.​TRUE OR FALSE: BRYAN ADAMS’ FAMOUS SONG “SUMMER OF ‘69” IS NAMED AFTER THE SEX POSITION, NOT THE YEAR. True. In fact, Adams was just 9 years old during the summer of 1969. 54.​TRUE OR FALSE: THE ROLLING STONES PERFORMED IN BACK TO THE FUTURE 3. False. But ZZ Top did! 55.​TRUE OR FALSE: THE WORD “FUCK” WAS ONCE SAID OVER 1,000 TIMES IN ONE MOVIE. False. But Swearnet: The Movie came close with the word appearing 935 times—a record amount! 56.​TRUE OR FALSE: BATTLEFIELD EARTH WAS WRITTEN BY THE FOUNDER OF SCIENTOLOGY. True. L. Ron Hubbard was a well-known science fiction writer in addition to being the founder of Scientology.

commercial spirit will not and cannot understand the Emperor Alexander’s loftiness of soul. She has refused to evacuate Malta. She wanted to find, and still seeks, some secret motive in our actions. What answer did Novosiltsev get? None. The English have not understood and cannot understand the self-abnegation of our Emperor who wants nothing for himself, but only desires the good of mankind. And what have they promised? Nothing! And what little they have promised they will not perform! Prussia has always declared that Buonaparte is invincible, and that all Europe is powerless before him.... And I don’t believe a word that Hardenburg says, or Haugwitz either. This famous Prussian neutrality is just a trap. I have faith only in God and the lofty destiny of our adored monarch. He will save Europe!” She suddenly paused, smiling at her own impetuosity. “I think,” said the prince with a smile, “that if you had been sent instead of our dear Wintzingerode you would have captured the King of

Jael said grimly, "You're overconfident, Mallow. You're ignoring the possibility of a popular rebellion." Mallow looked up, grim in his turn, "Once and for all, Jael, there is no possibility of a popular rebellion." I'm sure of the Seldon crisis and the historical validity of their solutions, externally and internally. There are some things I didn't tell Suit right now. He tried to control the Foundation itself by religious forces as he controlled the outer worlds, and he failed, which is the surest sign that in the Seldon scheme, religion is played out. "Economic control worked differently. And to paraphrase that famous Salvor Hardin quotation of yours, it's a poor nuclear blaster that won't point both ways. If Korell prospered with our trade, so did we. If Korellian factories fail without our trade; and if the prosperity of the outer worlds vanishes with commercial isolation; so will our factories fail and our prosperity vanish. "And there isn't a factory, not a trading center. not a shipping line that isn't under my control; that I couldn't squeeze to nothing if Sutt attempts revolutionary propaganda. Where his propaganda succeeds, or even looks as though it might succeed, I will make certain that prosperity dies. Where it fails, prosperity will continue, because my factories will remain fully staffed. "So by the same reasoning which makes me sure that the Korellians will revolt in favor of prosperity, I am sure we will not revolt against it. The game will be played out to its end." "So then," said Jael, "you're establishing a plutocracy. You're making us a land of traders and merchant princes. Then what of the future?" Mallow lifted his gloomy face, and exclaimed fiercely, "What business of mine is the future? No doubt Seldon has foreseen it and prepared against it. There will be other crises in the time to come when money power has become as dead a force as religion is now. Let my successors solve those new problems, as I have solved the one of today.

This is the shape that Renaissance innovation takes, seen from a great (conceptual) distance. Most innovation clusters in the third quadrant: non-market individuals. A handful of outliers are scattered fairly evenly across the other three quadrants. This is the pattern that forms when information networks are slow and unreliable, and entrepreneurial economic conventions are poorly developed. It’s too hard to share ideas when the printing press and the postal system are still novelties, and there’s not enough incentive to commercialize those ideas without a robust marketplace of buyers and investors. And so the era is dominated by solo artists: amateur investigators, usually well-to-do, working on their own private obsessions. Not surprisingly, this period marks the birth of the modern notion of the inventive genius, the rogue visionary who somehow sees beyond the horizon that limits his contemporaries—da Vinci, Copernicus, Galileo. Some of those solo artists (Galileo most famously) worked outside of broader groups because their research posed a significant security threat to the established powers of the day. The few innovations that did emerge out of networks—the portable, spring-loaded watches that first appeared in Nuremberg in 1480, the double-entry bookkeeping system developed by Italian merchants—have their geographic origins in cities, where information networks were more robust. First-quadrant solo entrepreneurs, crafting their products in secret to ensure their eventual payday, turn out to be practically nonexistent. Gutenberg was the exception, not the rule.

It sprang from their pursuit of intellectual detachment in observing human affairs, in noticing how our intentions and expectations so often differ from our actual performance. In Smith’s case, that detachment allowed him to see that the charity cases of commercial society’s “universal opulence” included not only the indigent and homeless at the bottom of the social scale, but the rich and famous at the top. It also led him to perceive the real significance of self-interest as a human motivation.

THIS IS A BOOK about the good life—not the good life touted in Budweiser commercials or on Lifestyles of the Rich and Famous or MTV Cribs, but the good life that you and I want to live when we reflect about what really matters.