First Concert Quotes

You should date a girl who reads. Date a girl who reads. Date a girl who spends her money on books instead of clothes, who has problems with closet space because she has too many books. Date a girl who has a list of books she wants to read, who has had a library card since she was twelve. Find a girl who reads. You’ll know that she does because she will always have an unread book in her bag. She’s the one lovingly looking over the shelves in the bookstore, the one who quietly cries out when she has found the book she wants. You see that weird chick sniffing the pages of an old book in a secondhand book shop? That’s the reader. They can never resist smelling the pages, especially when they are yellow and worn. She’s the girl reading while waiting in that coffee shop down the street. If you take a peek at her mug, the non-dairy creamer is floating on top because she’s kind of engrossed already. Lost in a world of the author’s making. Sit down. She might give you a glare, as most girls who read do not like to be interrupted. Ask her if she likes the book. Buy her another cup of coffee. Let her know what you really think of Murakami. See if she got through the first chapter of Fellowship. Understand that if she says she understood James Joyce’s Ulysses she’s just saying that to sound intelligent. Ask her if she loves Alice or she would like to be Alice. It’s easy to date a girl who reads. Give her books for her birthday, for Christmas, for anniversaries. Give her the gift of words, in poetry and in song. Give her Neruda, Pound, Sexton, Cummings. Let her know that you understand that words are love. Understand that she knows the difference between books and reality but by god, she’s going to try to make her life a little like her favorite book. It will never be your fault if she does. She has to give it a shot somehow. Lie to her. If she understands syntax, she will understand your need to lie. Behind words are other things: motivation, value, nuance, dialogue. It will not be the end of the world. Fail her. Because a girl who reads knows that failure always leads up to the climax. Because girls who read understand that all things must come to end, but that you can always write a sequel. That you can begin again and again and still be the hero. That life is meant to have a villain or two. Why be frightened of everything that you are not? Girls who read understand that people, like characters, develop. Except in the Twilight series. If you find a girl who reads, keep her close. When you find her up at 2 AM clutching a book to her chest and weeping, make her a cup of tea and hold her. You may lose her for a couple of hours but she will always come back to you. She’ll talk as if the characters in the book are real, because for a while, they always are. You will propose on a hot air balloon. Or during a rock concert. Or very casually next time she’s sick. Over Skype. You will smile so hard you will wonder why your heart hasn’t burst and bled out all over your chest yet. You will write the story of your lives, have kids with strange names and even stranger tastes. She will introduce your children to the Cat in the Hat and Aslan, maybe in the same day. You will walk the winters of your old age together and she will recite Keats under her breath while you shake the snow off your boots. Date a girl who reads because you deserve it. You deserve a girl who can give you the most colorful life imaginable. If you can only give her monotony, and stale hours and half-baked proposals, then you’re better off alone. If you want the world and the worlds beyond it, date a girl who reads. Or better yet, date a girl who writes.

No matter how old you are now. You are never too young or too old for success or going after what you want. Here’s a short list of people who accomplished great things at different ages 1) Helen Keller, at the age of 19 months, became deaf and blind. But that didn’t stop her. She was the first deaf and blind person to earn a Bachelor of Arts degree. 2) Mozart was already competent on keyboard and violin; he composed from the age of 5. 3) Shirley Temple was 6 when she became a movie star on “Bright Eyes.” 4) Anne Frank was 12 when she wrote the diary of Anne Frank. 5) Magnus Carlsen became a chess Grandmaster at the age of 13. 6) Nadia Comăneci was a gymnast from Romania that scored seven perfect 10.0 and won three gold medals at the Olympics at age 14. 7) Tenzin Gyatso was formally recognized as the 14th Dalai Lama in November 1950, at the age of 15. 8) Pele, a soccer superstar, was 17 years old when he won the world cup in 1958 with Brazil. 9) Elvis was a superstar by age 19. 10) John Lennon was 20 years and Paul Mcartney was 18 when the Beatles had their first concert in 1961. 11) Jesse Owens was 22 when he won 4 gold medals in Berlin 1936. 12) Beethoven was a piano virtuoso by age 23 13) Issac Newton wrote Philosophiæ Naturalis Principia Mathematica at age 24 14) Roger Bannister was 25 when he broke the 4 minute mile record 15) Albert Einstein was 26 when he wrote the theory of relativity 16) Lance E. Armstrong was 27 when he won the tour de France 17) Michelangelo created two of the greatest sculptures “David” and “Pieta” by age 28 18) Alexander the Great, by age 29, had created one of the largest empires of the ancient world 19) J.K. Rowling was 30 years old when she finished the first manuscript of Harry Potter 20) Amelia Earhart was 31 years old when she became the first woman to fly solo across the Atlantic Ocean 21) Oprah was 32 when she started her talk show, which has become the highest-rated program of its kind 22) Edmund Hillary was 33 when he became the first man to reach Mount Everest 23) Martin Luther King Jr. was 34 when he wrote the speech “I Have a Dream." 24) Marie Curie was 35 years old when she got nominated for a Nobel Prize in Physics 25) The Wright brothers, Orville (32) and Wilbur (36) invented and built the world's first successful airplane and making the first controlled, powered and sustained heavier-than-air human flight 26) Vincent Van Gogh was 37 when he died virtually unknown, yet his paintings today are worth millions. 27) Neil Armstrong was 38 when he became the first man to set foot on the moon. 28) Mark Twain was 40 when he wrote "The Adventures of Tom Sawyer", and 49 years old when he wrote "Adventures of Huckleberry Finn" 29) Christopher Columbus was 41 when he discovered the Americas 30) Rosa Parks was 42 when she refused to obey the bus driver’s order to give up her seat to make room for a white passenger 31) John F. Kennedy was 43 years old when he became President of the United States 32) Henry Ford Was 45 when the Ford T came out. 33) Suzanne Collins was 46 when she wrote "The Hunger Games" 34) Charles Darwin was 50 years old when his book On the Origin of Species came out. 35) Leonardo Da Vinci was 51 years old when he painted the Mona Lisa. 36) Abraham Lincoln was 52 when he became president. 37) Ray Kroc Was 53 when he bought the McDonalds Franchise and took it to unprecedented levels. 38) Dr. Seuss was 54 when he wrote "The Cat in the Hat". 40) Chesley "Sully" Sullenberger III was 57 years old when he successfully ditched US Airways Flight 1549 in the Hudson River in 2009. All of the 155 passengers aboard the aircraft survived 41) Colonel Harland Sanders was 61 when he started the KFC Franchise 42) J.R.R Tolkien was 62 when the Lord of the Ring books came out 43) Ronald Reagan was 69 when he became President of the US 44) Jack Lalane at age 70 handcuffed, shackled, towed 70 rowboats 45) Nelson Mandela was 76 when he became President

Do not have your concert first, and then tune your instrument afterwards. Begin the day with the Word of God and prayer, and get first of all into harmony with Him.

Is that all?” he blurted out. Crowley and Halt exchanged slightly puzzled glances. Then Crowley pursed his lips thoughtfully. “Um…it seems to be…Listed your trainging, mentioned a few achievements, made sure you know which end of an arrow is the sharp part…decided your new name…I think that’s…” Then it seemed that understanding dawned on him and his eyes opened wide. “Of course! You have to have you Silver…whatsis, don ‘t you?” He took hold of the chain that held his own Silver Oakleaf around his throat and shook it lightly. It was a badge of a Graduate Ranger. Then he began to search through his pockets, frowning. “Had it here! Had it here! Where the devil is it…wait. I heard something fall on the boards as I came in! Must have dropped it. Just check outside the front door, will you, Will?” Too stunned to talk, Will rose and went to the door. As he set his hand on the latch, he looked back at the two Rangers, still seated at the table. Crowley made a small shooing motion with the back of his hand, urging him to go outside. Will was still looking back at them when he opened the door and stepped through on the verandah. “Congratulations!” The massive cry went up from at least forty throats. He swung around in shock to find all his friends gathered in the clearing outside around the table laid for a feast, their faces beaming with smiles. Baron Arald, Sir Rodney, Lady Pauline and Master Chubb were all there. So were Jenny and George, his former wardmates. There were a dozen others in the Ranger uniform – men he had met worked with over the past five years. And wonder of wonders, there were Erak and Svengal , bellowing his name and waving their huge axes overhead in his praise. Close by them stood Horace and Gilan, both brandishing their swords overhead as well. It looked like a dangerous section of the crowd to be in, Will thought. After the first concerted shout, people began cheering and calling his name, laughing and waving to him. Halt and Crowley joined him on the verandah. The Commandant was doubled over with laughter. “Oh, if you could have seen yourself!” he wheezed. “Your face! Your face! It was priceless! ‘Is that all?’” He mimicked Will’s plaintive tones and doubled over again. Will tuned to Halt accusingly. His teacher grinned at him. “Your face was a study,” he said. “Do you so that to all apprentices?” Will asked. Halt nodded vigorously. “Every one. Stops them getting a swelled head at the last minute. You have to swear never to let an apprentice in on the secret.

You made me who I am today, Nanni. Wherever I go, everyone I see and crave is ultimately measured by the glow of your light. If my life were a boat, you were the one who stepped on board, turned on its running lights, and was never heard from again. All this might as well be in my head, and in my head it stays. But I've lived and loved by your light alone. In a bus, on a busy street, in class, in a crowded concert hall, once or twice a year, whether for a man or a woman, my heart still jolts when I spot your look-alike. We love only once in our lives, my father had said, sometimes too early, sometimes too late; the other times are always a touch deliberate.

First I put on what I thought of as my ‘artistic’ outfit, a green smock dress with huge amber beads stitched into it. I imagined the kind of people who went to concerts might be quite arty and flamboyant. Will and Nathan both stared at me as I entered the living room. ‘No,’ said Will, flatly. ‘That looks like something my mum would wear,’ said Nathan. ‘You never told me your mum was Nana Mouskouri,’ Will said.

An incomplete list: No more diving into pools of chlorinated water lit green from below. No more ball games played out under floodlights. No more porch lights with moths fluttering on summer nights. No more trains running under the surface of cities on the dazzling power of the electric third rail. No more cities. No more films, except rarely, except with a generator drowning out half the dialogue, and only then for the first little while until the fuel for the generators ran out, because automobile gas goes stale after two or three years. Aviation gas lasts longer, but it was difficult to come by. No more screens shining in the half-light as people raise their phones above the crowd to take pictures of concert states. No more concert stages lit by candy-colored halogens, no more electronica, punk, electric guitars. No more pharmaceuticals. No more certainty of surviving a scratch on one's hand, a cut on a finger while chopping vegetables for dinner, a dog bite. No more flight. No more towns glimpsed from the sky through airplane windows, points of glimmering light; no more looking down from thirty thousand feet and imagining the lives lit up by those lights at that moment. No more airplanes, no more requests to put your tray table in its upright and locked position – but no, this wasn't true, there were still airplanes here and there. They stood dormant on runways and in hangars. They collected snow on their wings. In the cold months, they were ideal for food storage. In summer the ones near orchards were filled with trays of fruit that dehydrated in the heat. Teenagers snuck into them to have sex. Rust blossomed and streaked. No more countries, all borders unmanned. No more fire departments, no more police. No more road maintenance or garbage pickup. No more spacecraft rising up from Cape Canaveral, from the Baikonur Cosmodrome, from Vandenburg, Plesetsk, Tanegashima, burning paths through the atmosphere into space. No more Internet. No more social media, no more scrolling through litanies of dreams and nervous hopes and photographs of lunches, cries for help and expressions of contentment and relationship-status updates with heart icons whole or broken, plans to meet up later, pleas, complaints, desires, pictures of babies dressed as bears or peppers for Halloween. No more reading and commenting on the lives of others, and in so doing, feeling slightly less alone in the room. No more avatars.

you remind me of my first concert. The one I told you about on New Year’s. You remind me of the feeling of wanting to make something.

But the one great shocking occasion, when tens or hundreds or thousands will join with you, never comes. That’s the difficulty. If the last and worst act of the whole regime had come immediately after the first and smallest, thousands, yes, millions would have been sufficiently shocked—if, let us say, the gassing of the Jews in ’43 had come immediately after the ‘German Firm’ stickers on the windows of non-Jewish shops in ’33. But of course this isn’t the way it happens. In between come all the hundreds of little steps, some of them imperceptible, each of them preparing you not to be shocked by the next. Step C is not so much worse than Step B, and, if you did not make a stand at Step B, why should you at Step C? And so on to Step D. And one day, too late, your principles, if you were ever sensible of them, all rush in upon you. The burden of self-deception has grown too heavy, and some minor incident, in my case my little boy, hardly more than a baby, saying ‘Jewish swine,’ collapses it all at once, and you see that everything, everything, has changed and changed completely under your nose. The world you live in—your nation, your people—is not the world you were born in at all. The forms are all there, all untouched, all reassuring, the houses, the shops, the jobs, the mealtimes, the visits, the concerts, the cinema, the holidays. But the spirit, which you never noticed because you made the lifelong mistake of identifying it with the forms, is changed. Now you live in a world of hate and fear, and the people who hate and fear do not even know it themselves; when everyone is transformed, no one is transformed. Now you live in a system which rules without responsibility even to God. The system itself could not have intended this in the beginning, but in order to sustain itself it was compelled to go all the way.

She had never lived alone before, and at first found it strange, but gradually had learned to accept it as a blessing and to indulge herself in all sorts of reprehensible ways, like getting up when she felt like it, scratching herself if she itched, sitting up until two in the morning to listen to a concert.

Logan began to sing, a lilting tune I didn't recognize. At first I wondered if we'd seen the band in concert together or had listened to it on one of our first dates. Then he reached the chorus, and the words were us. All my insecurities, all his excesses, all the ways we fought and pushed and pulled. And how it all didn't matter. Those things that tore us apart were no match for forever. ... I'd been so wrong about us. If he'd lived, we would've been happy. Not every day, but over the span of time that made up forever. But he hadn't lived. ... We had lost forever.

And if you wish to receive of the ancient city an impression with which the modern one can no longer furnish you, climb--on the morning of some grand festival, beneath the rising sun of Easter or of Pentecost--climb upon some elevated point, whence you command the entire capital; and be present at the wakening of the chimes. Behold, at a signal given from heaven, for it is the sun which gives it, all those churches quiver simultaneously. First come scattered strokes, running from one church to another, as when musicians give warning that they are about to begin. Then, all at once, behold!--for it seems at times, as though the ear also possessed a sight of its own,--behold, rising from each bell tower, something like a column of sound, a cloud of harmony. First, the vibration of each bell mounts straight upwards, pure and, so to speak, isolated from the others, into the splendid morning sky; then, little by little, as they swell they melt together, mingle, are lost in each other, and amalgamate in a magnificent concert. It is no longer anything but a mass of sonorous vibrations incessantly sent forth from the numerous belfries; floats, undulates, bounds, whirls over the city, and prolongs far beyond the horizon the deafening circle of its oscillations. Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries.

Tanya Robinson is looking at the stage and thinking of the first concert she ever went to—it was the Temps—and how Bobby Wilson kissed her right in the middle of “My Girl.” Very romantic.

He slept once again in the small tent by his side, even though he thought Temeraire was well over his distress, and was rewarded in the morning by being woken early, Temeraire peering into the tent with one great eye and inquiring if perhaps Laurence would like to go to Dover and arrange for the concert today. “I would like to sleep until a civilized hour, but as that is evidently not to be, perhaps I will ask leave of Lenton to go,” Laurence said, yawning as he crawled from the tent. “May I have my breakfast first?” “Oh, certainly,” Temeraire said, with an air of generosity.

Dearest dumpling, one day your imagination is going to get you into trouble," whispered his mother. He would never do that," Pecorino replied. "We're best friends.

The zoo grounds reeked of desolation, but the silence had an undercurrent, a silvery vibe, like the hush of a concert hall just before the first note.

The engineers of human souls'. There were two main problems. The first was that many people did not want their souls to be egineered, thank you very much. They were content with their souls being left as they were when they had come into this world; and when you tried to lead them, they resisted. Come to this free open-air concert, comrade. Oh, we really think you should attend. Yes, of course, it is voluntary, but it might be a mistake if you didn't show your face... And the second problem with engineering human souls was more basic. It was this: who engineers the engineers?

Create your own community of liberation. From this moment on, direct your most concerted efforts, your best work, and your greatest feats of imagination toward creating the impossible community, and do so first of all precisely where you are, with those around you.

An LSD experience without the LSD" -that was a laugh. In fact, the heads are pouring in by the hundreds, bombed out of their gourds, hundreds of heads coming out into the absolute open for the first time. It is like the time the Pranksters went to the Beatles concert in full costume, looking so bizarre and so totally smoked that no one could believe they were. Nobody would risk it in public like that. Well the kids are just having an LSD experience without the LSD, that's all, and this is what it looks like. A hulking crazed whirlpool. That's nice.

Revolt begins first in the human heart. But there comes a time when revolt spreads from heart to spirit, when a feeling becomes an idea, when impulse leads to concerted action. This is the moment of revolution.

It has been said that life has no guarantees and with that I disagree. Life gives us two great assurances and the first is that we have our personal allocation of time. For some it is only a minute and for others a century or more. Like a great inheritance of calendars and clocks, we are measured a portion of time to have as our own. The rhythm of your heart is your concert of life and no others. The impressions and thoughts of daily events are independent of any other person. We are magnificently autonomous and gifted with a liberation waiting to happen.

I don’t believe in any actual thinking God that marks the fall of every bird in Australia or every bug in India, a God that records all our sins in a big golden book and judges us when we die—I don’t want to believe in a God who would deliberately create bad people and then deliberately send them to roast in a hell He created—but I believe there has to be something. Yeah, something. Some kind of insensate force for the good … I think there’s a force that keeps drunken teenagers—most drunken teenagers—from crashing their cars when they’re coming home from the senior prom or their first big rock concert.That keeps most planes from crashing even when something goes wrong. Not all, just most. Hey, the fact that no one’s used a nuclear weapon on actual living people since 1945 suggests that there has to be something on our side. Sooner or later someone will, of course, but over a half a century … that’s a long time. There’s something that keeps most of us from dying in our sleep. No perfect loving all-seeing God, I don’t think the evidence supports that, but a force.

Well, Nero," Genghis said, "I just wanted to give you this rose-a small gift of congratulations for the wonderful concert you gave us last night!" "Oh, thank you," Nero said, taking the rose out of Genghis's hand and giving it a good smell. "I was wonderful, wasn't I?" "You were perfection!" Genghis said. "The first time you played your sonata, I was deeply moved. The second time, I had tears in my eyes. The third time, I was sobbing. The fourth time, I had an uncontrollable emotional attack. The fifth time-" The Baudelaires did not hear about the fifth time because Nero's door swung shut behind them.

I once told Amanda, my best friend in high school, that I could never be with someone who wasn’t excited by rainstorms. So when the first one came, it was a kind of test. It was one of those sudden storms, and when we left Radio City, we found hundreds of people skittishly sheltered under the overhang. “What should we do?” I asked. And you said, “Run!” So that's what we did - rocketing down Sixth Avenue, dashing around the rest of the post-concert crowd, splashing our tracks until our ankles were soaked. You took the lead, and I started to lose my sprint. But then you looked back, stopped, and waited for me to catch up, for me to take your hand, for us to continue to run in the rain, drenched and enchanted, my words to Amanda no longer feeling like a requirement, but a foretelling.

Brian came in heavy at that moment on his guitar, the rapid, high-pitched squeal ranging back and forth as his fingers flew along the frets. As the intro's tempo grew more rapid, Bekka heard Derek's subtle bass line as it worked its way in. After another few seconds Will came in, slow at first, but racing along to match the others' pace. When their combined efforts seemed unable to get any heavier, David jumped into the mix. As the sound got nice and heavy, Bekka began to rock back-and-forth onstage. In front of her, hundreds of metal-lovers began to jump and gyrate to their music. She matched their movements for a moment, enjoying the connection that was being made, before stepping over to the keyboard that had been set up behind her. Sliding her microphone into an attached cradle, she assumed her position and got ready. Right on cue, all the others stopped playing, throwing the auditorium into an abrupt silence. Before the crowd could react, however, Bekka's fingers began to work the keys, issuing a rhythm that was much softer and slower than what had been built up. The audience's violent thrash-dance calmed at that moment and they began to sway in response. Bekka smiled to herself. This is what she lived for.

Europe, it is true, is a geographical and, within certain limits, an historical cultural conception. But the idea of Europe as an economic unit contradicts capitalist development in two ways. First of all there exist within Europe among the capitalist States – and will so long as these exist – the most violent struggles of competition and antagonisms, and secondly the European States can no longer get along economically without the non-European countries. ... At the present stage of development of the world market and of world economy, the conception of Europe as an isolated economic unit is a sterile concoction of the brain. ... And if the idea of a European union in the economic sense has long been outstripped, this is no less the case in the political sense. .... Only were one suddenly to lose sight of all these happenings and manoeuvres, and to transfer oneself back to the blissful times of the European concert of powers, could one say, for instance, that for forty years we have had uninterrupted peace. This conception, which considers only events on the European continent, does not notice that the very reason why we have had no war in Europe for decades is the fact that international antagonisms have grown infinitely beyond the narrow confines of the European continent, and that European problems and interests are now fought out on the world seas and in the by-corners of Europe.

Pardon me,” said Glokta, wiping his running eye with a finger, “but I spent two years in the Emperor’s prisons. I daresay, if I had known I’d be there half that long at the start, I would have made a more concerted effort to kill myself. Seven hundred days, give or take, in the darkness. As close to hell, I would have thought, as a living man can go. My point is this – if you mean to upset me, you'll need more than harsh language.

The way contemporary history is told is like a huge concert where they present all of Beethoven’s one hundred thirty-eight opuses one after the other, but actually play just the first eight bars of each.

I suggested that we might buy one hundred seats for one of Rochester's symphony concerts. We would select a concert in which the music would be relatively quiet. The hundred blacks who would be given tickets would first be treated to a three-hour pre-concert dinner in the community, in which they would be fed nothing but baked beans, and lots of them; them the people would go to the symphony hall--with obvious consequences.

In the end—as in the beginning—it is the authentic performance of the Beatles’ peculiar, elaborate, unfettered art that matters. It is the performance that makes the text possible in the first place, that imbues it with the heartbreaking reality of our transitory existence. It is the impermanence of the moment—rendered seemingly permanent by magnetic tape and celluloid—that is so vexing in its realness that it somehow seems immutable. Take the rooftop concert, with London’s blustery, wintry winds swirling up from the streetscape as John, Paul, George, and Ringo make one last play for greatness after a month of soul-destroying misery. They climbed the stairs above 3 Savile Row and willed a final, breathtaking performance for the ages. It is the primal image of the Beatles having become lost in the pure joy of their sound, just as they had done so many years before in the Cavern and not so very long ago in Studio Two. Everything else—the gossip, the intrigue, the emotional collapse—suddenly becomes moot, irrelevant even, as Ringo keeps the backbeat strong and true on his Ludwigs, while George furrows his brow as he drives his Rosewood Telecaster home. And John and Paul, smiling at each other across the staves of memory, play their hearts out one more time. The rest is silence.

Worldly Christians look to God primarily for personal fulfillment. They are saved, but self-centered. They love to attend concerts and enrichment seminars, but you would never find them at a missions conference because they aren’t interested. Their prayers focus on their own needs, blessings, and happiness. It’s a “me-first” faith: How can God make my life more comfortable? They want to use God for their purposes instead of being used for his purposes.

Pardon me,’ said Glokta, wiping his running eye with a finger, ‘but I spent two years in the Emperor’s prisons. I daresay, if I had known I’d be there half that long at the start, I would have made a more concerted effort to kill myself.

For thousands of years, civilization did not lend itself to peaceful equalization. Across a wide range of societies and different levels of development, stability favored economic inequality. This was as true of Pharaonic Egypt as it was of Victorian England, as true of the Roman Empire as of the United States. Violent shocks were of paramount importance in disrupting the established order, in compressing the distribution of income and wealth, in narrowing the gap between rich and poor. Throughout recorded history, the most powerful leveling invariably resulted from the most powerful shocks. Four different kinds of violent ruptures have flattened inequality: mass mobilization warfare, transformative revolution, state failure, and lethal pandemics. I call these the Four Horsemen of Leveling. Just like their biblical counterparts, they went forth to “take peace from the earth” and “kill with sword, and with hunger, and with death, and with the beasts of the earth.” Sometimes acting individually and sometimes in concert with one another, they produced outcomes that to contemporaries often seemed nothing short of apocalyptic. Hundreds of millions perished in their wake. And by the time the dust had settled, the gap between the haves and the have-nots had shrunk, sometimes dramatically.

A beautifully told story is a symphonic unity in which structure, setting, character, genre, and idea meld seamlessly. To find their harmony, the writer must study the elements of story as if they were instruments of an orchestra—first separately, then in concert.

He did. He researched her. Someone told him that she had a special interest in John Milton. It did not take long to discover the century to which this man belonged. A third-year literature student in Beard’s college who owed him a favor (for procuring tickets to a Cream concert) gave him an hour on Milton, what to read, what to think. He read “Comus” and was astounded by its silliness. He read through “Lycidas,” “Samson Agonistes,” and “Il Penseroso”— stilted and rather prissy in parts, he thought. He fared better with “Paradise Lost” and, like many before him, preferred Satan’s party to God’s. He, Beard, that is, memorized passages that appeared to him intelligent and especially sonorous. He read a biography, and four essays that he had been told were pivotal. The reading took him one long week. He came close to being thrown out of an antiquarian bookshop in the Turl when he casually asked for a first edition of “Paradise Lost.” He tracked down a kindly tutor who knew about buying old books and confided to him that he wanted to impress a girl with a certain kind of present, and was directed to a bookshop in Covent Garden where he spent half a term’s money on an eighteenth-century edition of “Areopagitica.” When he speed-read it on the train back to Oxford, one of the pages cracked in two. He repaired it with Sellotape.

They went to concerts and the opera and took French lessons outside of school and then went to actual France and they became sophisticated in a way that she wasn’t—in a way she’d never be because sophistication is either your first language or you always have an accent in it.

The only times she ever felt at peace now were at his concerts. Then she could sit quietly, watching him, and sate her heart. In his music was where he lived and revived, and where she'd first loved him. And she knew, always, always when she was there, that he played for her.

Her description of a perfect day sounds perfectly ordinary: “I will sleep long, have a relaxed breakfast. Then I’ll go out for some fresh air, chat with my husband or with friends. I might go to the theater, to the opera, or listen to a concert. If I’m rested, I might read a good book. And I would cook dinner. I like cooking!” These are the dreams of a person who had not been truly free for the last sixteen years. Though no longer young, Merkel is spry enough to enjoy the simplest of pleasures: country rambles, leisurely meals with (nonpolitical) friends, and music and books instead of charts, polls, and position papers. These pleasures will not replace the satisfaction of outsmarting a foe with her legendary stamina and command of facts. But, never one to ruminate over feelings, she will observe her own reaction to this new life with a scientist’s curiosity. In the short term, she is likely to spend time near her childhood home in the province of Brandenburg, where she first learned to love nature and which she still regards as her Heimat, or spiritual home. She’ll travel, too. Among her stated dreams is to fly over the Andes Mountains—an idealized destination; a metaphor for freedom.

You know, the sound of a 45 rpm record being played at 33 rpm. But as soon as I remembered that this is a CD and not vinyl, I could only marvel at the fact that these guys are so gol-darned HEAVY [author’s emphasis].”25 In an interview with the now-defunct influential extreme hardcore band Lärm, a band member recalls an incident in which the band’s definition of music collided with a sound engineer’s more mainstream ditto: “The sound check of our first concert ever was funny, the PA guy kept asking us when we were actually going to play a song…we already played three, we said.He shut down the PA and left…

At first I would be taken aback by that observation, then I would think of them seeing other drummers on television, often faking it or playing less physically demanding music, and understood why they had that impression. I guess drumming wasn't hard work for every drummer, but it certainly was for me, the way I liked to play — as hard as I could, as fast as I could, as long as I could, and as well as I could. Playing a Rush concert was the hardest job I knew, and took everything I had, mentally and physically. I once compared it to running a marathon while solving equations, and that was a good enough analogy.

But it was not in Mr. Gruber's nature to look for reasons. That was why he was an ideal secretary. He had been given much fancier assignments in the past. Find out by six in the evening whether Hubermann played any Tschaikovsky after the first intermission of his concert in Brussels last year. Produce a narwhal tusk at least five feet long by eight o'clock Thursday morning. Buy, in your own name, the Domino Motion Picture Theater in Zurich. On Wednesday afternoon between five and six in the Café Meteor in Budapest, slap the face of a character known as Ervin Kugyec. A good secretary does not look for reasons but gets results.

my best friend tell me that to her the concert wasn’t about the band—it was about us, it was about the fact that we were there together, that the music itself was secondary to our world, merely something that colored it, spoke to it. That’s why all those records from high school sound so good. It’s not that the songs were better—it’s that we were listening to them with our friends, drunk for the first time on liqueurs, touching sweaty palms, staring for hours at a poster on the wall, not grossed out by carpet or dirt or crumpled, oily bedsheets. These songs and albums were the best ones because of how huge adolescence felt then, and how nostalgia recasts it now.

The people’s right to know”—the people’s right to know what? Daniel Shipstone, having first armed himself with great knowledge of higher mathematics and physics, went down into his basement and patiently suffered seven lean and weary years and thereby learned an applied aspect of natural law that let him construct a Shipstone. Any and all of “the people” are free to do as he did—he did not even take out a patent. Natural laws are freely available to everyone equally, including flea-bitten Neanderthals crouching against the cold. In this case, the trouble with “the people’s right to know” is that it strongly resembles the “right” of someone to be a concert pianist—but who does not

Listening to the radio, I heard the story behind rocker David Lee Roth’s notorious insistence that Van Halen’s contracts with concert promoters contain a clause specifying that a bowl of M&M’s has to be provided backstage, but with every single brown candy removed, upon pain of forfeiture of the show, with full compensation to the band. And at least once, Van Halen followed through, peremptorily canceling a show in Colorado when Roth found some brown M&M’s in his dressing room. This turned out to be, however, not another example of the insane demands of power-mad celebrities but an ingenious ruse. As Roth explained in his memoir, Crazy from the Heat, “Van Halen was the first band to take huge productions into tertiary, third-level markets. We’d pull up with nine eighteen-wheeler trucks, full of gear, where the standard was three trucks, max. And there were many, many technical errors—whether it was the girders couldn’t support the weight, or the flooring would sink in, or the doors weren’t big enough to move the gear through. The contract rider read like a version of the Chinese Yellow Pages because there was so much equipment, and so many human beings to make it function.” So just as a little test, buried somewhere in the middle of the rider, would be article 126, the no-brown-M&M’s clause. “When I would walk backstage, if I saw a brown M&M in that bowl,” he wrote, “well, we’d line-check the entire production. Guaranteed you’re going to arrive at a technical error.… Guaranteed you’d run into a problem.” These weren’t trifles, the radio story pointed out. The mistakes could be life-threatening. In Colorado, the band found the local promoters had failed to read the weight requirements and the staging would have fallen through the arena floor.

Duran Duran chose me—I had no choice in the matter. I still remember, clear as day, the first time I saw the “Hungry Like the Wolf” video. It was like I was being possessed. From then on, everything was different: Everything I thought and felt was in the name of Duran Duran. I traveled to their concerts and waited outside their hotels and recording studios. I ran an internationally known Duranzine before pursuing a career in entertainment journalism just so I could be paid to be near them. I married a man named Simon, only to divorce him for an even hotter guy named John. I have lived for them, lied for them, and questioned my own sanity over them. And I’d do it all again. Don’t say a prayer for me now—save it ’til the morning after!

OPEN YOURSELF TO SERENDIPITY Chance encounters can also provide enormous benefits for your projects—and your life. Being friendly while standing in line for coffee at a conference might lead to a conversation, a business card exchange, and the first investment in your company a few months later. The person sitting next to you at a concert who chats you up during intermission might end up becoming your largest customer. Or, two strangers sitting in a nail salon exchanging stories about their families might lead to a blind date, which might lead to a marriage. (This is how I met my wife. Lucky for me, neither stranger had a smartphone, so they resorted to matchmaking.) I am consistently humbled and amazed by just how much creation and realization is the product of serendipity. Of course, these chance opportunities must be noticed and pursued for them to have any value. It makes you wonder how much we regularly miss. As we tune in to our devices during every moment of transition, we are letting the incredible potential of serendipity pass us by. The greatest value of any experience is often found in its seams. The primary benefits of a conference often have nothing to do with what happens onstage. The true reward of a trip to the nail salon may be more than the manicure. When you value the power of serendipity, you start noticing it at work right away. Try leaving the smartphone in your pocket the next time you’re in line or in a crowd. Notice one source of unexpected value on every such occasion. Develop the discipline to allow for serendipity.

I didn’t know about all that, only that Texas had ZZ Top. The show, my first rock concert, took place in a huge outdoor field called Kings Village and featured five bands. It had rained the day before, and I ended up blasted drunk, falling around in the mud, and throwing up next to a row of reeking portable toilets before ZZ Top even made it to the stage. I thought it was one of the best days ever.

Pretty sure I can. You signed the contract. You’re a witness that he owes me this. And before you get high and mighty about it, why didn’t you just use your own money to take out Persia? I mean, it’s kind of your fault he’s in this position in the first place, isn’t it?” “I’d have had money if he hadn’t ‘borrowed’ it from me for a concert ticket he couldn’t afford,” Bas snaps. “You’re not the only one he screwed over.

This brings us to the crux moment in the supposed 'Show Trial' melodrama. Employing the confusing and confused testimony of Jude Wanniski (who he also describes as a political nut-case, if not a nut-case flat-out, and to whom he introduced me in the first place) Blumenthal suggests that I concerted my testimony in advance with the House Republicans, notably James Rogan and Lindsey Graham. Feebly bridging the gap between sheer conjecture and outright conspiracy, Rogan is quoted as saying: 'Hitchens may well have called Lindsey..' I did not in fact do any such thing. Why should my denial be believed? It's not as if I care. I probably should have colluded with them, if my intention was to land a blow on Clinton (which it was) let alone to plant a Judas kiss on Blumenthal (which it was not). But every other fragment of Blumenthal's evidence and description shows—even boasts—that Congressman Graham was essentially punching air until the last day of the trial. That could not possibly have been true, especially in his cross-examination of Blumenthal, if he knew he had an ace in his vest-pocket all along. Only a tendency to paranoia or to all-explaining theories could suggest the contrary. I'd even be able to claim for myself, I hope, that if I'd truly wanted to gouge a deep or vengeful wound I could or would have made a better job of it.

I played the last Born This Way ball here in Montreal. I was so badly injured, and I had been injured for like, a few shows. And I didn’t want anybody to know, because I didn’t want to disappoint fans, and I didn’t want to cancel. I remember, I was dancing on the stage - Sheisse - with a big castle behind me, and I was in some kinda fuckin’ pain, I’ll tell you. But you just kept cheering, all of you kept cheering for me. And I never told any of you what was wrong, I never said anything. But when I was saying goodbye, some fans that I picked out of the pit, backstage.. These two girls looked at me, and I’ll never forget it. They passed me a McQueen cane with a skull on it. And they looked right at me, and I knew that they knew I needed the cane to walk. I don’t know how they knew, or why they brought it, but it was one of the most special moments of my life, I’ll never forget it. That you could feel what I was thinking, like we’re one. We are friends. I made a decision on that day, and I thought I had made it long ago.. that I would never let you down again, and I would always put my fans first. The music, the magic of this music and these concerts, I hope that you remember them forever. You pretty girls putting flowers in each others hair… And you sweet boys, painting your faces like the sad clown that I was when I no longer heard your applause. How you whisper to each others ears, and you whisper, its okay. I was born this way. I will never forget these moments. you’re my little gypsy kingdom, and I love you.

Eventually Frances was credited with writing 325 scripts covering every conceivable genre. She also directed and produced half a dozen films, was the first Allied woman to cross the Rhine in World War I, and served as the vice president and only woman on the first board of directors of the Screen Writers Guild. She painted, sculpted, spoke several languages fluently, and played “concert caliber” piano. Yet she claimed writing was “the refuge of the shy” and she shunned publicity; she was uncomfortable as a heroine, but she refused to be a victim.

It is unlikely you will truly get the feeling of the violin until you have been studying for at least a year -- perhaps even two. Then one day the sheer pleasure of playing the instrument will suddenly flow over you. Perhaps it will be when you hear a fine string quartet. Maybe the revelation will come at the concert of an outstanding string orchestra, or better yet, when you are asked to sit in one made of boys and girls your own age. In any case, you will hear the singing strings clearly -- perhaps for the first time -- as the pure, jubilant spirit of music.

Pain never stops sounding the alarm; she never falls asleep on the job. At the moment we shut down our hearts, or begin entertaining harmful beliefs as ultimate truth, or interpret our experiences in a way that hinders our evolution, Pain starts poking us…just a little at first but if we ignore her, she'll start clanging cymbals in our ears until we acknowledge her presence. Pain is a message, a signal, an alert. Pain is Truth's formless, eternal Sentinel. Pain is indeed the Great Teacher, and she works in concert with Truth to purify consciousness and allow transmutation.

A colleague told me that he thinks of his life as an orchestra. Reclaiming his integrity reminds him of that moment before the concert when the concertmaster asks the oboist to sound an A. 'At first there is chaos and noise as all parts of the orchestra try to align themselves with that note. But as each instrument moves closer and closer to it, the noise diminishes and when they all finally sound it together, there is a moment of rest, of homecoming.' 'That is how it feels to me,' he told me. 'I am always tuning my orchestra. Somewhere deep inside there is a sound that is mine alone, and I struggle daily to hear it and tune my life to it. Sometimes there are people and situations that help me to hear my note more clearly; other times, people and situations make it harder for me to hear. A lot depends on my commitment to listening and my intention to stay coherent with this note. It is only when my life is tuned to my note that I can play life's mysterious and holy music without tainting it with my own discordance, my own bitterness, resentment, agenda, and fears.' Deep inside, our integrity sings to us whether we are listening or not. It is a note that only we can hear.

raving maniacs, half paralysed with hunger and fear’. In collaboration with an UNRRA team, the soldiers took over a former Napola School at Feldafing, drafted many of its German staff, including cooks and medical personnel, and turned it into a refugee camp, with a nearby hotel requisitioned as hospital accommodation. The number of inmates rapidly grew to some 4,000. By the end of May 1945, the camp had experienced its first survivor wedding and those in the hospital – now moved to a former monastery – had been treated to a concert by the Kovno Ghetto orchestra, dressed in their striped concentration-camp pyjamas.

Harvard psychologist Daniel Gilbert talks about this phenomenon in his 2006 book, Stumbling on Happiness. “The greatest achievement of the human brain is its ability to imagine objects and episodes that do not exist in the realm of the real,” he writes. “The frontal lobe—the last part of the human brain to evolve, the slowest to mature, and the first to deteriorate in old age—is a time machine that allows each of us to vacate the present and experience the future before it happens.” This time travel into the future—otherwise known as anticipation—accounts for a big chunk of the happiness gleaned from any event. As you look forward to something good that is about to happen, you experience some of the same joy you would in the moment. The major difference is that the joy can last much longer. Consider that ritual of opening presents on Christmas morning. The reality of it seldom takes more than an hour, but the anticipation of seeing the presents under the tree can stretch out the joy for weeks. One study by several Dutch researchers, published in the journal Applied Research in Quality of Life in 2010, found that vacationers were happier than people who didn’t take holiday trips. That finding is hardly surprising. What is surprising is the timing of the happiness boost. It didn’t come after the vacations, with tourists bathing in their post-trip glow. It didn’t even come through that strongly during the trips, as the joy of travel mingled with the stress of travel: jet lag, stomach woes, and train conductors giving garbled instructions over the loudspeaker. The happiness boost came before the trips, stretching out for as much as two months beforehand as the holiday goers imagined their excursions. A vision of little umbrella-sporting drinks can create the happiness rush of a mini vacation even in the midst of a rainy commute. On some level, people instinctively know this. In one study that Gilbert writes about, people were told they’d won a free dinner at a fancy French restaurant. When asked when they’d like to schedule the dinner, most people didn’t want to head over right then. They wanted to wait, on average, over a week—to savor the anticipation of their fine fare and to optimize their pleasure. The experiencing self seldom encounters pure bliss, but the anticipating self never has to go to the bathroom in the middle of a favorite band’s concert and is never cold from too much air conditioning in that theater showing the sequel to a favorite flick. Planning a few anchor events for a weekend guarantees you pleasure because—even if all goes wrong in the moment—you still will have derived some pleasure from the anticipation. I love spontaneity and embrace it when it happens, but I cannot bank my pleasure solely on it. If you wait until Saturday morning to make your plans for the weekend, you will spend a chunk of your Saturday working on such plans, rather than anticipating your fun. Hitting the weekend without a plan means you may not get to do what you want. You’ll use up energy in negotiations with other family members. You’ll start late and the museum will close when you’ve only been there an hour. Your favorite restaurant will be booked up—and even if, miraculously, you score a table, think of how much more you would have enjoyed the last few days knowing that you’d be eating those seared scallops on Saturday night!

When I was drinking I was doing it to suppress emotion, yes, but I was also doing it because it made me, for the first time in my life, able to be King Extrovert. And I loved that feeling. Under the influence of alcohol I could socialize with friends for hours, and not get drained. I could go to packed stadiums to watch games or concerts, and not get drained. I could flirt and mingle and chat with dozens of people over the course of a night and not…get…drained. It was like a miracle pill that erased all the parts of myself I had struggled with for years. The shyness, the awkward way I made small talk, the pounding headaches I got after too much noise and too many bright lights.

Careful attention to thinking is what first sets the leader apart. We introduced this idea in the chapter on convictional intelligence, but here we want to take it a step farther. The fact is that most human beings evidently do not like to think. At the very least, most seem quite satisfied never to think in a concerted, critical, and careful way. Such leaders never think strategically, consistently, or critically. They go from thought to thought without reflection, analysis, or questioning their own decisions. They operate at the basic level of thinking, and they think about the things that interest them, but they are not seriously interested in the process and quality of thought.

He was not only playing now, but playing everything before now, that miracle of a concert at Esterhazy, the way they'd sung at Carnegie Hall the first time. Time rolled out through his arm in hot waves. And though he was still playing, he looked around (no longer bound by time, anyway.) Jana, wide-eyed and angular, only her parted lips betraying the glass-like fragility he loved in her. Brit, round-faced, still freckled, more freckled after all these years, not looking at him, giving him his space, which he appreciated. And Daniel, glancing at him with no expression at first and the subtlest of understanding, continuing to play his own rock-solid part, even leading a little extra, picking up whatever Henry had left behind.

I don’t know if once you die you remember things that happened to you when you were alive. It makes a certain logical sense that you wouldn’t. That being dead will feel like before you were born, which is to say, a whole lot of nothingness. Except that for me, at least, my prebirth years aren’t entirely blank. Every now and again, Mom or Dad will be telling a story about something, about Dad catching his first salmon with Gramps, or Mom remembering the amazing Dead Moon concert she saw with Dad on their first date, and I’ll have an overpowering déjà vu. Not just a sense that I’ve heard the story before, but that I’ve lived it. I can picture myself sitting on the riverbank as Dad pulls a hot-pink coho out of the water, even though Dad was all of twelve at the time.

A group of grandmothers is a tapestry. A group of toddlers, a jubilance (see also: a bewailing). A group of librarians is an enlightenment. A group of visual artists is a bioluminescence. A group of short story writers is a Flannery. A group of musicians is--a band. A resplendence of poets. A beacon of scientists. A raft of social workers. A group of first responders is a valiance. A group of peaceful protestors is a dream. A group of special education teachers is a transcendence. A group of neonatal ICU nurses is a divinity. A group of hospice workers, a grace. Humans in the wild, gathered and feeling good, previously an exhilaration, now: a target. A target of concert-goers. A target of movie-goers. A target of dancers. A group of schoolchildren is a target.

The next morning, of course, Betsy made a list. Lists were always her comfort. For years she had made lists of books she must read, good habits she must acquire, things she must do to make herself prettier—like brushing her hair a hundred strokes at night, and manicuring her fingernails, and doing calisthenics before an open window in the morning. (That one hadn’t lasted long.) It was fun making this list, sitting in bed with her breakfast tray on her lap…hot chocolate, crisp hard rolls, and a pat of butter. Hanni had brought it to her after closing the windows and pushing back the velvet draperies. Betsy felt like a heroine in one of her own stories; their maids always awakened them that way. 1. Learn the darn money. 2. Study German. (You’ve forgotten all you knew.) 3. Buy a map and learn the city—from end to end, as you told Papa you would. 4. Read the history of Bavaria. You must have it for background. 5. Go to the opera. (You didn’t stay in Madeira because Munich is such a center for music and art???) 6. Go to the art galleries. (Same reason.) 7. Write! Full of enthusiasm, she planned a schedule. First, each morning, she would have her bath, and then write until noon. After the midday dinner she would go out and learn the city. She would go to the galleries, museums, and churches. She would have coffee out—for atmosphere. “Then I’ll come home and study German and read Bavarian history. And after supper…” she tried not to remember the look of that dining room…“I’ll write my diary-letter, except when I go to the opera or concerts.

AN INCOMPLETE LIST: No more diving into pools of chlorinated water lit green from below. No more ball games played out under floodlights. No more porch lights with moths fluttering on summer nights. No more trains running under the surface of cities on the dazzling power of the electric third rail. No more cities. No more films, except rarely, except with a generator drowning out half the dialogue, and only then for the first little while until the fuel for the generators ran out, because automobile gas goes stale after two or three years. Aviation gas lasts longer, but it was difficult to come by. No more screens shining in the half-light as people raise their phones above the crowd to take photographs of concert stages. No more concert stages lit by candy-colored halogens, no more electronica, punk, electric guitars. No more pharmaceuticals. No more certainty of surviving a scratch on one’s hand, a cut on a finger while chopping vegetables for dinner, a dog bite. No more flight. No more towns glimpsed from the sky through airplane windows, points of glimmering light; no more looking down from thirty thousand feet and imagining the lives lit up by those lights at that moment. No more airplanes, no more requests to put your tray table in its upright and locked position—but no, this wasn’t true, there were still airplanes here and there. They stood dormant on runways and in hangars. They collected snow on their wings. In the cold months, they were ideal for food storage. In summer the ones near orchards were filled with trays of fruit that dehydrated in the heat. Teenagers snuck into them to have sex. Rust blossomed and streaked. No more countries, all borders unmanned. No more fire departments, no more police. No more road maintenance or garbage pickup. No more spacecraft rising up from Cape Canaveral, from the Baikonur Cosmodrome, from Vandenburg, Plesetsk, Tanegashima, burning paths through the atmosphere into space. No more Internet. No more social media, no more scrolling through litanies of dreams and nervous hopes and photographs of lunches, cries for help and expressions of contentment and relationship-status updates with heart icons whole or broken, plans to meet up later, pleas, complaints, desires, pictures of babies dressed as bears or peppers for Halloween. No more reading and commenting on the lives of others, and in so doing, feeling slightly less alone in the room. No more avatars.

I was dissatisfied with my 1967 manuscript and decided to rewrite the book. It was the first of September, and I said to myself, “If I do not have the finished manuscript in Faber’s hands by September 10, I shall have to kill myself.” And under this threat, I started writing. Within a day or so, the feeling of threat had disappeared, and the joy of writing took over. I was no longer using drugs, but it was a time of extraordinary elation and energy. It seemed to me almost as though the book were being dictated, everything organizing itself swiftly and automatically. I would sleep for just a couple of hours a night. And a day ahead of schedule, on September 9, I took the book to Faber & Faber. Their offices were in Great Russell Street, near the British Museum, and after dropping off the manuscript, I walked over to the museum. Looking at artifacts there — pottery, sculptures, tools, and especially books and manuscripts, which had long outlived their creators — I had the feeling that I, too, had produced something. Something modest, perhaps, but with a reality and existence of its own, something that might live on after I was gone. I have never had such a strong feeling, a feeling of having made something real and of some value, as I did with that first book, which was written in the face of such threats from Friedman and, for that matter, from myself. Returning to New York, I felt a sense of joyousness and almost blessedness. I wanted to shout, “Hallelujah!” but I was too shy. Instead, I went to concerts every night — Mozart operas and Fischer-Dieskau singing Schubert — feeling exuberant and alive.

What to Make a Game About? Your dog, your cat, your child, your boyfriend, your girlfriend, your mother, your father, your grandmother, your friends, your imaginary friends, your summer vacation, your winter in the mountains, your childhood home, your current home, your future home, your first job, your worst job, the job you wish you had. Your first date, your first kiss, your first fuck, your first true love, your second true love, your relationship, your kinks, your deepest secrets, your fantasies, your guilty pleasures, your guiltless pleasures, your break-up, your make-up, your undying love, your dying love. Your hopes, your dreams, your fears, your secrets, the dream you had last night, the thing you were afraid of when you were little, the thing you’re afraid of now, the secret you think will come back and bite you, the secret you were planning to take to your grave, your hope for a better world, your hope for a better you, your hope for a better day. The passage of time, the passage of memory, the experience of forgetting, the experience of remembering, the experience of meeting a close friend from long ago on the street and not recognizing her face, the experience of meeting a close friend from long ago and not being recognized, the experience of aging, the experience of becoming more dependent on the people who love you, the experience of becoming less dependent on the people you hate. The experience of opening a business, the experience of opening the garage, the experience of opening your heart, the experience of opening someone else’s heart via risky surgery, the experience of opening the window, the experience of opening for a famous band at a concert when nobody in the audience knows who you are, the experience of opening your mind, the experience of taking drugs, the experience of your worst trip, the experience of meditation, the experience of learning a language, the experience of writing a book. A silent moment at a pond, a noisy moment in the heart of a city, a moment that caught you unprepared, a moment you spent a long time preparing for, a moment of revelation, a moment of realization, a moment when you realized the universe was not out to get you, a moment when you realized the universe was out to get you, a moment when you were totally unaware of what was going on, a moment of action, a moment of inaction, a moment of regret, a moment of victory, a slow moment, a long moment, a moment you spent in the branches of a tree. The cruelty of children, the brashness of youth, the wisdom of age, the stupidity of age, a fairy tale you heard as a child, a fairy tale you heard as an adult, the lifestyle of an imaginary creature, the lifestyle of yourself, the subtle ways in which we admit authority into our lives, the subtle ways in which we overcome authority, the subtle ways in which we become a little stronger or a little weaker each day. A trip on a boat, a trip on a plane, a trip down a vanishing path through a forest, waking up in a darkened room, waking up in a friend’s room and not knowing how you got there, waking up in a friend’s bed and not knowing how you got there, waking up after twenty years of sleep, a sunset, a sunrise, a lingering smile, a heartfelt greeting, a bittersweet goodbye. Your past lives, your future lives, lies that you’ve told, lies you plan to tell, lies, truths, grim visions, prophecy, wishes, wants, loves, hates, premonitions, warnings, fables, adages, myths, legends, stories, diary entries. Jumping over a pit, jumping into a pool, jumping into the sky and never coming down. Anything. Everything.

Hermetics teaches us that all the universe is in vibration, from the lowest planes to the highest planes. Just like a piano, being played by a concert pianist, vibrates from its lowest notes, to its highest. For too long spiritual writers and thinkers have portrayed a universe that is hierarchical, the bottom being bad/evil/materialistic, and the top being exalted/good/spiritual. For many of us, our religious upbringing consisted of learning the physical body was 'sinful' and that the only thing of value in a human being was the soul or spirit. Unfortunately, the echoes of that body/soul dichotomy are still found in the writings of some modern metaphysical thinkers. They are fond of talking about 'raising one's vibrations,' as if being on the twelfth floor of a building was superior to being on the first floor! If that were the case, elevators would be holy objects, and we'd all have achieved illumination by now.

Unlike European empires, ours was supposed to entail a concert of equal, sovereign democratic American republics, with shared interests and values, led but not dominated by the United States—a conception of empire that remains Washington’s guiding vision. The same direction of influence is evident in any number of examples. The United States’s engagement with the developing world after World War II, for instance, is often viewed as an extension of its postwar policies in Europe and Japan, yet that view has it exactly backwards. Washington’s first attempts, in fact, to restructure another country’s economy took place in the developing world—in Mexico in the years after the American Civil War and in Cuba following the Spanish-American War. “We should do for Europe on a large scale,” remarked the U.S. ambassador to England in 1914, “essentially what we did for Cuba on a small scale and thereby usher in a new era of human history.

I had a friend who would take me to church in South Los Angeles. She knew when the best touring gospel bands were coming through, and though I had absolutely zero interest in the concept of god and an open disdain for religion, I went for the music. The bands were on fire, the singing made me shiver with emotion, and the crowd was crazy into it. More intense than any punk rock concert; elderly women jerking their bodies around like wild, people yelling stuff out, the band thumping away like mad, and everyone in the room just absolutely focused, gone into it, believing. I loved it. On one of those Jesus Sundays I got to talking to one of the parishioners, and when I told him I didn’t believe in the Bible, that I was just there for the music, he was totally cool and welcomed me back the following week, even though I was shabbily dressed and the only white person in the place. That’s the first time I considered that church could possibly be a good thing.

More specifically, this book will try to establish the following points. First, there are not two great liberal social and political systems but three. One is democracy—political liberalism—by which we decide who is entitled to use force; another is capitalism—economic liberalism—by which we decide how to allocate resources. The third is liberal science, by which we decide who is right. Second, the third system has been astoundingly successful, not merely as a producer of technology but also, far more important, as a peacemaker and builder of social bridges. Its great advantages as a social system for raising and settling differences of opinion are inherent, not incidental. However, its disadvantages—it causes pain and suffering, it creates legions of losers and outsiders, it is disorienting and unsettling, it allows and even thrives on prejudice and bias—are also inherent. And today it is once again under attack. Third, the attackers seek to undermine the two social rules which make liberal science possible. (I’ll outline them in the next chapter and elaborate them in the rest of the book.) For the system to function, people must try to follow those rules even if they would prefer not to. Unfortunately, many people are forgetting them, ignoring them, or carving out exemptions. That trend must be fought, because, fourth, the alternatives to liberal science lead straight to authoritarianism. And intellectual authoritarianism, although once the province of the religious and the political right in America, is now flourishing among the secular and the political left. Fifth, behind the new authoritarian push are three idealistic impulses: Fundamentalists want to protect the truth. Egalitarians want to help the oppressed and let in the excluded. Humanitarians want to stop verbal violence and the pain it causes. The three impulses are now working in concert. Sixth, fundamentalism, properly understood, is not about religion. It is about the inability to seriously entertain the possibility that one might be wrong. In individuals such fundamentalism is natural and, within reason, desirable. But when it becomes the foundation for an intellectual system, it is inherently a threat to freedom of thought. Seventh, there is no way to advance knowledge peacefully and productively by adhering to the principles advocated by egalitarians and humanitarians. Their principles are poisonous to liberal science and ultimately to peace and freedom. Eighth, no social principle in the world is more foolish and dangerous than the rapidly rising notion that hurtful words and ideas are a form of violence or torture (e.g., “harassment”) and that their perpetrators should be treated accordingly. That notion leads to the criminalization of criticism and the empowerment of authorities to regulate it. The new sensitivity is the old authoritarianism in disguise, and it is just as noxious.

Scarcity has a way of revealing our true understanding of the Golden Rule. Here’s the bare truth: when there is one piece of pie, I don’t want to deny myself and bless someone else with it, and I don’t want to divide it equitably. I want the whole piece. And that’s precisely why I should give the whole piece to someone else—because in doing so, I fulfill the Golden Rule. Yes, at bare minimum I want to be treated fairly by others. But what I really want is to be treated preferentially. My love of preferential treatment displays itself in a thousand ways. I want the best concert seats, the best parking spot, the upgrade to first class, the most comfortable seat in the living room, the biggest serving of pie, the last serving of pie, all the pie all the time. Giving someone else the preferential treatment that I want requires humility. But God gives grace to the humble. Any time we dine on humble pie, we can be certain it will be accompanied by an oversized dollop of grace.

Preachers and counselors can spend their energy exhorting people to change their behavior. But the human will is not a free entity. It is bound to a person’s understanding. People will do what they believe. Rather than making a concerted effort to influence choices, preachers first need to be influencing minds. When a person understands who Christ is, on what basis he is worthwhile, and what life is all about, he has the formulation necessary for any sustained change in lifestyle. Christians who try to “live right” without correcting a wrong understanding about how to meet personal needs will always labor and struggle with Christianity, grinding out their responsible duty in a joyless, strained fashion. Christ taught that when we know the truth, we can be set free. We now are free to choose the life of obedience because we understand that in Christ we now are worthwhile persons. We are free to express our gratitude in the worship and service of the One who has met our needs.

When Benjamin Bloom studied his 120 world-class concert pianists, sculptors, swimmers, tennis players, mathematicians, and research neurologists, he found something fascinating. For most of them, their first teachers were incredibly warm and accepting. Not that they set low standards. Not at all, but they created an atmosphere of trust, not judgment. It was, “I’m going to teach you,” not “I’m going to judge your talent.” As you look at what Collins and Esquith demanded of their students—all their students—it’s almost shocking. When Collins expanded her school to include young children, she required that every four-year-old who started in September be reading by Christmas. And they all were. The three- and four-year-olds used a vocabulary book titled Vocabulary for the High School Student. The seven-year-olds were reading The Wall Street Journal. For older children, a discussion of Plato’s Republic led to discussions of de Tocqueville’s Democracy in America, Orwell’s Animal Farm, Machiavelli, and the Chicago city council. Her reading list for the late-grade-school children included The Complete Plays of Anton Chekhov, Physics Through Experiment, and The Canterbury Tales. Oh, and always Shakespeare. Even the boys who picked their teeth with switchblades, she says, loved Shakespeare and always begged for more. Yet Collins maintained an extremely nurturing atmosphere. A very strict and disciplined one, but a loving one. Realizing that her students were coming from teachers who made a career of telling them what was wrong with them, she quickly made known her complete commitment to them as her students and as people. Esquith bemoans the lowering of standards. Recently, he tells us, his school celebrated reading scores that were twenty points below the national average. Why? Because they were a point or two higher than the year before. “Maybe it’s important to look for the good and be optimistic,” he says, “but delusion is not the answer. Those who celebrate failure will not be around to help today’s students celebrate their jobs flipping burgers.… Someone has to tell children if they are behind, and lay out a plan of attack to help them catch up.” All of his fifth graders master a reading list that includes Of Mice and Men, Native Son, Bury My Heart at Wounded Knee, The Joy Luck Club, The Diary of Anne Frank, To Kill a Mockingbird, and A Separate Peace. Every one of his sixth graders passes an algebra final that would reduce most eighth and ninth graders to tears. But again, all is achieved in an atmosphere of affection and deep personal commitment to every student. “Challenge and nurture” describes DeLay’s approach, too. One of her former students expresses it this way: “That is part of Miss DeLay’s genius—to put people in the frame of mind where they can do their best.… Very few teachers can actually get you to your ultimate potential. Miss DeLay has that gift. She challenges you at the same time that you feel you are being nurtured.

Behold at a sign from heaven, because it comes from the Sun itself, those thousand churches trembling all at once. At first a faint tinkling passes from church to church...see how, all of a sudden, at the same moment, there rises from each steeple as it were a column of sound, a cloud of harmony. At first the vibration of each bell rises straight, pure, and in a manner separate from that of the others, into the splendid morning sky; then swelling by degrees, they blend, melt, intermingle, and amalgamate into a magnificent concert...this sea of harmony, however, is not chaos... This is truly an opera well worth listening to...In this case the city sings....Say if you know anything in the world more rich, more joyful, more golden, more overwhelming than that tumult of bells, than that furnace of music, than those ten thousand voices of bronze singing all at once from flutes of stone three hundred feet high, than that city which has become an orchestra, than that symphony which roars like a storm.

In the past few years, I’ve vacationed in Panama and England. I’ve bought my groceries at Whole Foods. I’ve watched orchestral concerts. I’ve tried to break my addiction to “refined processed sugars” (a term that includes at least one too many words). I’ve worried about racial prejudice in my own family and friends. None of these things is bad on its own. In fact, most of them are good—visiting England was a childhood dream; eating less sugar improves health. At the same time, they’ve shown me that social mobility isn’t just about money and economics, it’s about a lifestyle change. The wealthy and the powerful aren’t just wealthy and powerful; they follow a different set of norms and mores. When you go from working-class to professional-class, almost everything about your old life becomes unfashionable at best or unhealthy at worst. At no time was this more obvious than the first (and last) time I took a Yale friend to Cracker Barrel. In my youth, it was the height of fine dining—my grandma’s and my favorite restaurant.

The bacterial defense system was soon found to involve at least two critical components. The first piece was the "seeker"-an RNA encoded in the bacterial genome that matched and recognized the DNA of the viruses. The principle for the recognition, yet again, was binding: the RNA "seeker" was able to find and recognize the DNA of an invading virus because it was a mirror image of that DNA-the yin to its yang. It was like carrying a permanent image of your enemy in your pocket-or, in the bacteria's case, an inverted photograph, etched indelibly into its genome. The second element of the defense system was the "hitman." Once the viral DNA had been recognized and matched as foreign (by its reverse-image), a bacterial protein named Cas9 was deployed to deliver the lethal gash to the viral gene. The "seeker" and the "hitman" worked in concert: the Cas9 protein delivered its cuts to the genome only after the sequence had been matched by the recognition element. It was a classic combination of collaborators-spotter and executor, drone and rocket, Bonnie and Clyde.

natural personality, or maybe he was simply capable of greater perspective than everyone else. Maybe he wasn’t quite as addled by drugs and alcohol. For whatever reason, Michael stayed on the sidelines as the rest of the band fought like a pack of starving wolves who have come across a carcass in the wilderness. Previous tours, especially in the first couple of years, had always featured a fair amount of ball-busting and the occasional argument that was required simply to clear the air. For the most part, though, we had a blast on the road. It was a nonstop party punctuated by spectacularly energetic concerts. There had been a lightness to it all, a sense of being part of something special, and of wanting to enjoy every minute. But now the levity was gone. Even though they spent hardly any time together offstage, the boys were at each other’s throats constantly, either directly or through a conduit—usually me. Two more quick stories, both involving Al. We were all sitting outside by the hotel pool one day. A guy named Mike had been flown in for a couple days to take care of the boys’ grooming needs. Mike was a hairdresser or stylist or whatever you want to call him. Point is, he was really good at his job, an artistic

I was not able to sleep that night. To be honest, I didn’t even try. I stood in front of my living room window, staring out at the bright lights of New York City. I don’t know how long I stood there; in fact, I didn’t see the millions of multicolored lights or the never-ending streams of headlights and taillights on the busy streets below. Instead, I saw, in my mind’s eye, the crowded high school classrooms and halls where my friends and I had shared triumphs and tragedies, where the ghosts of our past still reside. Images flickered in my mind. I saw the faces of teachers and fellow students I hadn’t seen in years. I heard snatches of songs I had rehearsed in third period chorus. I saw the library where I had spent long hours studying after school. Most of all, I saw Marty. Marty as a shy sophomore, auditioning for Mrs. Quincy, the school choir director. Marty singing her first solo at the 1981 Christmas concert. Marty at the 1982 Homecoming Dance, looking radiant after being selected as Junior Princess. Marty sitting alone in the chorus practice room on the last day of our senior year. I stared long and hard at those sepia-colored memories. And as my mind carried me back to the place I had sworn I’d never return to, I remembered.

claque, aka canned laughter It’s becoming increasingly clear that there’s nothing new under the sun (a heavenly body, by the way, that some Indian ascetics stare at till they go blind). I knew that some things had a history—the Constitution, rhythm and blues, Canada—but it’s the odd little things that surprise me with their storied past. This first struck me when I was reading about anesthetics and I learned that, in the early 1840s, it became fashionable to hold parties where guests would inhale nitrous oxide out of bladders. In other words, Whip-it parties! We held the exact same kind of parties in high school. We’d buy fourteen cans of Reddi-Wip and suck on them till we had successfully obliterated a couple of million neurons and face-planted on my friend Andy’s couch. And we thought we were so cutting edge. And now, I learn about claque, which is essentially a highbrow French word for canned laughter. Canned laughter was invented long before Lucille Ball stuffed chocolates in her face or Ralph Kramden threatened his wife with extreme violence. It goes back to the 4th century B.C., when Greek playwrights hired bands of helpers to laugh at their comedies in order to influence the judges. The Romans also stacked the audience, but they were apparently more interested in applause than chuckles: Nero—emperor and wannabe musician—employed a group of five thousand knights and soldiers to accompany him on his concert tours. But the golden age of canned laughter came in 19th-century France. Almost every theater in France was forced to hire a band called a claque—from claquer, “to clap.” The influential claque leaders, called the chefs de claque, got a monthly payment from the actors. And the brilliant innovation they came up with was specialization. Each claque member had his or her own important job to perform: There were the rieurs, who laughed loudly during comedies. There were the bisseurs, who shouted for encores. There were the commissaires, who would elbow their neighbors and say, “This is the good part.” And my favorite of all, the pleureuses, women who were paid good francs to weep at the sad parts of tragedies. I love this idea. I’m not sure why the networks never thought of canned crying. You’d be watching an ER episode, and a softball player would come in with a bat splinter through his forehead, and you’d hear a little whimper in the background, turning into a wave of sobs. Julie already has trouble keeping her cheeks dry, seeing as she cried during the Joe Millionaire finale. If they added canned crying, she’d be a mess.

Tourists enter Tehran from the south on a carriageway built by order of the Shah. On the city’s outskirts they pass through the green belt he envisioned would protect Tehran from the twin scourges of desert wind and dust. In the central city visitors pass by the government ministries, hospitals, universities, schools, concert halls, monuments, bridges, sports complexes, hotels, museums, galleries, and gleaming underground metro that were among his many pet projects. … He championed the social welfare state that today provides Iranians with access to state-run health care and education. He raised the scholarship money that allowed hundreds of thousands of Iranian university students, including many luminaries of the Islamic Republic, to study abroad at leading American and European universities. The Shah ordered the fighter jets that made Iran’s air force the most powerful in southwestern Asia. He established the first national parks and state forests and ordered strict water, animal, and conservation measures. Perhaps it is no surprise that Iran today has the look and feel of a haunted house. The man who built modern Iran is nowhere to be seen but his presence is felt everywhere. The revolutionaries who replaced the Shah may not like to hear it, but Iran today is as much his country as it is theirs.

I’m sorry,' [Marty] said unexpectedly. “Huh?” “That we never got to perform that duet together. Don’t you remember? For the Spring Concert?” “Oh, yeah. What was that song we were going to sing?” I asked. She placed her right hand on her hip and mock-pouted at me. “James Garraty, don’t tell me you forgot.” I gave her an impish who, me look. When she smiled, I said in a more serious tone: “‘Somewhere,’ from West Side Story.” I hummed the song’s first measure; it sounded a half-octave off key. Marty frowned. “You haven’t practiced lately,” she said disapprovingly. “No, I haven’t,” I said, and as I said it waves of melancholy washed over me like a cold dark tide. Marty saw my expression change; she walked up to me and placed her arm around my shoulder comfortingly. “I know,” she said softly, “how much you were looking forward to it, Jim. I was looking forward to singing that duet with you, too.” “Really?” I asked. “Really. You’re a terrific singer. Who wouldn’t want to sing a duet with you?” “I bet,” I said, “you say that to all the boys.” She laughed. My heart jumped as it usually did when she laughed. A thought clicked in my brain: What was it I’d written just a while ago? You are the one person who has the ability to brighten up a sour day. You have always managed to make me return a smile to someone else.

Bob Dylan The only time Jobs can ever recall being tongue-tied was in the presence of Bob Dylan. He was playing near Palo Alto in October 2004, and Jobs was recovering from his first cancer surgery. Dylan was not a gregarious man, not a Bono or a Bowie. He was never Jobs’s friend, nor did he care to be. He did, however, invite Jobs to visit him at his hotel before the concert. Jobs recalled: We sat on the patio outside his room and talked for two hours. I was really nervous, because he was one of my heroes. And I was also afraid that he wouldn’t be really smart anymore, that he’d be a caricature of himself, like happens to a lot of people. But I was delighted. He was as sharp as a tack. He was everything I’d hoped. He was really open and honest. He was just telling me about his life and about writing his songs. He said, “They just came through me, it wasn’t like I was having to compose them. That doesn’t happen anymore, I just can’t write them that way anymore.” Then he paused and said to me with his raspy voice and little smile, “But I still can sing them.” The next time Dylan played nearby, he invited Jobs to drop by his tricked-up tour bus just before the concert. When Dylan asked what his favorite song was, Jobs said “One Too Many Mornings.” So Dylan sang it that night. After the concert, as Jobs was walking out the back, the tour bus came by and screeched to a stop. The door flipped open. “So, did you hear my song

Obama met with the president of China, Xi Jinping, in a sterile hotel conference room, untouched cups of cooling tea and ice water before us. There was a long review of all the progress made over the last several years. Xi assured Obama, unprompted, that he would implement the Paris climate agreement even if Trump decided to pull out. “That’s very wise of you,” Obama replied. “I think you’ll continue to see an investment in Paris in the United States, at least from states, cities, and the private sector.” We were only two years removed from the time when Obama had flown to Beijing and secured an agreement to act in concert with China to combat climate change, the step that made the Paris agreement possible in the first place. Now China would lead that effort going forward. Toward the end of the meeting, Xi asked about Trump. Again, Obama suggested that the Chinese wait and see what the new administration decided to do in office, but he noted that the president-elect had tapped into real concerns among Americans about “the fairness of our economic relationship with China. Xi is a big man who moves slowly and deliberately, as if he wants people to notice his every motion. Sitting across the table from Obama, he pushed aside the binder of talking points that usually shape the words of a Chinese leader. We prefer to have a good relationship with the United States, he said, folding his hands in front of him. That is good for the world. But every action will have a reaction. And if an immature leader throws the world into chaos, then the world will know whom to blame.

Hi, Bruce,’ said Uzma. ‘Hello,’ Bruce replied. ‘Would it be possible to have a photo taken?’ she asked. ‘Sure, we can do that!’ he replied, smiling broadly. I took the photograph. Then it was my turn. He signed my book and bandanna and posed for another photograph. Just as I was about to let the next fan have their moment in the sun I turned to Springsteen and said, ‘Bruce. Three words: “Point Blank”, acoustic’ The following night I was sitting in the Sheffield Arena with Amolak and my sister. It was 16 April 1993 and we were in the front block ten or fifteen rows from the stage. Uzma was having the time of her life. It was her first Springsteen concert and it was so wonderful to see her having so much fun. Springsteen had just finished singing ‘Badlands’ when he requested an acoustic guitar and told the audience: ‘A fella came up to me and asked for this song. I don't know if he's out there tonight, but if he is, this is for you.’ He began slowly strumming the acoustic guitar before singing, ‘Do you still say your prayers darling, before you go to bed at night? Praying that tomorrow everything will be all right?’ He was singing ‘Point Blank’. I doubled up, buried my face in my hands and wept. Amolak hugged me. ‘Point Blank’ was one of my favourite songs. I never imagined I would hear it sung acoustically. The fact that Springsteen had remembered my request and then decided to actually listen to my suggestion was overwhelming. As I continued to cry uncontrollably and as Bruce Springsteen continued to sing ‘Point Blank’, Amolak said to me: ‘You see, buddy, dreams do come true.’ *

Once, during a concert of cathedral organ music, as I sat getting gooseflesh amid that tsunami of sound, I was struck with a thought: for a medieval peasant, this must have been the loudest human-made sound they ever experienced, awe-inspiring in now-unimaginable ways. No wonder they signed up for the religion being proffered. And now we are constantly pummeled with sounds that dwarf quaint organs. Once, hunter-gatherers might chance upon honey from a beehive and thus briefly satisfy a hardwired food craving. And now we have hundreds of carefully designed commercial foods that supply a burst of sensation unmatched by some lowly natural food. Once, we had lives that, amid considerable privation, also offered numerous subtle, hard-won pleasures. And now we have drugs that cause spasms of pleasure and dopamine release a thousandfold higher than anything stimulated in our old drug-free world. An emptiness comes from this combination of over-the-top nonnatural sources of reward and the inevitability of habituation; this is because unnaturally strong explosions of synthetic experience and sensation and pleasure evoke unnaturally strong degrees of habituation.90 This has two consequences. First, soon we barely notice the fleeting whispers of pleasure caused by leaves in autumn, or by the lingering glance of the right person, or by the promise of reward following a difficult, worthy task. And the other consequence is that we eventually habituate to even those artificial deluges of intensity. If we were designed by engineers, as we consumed more, we’d desire less. But our frequent human tragedy is that the more we consume, the hungrier we get. More and faster and stronger. What was an unexpected pleasure yesterday is what we feel entitled to today, and what won’t be enough tomorrow.

Mondays are for baklava, which she learned to make by watching her parents. Her mother said that a baklava-maker should have sensitive, supple hands, so she was in charge of opening and unpeeling the paper-thin layers of dough and placing them in a stack in the tray. Her father was in charge of pastry-brushing each layer of dough with a coat of drawn butter. It was systematic yet graceful: her mother carefully unpeeling each layer and placing them in the tray where Sirine's father painted them. It was important to move quickly so that the unbuttered layers didn't dry out and start to fall apart. This was one of the ways that Sirine learned how her parents loved each other- their concerted movements like a dance; they swam together through the round arcs of her mother's arms and her father's tender strokes. Sirine was proud when they let her paint a layer, prouder when she was able to pick up one of the translucent sheets and transport it to the tray- light as raw silk, fragile as a veil. On Tuesday morning, however, Sirine has overslept. She's late to work and won't have enough time to finish preparing the baklava before starting breakfast. She could skip a day of the desserts and serve the customers ice cream and figs or coconut cookies and butter cake from the Iranian Shusha Bakery two doors down. But the baklava is important- it cheers the students up. They close their eyes when they bite into its crackling layers, all lightness and scent of orange blossoms. And Sirine feels unsettled when she tries to begin breakfast without preparing the baklava first; she can't find her place in things. So finally she shoves the breakfast ingredients aside and pulls out the baklava tray with no idea of how she'll find the time to finish it, just thinking: sugar, cinnamon, chopped walnuts, clarified butter, filo dough....

From the perspective of nearly half a century, the Battle of Hue and the entire Vietnam War seem a tragic and meaningless waste. So much heroism and slaughter for a cause that now seems dated and nearly irrelevant. The whole painful experience ought to have (but has not) taught Americans to cultivate deep regional knowledge in the practice of foreign policy, and to avoid being led by ideology instead of understanding. The United States should interact with other nations realistically, first, not on the basis of domestic political priorities. Very often the problems in distant lands have little or nothing to do with America’s ideological preoccupations. Beware of men with theories that explain everything. Trust those who approach the world with humility and cautious insight. The United States went to war in Vietnam in the name of freedom, to stop the supposed monolithic threat of Communism from spreading across the globe like a dark stain—I remember seeing these cartoons as a child. There were experts, people who knew better, who knew the languages and history of Southeast Asia, who had lived and worked there, who tried to tell Presidents Eisenhower, Kennedy, Johnson, and Nixon that the conflict in Vietnam was peculiar to that place. They were systematically ignored and pushed aside. David Halberstam’s classic The Best and the Brightest documents this process convincingly. America had every right to choose sides in the struggle between Hanoi and Saigon, even to try to influence the outcome, but lacking a legitimate or even marginally capable ally its military effort was misguided and doomed. At the very least, Vietnam should stand as a permanent caution against going to war for any but the most immediate, direct, and vital national interest, or to prevent genocide or wider conflict, and then only in concert with other countries. After

James Tour is a leading origin-of-life researcher with over 630 research publications and over 120 patents. He was inducted into the National Academy of Inventors in 2015, listed in “The World’s Most Influential Scientific Minds” by Thomson Reuters in 2014, and named “Scientist of the Year” by R&D Magazine. Here is how he recently described the state of the field: We have no idea how the molecules that compose living systems could have been devised such that they would work in concert to fulfill biology’s functions. We have no idea how the basic set of molecules, carbohydrates, nucleic acids, lipids and proteins were made and how they could have coupled in proper sequences, and then transformed into the ordered assemblies until there was the construction of a complex biological system, and eventually to that first cell. Nobody has any idea on how this was done when using our commonly understood mechanisms of chemical science. Those that say that they understand are generally wholly uninformed regarding chemical synthesis. Those that say, “Oh this is well worked out,” they know nothing—nothing—about chemical synthesis—nothing. … From a synthetic chemical perspective, neither I nor any of my colleagues can fathom a prebiotic molecular route to construction of a complex system. We cannot even figure out the prebiotic routes to the basic building blocks of life: carbohydrates, nucleic acids, lipids, and proteins. Chemists are collectively bewildered. Hence I say that no chemist understands prebiotic synthesis of the requisite building blocks, let alone assembly into a complex system. That’s how clueless we are. I have asked all of my colleagues—National Academy members, Nobel Prize winners—I sit with them in offices. Nobody understands this. So if your professors say it’s all worked out, if your teachers say it’s all worked out, they don’t know what they’re talking about.23

This is why churches that try the most self-consciously to avoid social issues and political questions become, unwittingly, the most political of all. The founders of my church tradition, in concert with others, spoke much of the “spirituality of the church” as a reason for avoiding “political” issues. To some degree, they were right. The church does not bear the sword that’s been given to the state; the church advances by spiritual, not carnal, means. But the “spirituality of the church” was a convenient doctrine. My denomination was founded back in the nineteenth century by those who advocated for human slavery, and who sought to keep their consciences and their ballots and their wallets away from a transcendent word that would speak against the sinful injustice of a regime of kidnapping, rape, and human beings wickedly deigning to buy and sell other human beings created in the image of God. Slavery, they argued (to their shame), was a “political” issue that ought not distract the church from its mission: evangelism and discipleship. What such a move empowered was not just social injustice (which would have been bad enough), but also personal sin. When so-called “simple gospel preaching” churches in 1856 Alabama or 1925 Mississippi calls sinners to repentance for fornicating and gambling but not for slaveholding or lynching, those churches may be many things but they are hardly non-political. By not addressing these issues, they are addressing them, by implicitly stating that they are not worthy of the moral scrutiny of the church, that they will not be items of report at the Judgment Seat of Christ. These churches, thus, bless the status quo, with all the fealty of a court chaplain. The same is true of a church in twenty-first-century America that doesn’t speak to the pressing issues of justice and righteousness around us, such as the horror of abortion and the persisting sins of racial injustice.

And if you wish to receive of the ancient city an impression with which the modern one can no longer furnish you, climb—on the morning of some grand festival, beneath the rising sun of Easter or of Pentecost—climb upon some elevated point, whence you command the entire capital; and be present at the wakening of the chimes. Behold, at a signal given from heaven, for it is the sun which gives it, all those churches quiver simultaneously. First come scattered strokes, running from one church to another, as when musicians give warning that they are about to begin. Then, all at once, behold!—for it seems at times, as though the ear also possessed a sight of its own,—behold, rising from each bell tower, something like a column of sound, a cloud of harmony. First, the vibration of each bell mounts straight upwards, pure and, so to speak, isolated from the others, into the splendid morning sky; then, little by little, as they swell they melt together, mingle, are lost in each other, and amalgamate in a magnificent concert. It is no longer anything but a mass of sonorous vibrations incessantly sent forth from the numerous belfries; floats, undulates, bounds, whirls over the city, and prolongs far beyond the horizon the deafening circle of its oscillations. Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries. You can follow the dialogue, by turns grave and shrill, of the treble and the bass; you can see the octaves leap from one tower to another; you watch them spring forth, winged, light, and whistling, from the silver bell, to fall, broken and limping from the bell of wood; you admire in their midst the rich gamut which incessantly ascends and re-ascends the seven bells of Saint-Eustache; you see light and rapid notes running across it, executing three or four luminous zigzags, and vanishing like flashes of lightning. Yonder is the Abbey of Saint-Martin, a shrill, cracked singer; here the gruff and gloomy voice of the Bastille; at the other end, the great tower of the Louvre, with its bass. The royal chime of the palace scatters on all sides, and without relaxation, resplendent trills, upon which fall, at regular intervals, the heavy strokes from the belfry of Notre-Dame, which makes them sparkle like the anvil under the hammer. At intervals you behold the passage of sounds of all forms which come from the triple peal of Saint-Germain-des-Prés. Then, again, from time to time, this mass of sublime noises opens and gives passage to the beats of the Ave Maria, which bursts forth and sparkles like an aigrette of stars. Below, in the very depths of the concert, you confusedly distinguish the interior chanting of the churches, which exhales through the vibrating pores of their vaulted roofs. Assuredly, this is an opera which it is worth the trouble of listening to. Ordinarily, the noise which escapes from Paris by day is the city speaking; by night, it is the city breathing; in this case, it is the city singing. Lend an ear, then, to this concert of bell towers; spread over all the murmur of half a million men, the eternal plaint of the river, the infinite breathings of the wind, the grave and distant quartette of the four forests arranged upon the hills, on the horizon, like immense stacks of organ pipes; extinguish, as in a half shade, all that is too hoarse and too shrill about the central chime, and say whether you know anything in the world more rich and joyful, more golden, more dazzling, than this tumult of bells and chimes;—than this furnace of music,—than these ten thousand brazen voices chanting simultaneously in the flutes of stone, three hundred feet high,—than this city which is no longer anything but an orchestra,—than this symphony which produces the noise of a tempest.

Good luck. For most of my generation, it would just go to student debt and cocktails. If anything came to me (an impossibility), I would dump it into a poorly managed career in edgy luxury items. You can’t make opera money on perfume that smells like cunts and gasoline. At any rate, I didn’t usually make an appearance beyond the gala. Or, I hadn’t until recently. But Joseph Eisner had promised me a fortune, and now he wouldn’t take my calls. He did, however, like his chamber music. It had been an acquired taste for me. In my distant undergraduate past, when circumstance sat me in front of an ensemble, I spent the first five minutes of each concert deciding which musician I would fuck if I had the chance, and the rest shifting minutely in my seat. I still couldn’t stand Chanel. And while I had learned to appreciate—indeed, enjoy—chamber ensembles, orchestras, and on occasion even the opera, I retained my former habit as a dirty amusement to add some private savor to the proceedings. Tonight, it was the violist, weaving and bobbing his way through Dvořák’s Terzetto in C Major like a sinuous dancer. I prefer the romantics—fewer hair-raising harmonies than modern fare, and certainly more engaging than funereal baroque. The intriguing arrangement of the terzetto kept me engaged, in that slightly detached and floating manner engendered by instrumental performance. Moreover, the woman to my left, one row ahead, was wearing Salome by Papillon. The simple fact of anyone wearing such a scent in public pleased me. So few people dared wear anything at all these days, and when they did, it was inevitably staid: an inoffensive classic or antiseptic citrus-and-powder. But this perfume was one I might have worn myself. Jasmine, yes, but more indolic than your average floral. People sometimes say it smells like dirty panties. As the trio wrapped up for intermission, I took a steadying breath of musk and straightened my lapels. The music was only a means to an end, after all.

After Us, the Salamanders!, The Future belongs to the Newts, Newts Mean Cultural Revolution. Even if they don't have their own art (they explained) at least they are not burdened with idiotic ideals, dried up traditions and all the rigid and boring things taught in schools and given the name of poetry, music, architecture, philosophy and culture in any of its forms. The word culture is senile and it makes us sick. Human art has been with us for too long and is worn-out and if the newts have never fallen for it we will make a new art for them. We, the young, will blaze the path for a new world of salamandrism: we wish to be the first newts, we are the salamanders of tomorrow! And so the young poetic movement of salamandrism was born, triton - or tritone - music was composed and pelagic painting, inspired by the shape world of jellyfish, fish and corals, made its appearance. There were also the water regulating structures made by the newts themselves which were discovered as a new source of beauty and dignity. We've had enough of nature, the slogans went; bring on the smooth, concrete shores instead of the old and ragged cliffs! Romanticism is dead; the continents of the future will be outlined with clean straight lines and re-shaped into conic sections and rhombuses; the old geological must be replaced with a world of geometry. In short, there was once again a new trend that was to be the thing of the future, a new aesthetic sensation and new cultural manifestoes; anyone who failed to join in with the rise of salamandrism before it was too late felt bitterly that he had missed his time, and he would take his revenge by making calls for the purity of mankind, a return to the values of the people and nature and other reactionary slogans. A concert of tritone music was booed off the stage in Vienna, at the Salon des Indépendents in Paris a pelagic painting called Capriccio en Bleu was slashed by an unidentified perpetrator; salamandrism was simply victorious, and its rise was unstoppable.

If the first thing you see each and every morning is the eyes of your cellmate who has gone insane, how then shall you save yourself during the coming day? Nikolai Aleksandrovich Kozyrev, whose brilliant career in astronomy was interrupted by his arrest, saved himself only by thinking of the eternal and infinite: of the order of the Universe - and of its Supreme Spirit; of the stars; of their internal state; and what Time and the passing of Time really are. And in this way he began to discover a new field in physics. And only in this way did he succeed in surviving in the Dmitrovsk Prison. But his line of mental exploration was blocked by forgotten figures. He could not build any further - he had to have a lot of figures. Now just where could he get them in his solitary-confinement cell with its overnight kerosene lamp, a cell into which not even a little bird could enter? And the scientist prayed: "Please, God! I have done everything I could. Please help me! Please help me continue!" At this time he was entitled to receive one book every ten days (by then he was alone in the cell). In the meager prison library were several different editions of Demyan Bedny's Red Concert , which kept coming around to each cell again and again. Half an hour passed after his prayer; they came to exchange his book; and as usual, without asking anything at all, they pushed a book at him. It was entitled A Course in Astrophysics! Where had it come from? He simply could not imagine such a book in the prison library. Aware of the brief duration of this coincidence, Kozyrev threw himself on it and began to memorize everything he needed immediately, and everything he might need later on. In all, just two days had passed, and he had eight days left in which to keep his book, when there was an unscheduled inspection by the chief of the prison. His eagle eye noticed immediately. "But you are an astronomer?" Yes." "Take this book away from him!" But its mystical arrival had opened the way for his further work, which he then continued in the camp in Norilsk.

If the first thing you see each and every morning is the eyes of your cellmate who has gone insane, how then shall you save yourself during the coming day? Nikolai Aleksandrovich Kozyrev, whose brilliant career in astronomy was interrupted by his arrest, saved himself only by thinking of the eternal and infinite: of the order of the Universe - and of its Supreme Spirit; of the stars; of their internal state; and what Time and the passing of Time really are. And in this way he began to discover a new field in physics. And only in this way did he succeed in surviving in the Dmitrovsk Prison. But his line of mental exploration was blocked by forgotten figures. He could not build any further - he had to have a lot of figures. Now just where could he get them in his solitary-confinement cell with its overnight kerosene lamp, a cell into which not even a little bird could enter? And the scientist prayed: "Please, God! I have done everything I could. Please help me! Please help me continue!" At this time he was entitled to receive one book every ten days (by then he was alone in the cell). In the meager prison library were several different editions of Demyan Bedny's Red Concert , which kept coming around to each cell again and again. Half an hour passed after his prayer; they came to exchange his book; and as usual, without asking anything at all, they pushed a book at him. It was entitled A Course in Astrophysics! Where had it come from? He simply could not imagine such a book in the prison library. Aware of the brief duration of this coincidence, Kozyrev threw himself on it and began to memorize everything he needed immediately, and everything he might need later on. In all, just two days had passed, and he had eight days left in which to keep his book, when there was an unscheduled inspection by the chief of the prison. His eagle eye noticed immediately. "But you are an astronomer?" "Yes." "Take this book away from him!" But its mystical arrival had opened the way for his further work, which he then continued in the camp in Norilsk.

As you will soon see, dear Mother, being charitable has not always been so pleasant for me, and to prove it I am going to tell you a few of my struggles. And they are not the only ones. At meditation I was for a long time always near a sister who never stopped fidgetting, with either her rosary or something else. Perhaps I was the only one who heard her, as my ears are very sharp, but I could not tell you how it irritated me. What I wanted to do was to turn and stare at her until she stopped her noise, but deep down I knew it was better to endure it patiently—first, for the love of God and, secondly, so as not to upset her. So I made no fuss, though sometimes I was soaked with sweat under the strain and my prayer was nothing but the prayer of suffering. At last I tried to find some way of enduring this suffering calmly and even joyfully. So I did my best to enjoy this unpleasant little noise. Instead of trying not to hear it—which was impossible—I strove to listen to it carefully as if it were a first-class concert, and my meditation, which was not the prayer of quiet, was spent in offering this concert to Jesus. Another time I was in the washhouse near a sister who constantly splashed me with dirty water as she washed the handkerchiefs. My first impulse was to draw back and wipe my face so as to show her I would like her to work with less splashing. Then I at once thought how foolish I was to refuse the precious gifts offered me so generously and I was very careful not to show my annoyance. In fact, I made such efforts to want to be showered with dirty water that after half an hour I had genuinely taken a fancy to this novel kind of aspersion, and I decided to turn up as often as I could to that lucky spot where so much spiritual wealth was freely handed out. You see, Mother, that I am a very little soul who can only offer very little things to God; it often happens that I let slip the chance of making these little sacrifices which give such peace, but I’m not discouraged. I put up with having a bit less peace and try to be more careful next time.

The fact that no one made demands on her knowledge in her special field was lucky for Simochka. Not only she but many of her girlfriends had graduated from the institute without any such knowledge. There were many reasons for this. The young girls had come from high schools with very little grounding in mathematics and physics. They had learned in the upper grades that at faculty council meetings the school director had scolded the teachers for giving out failing marks, and that even if a pupil didn't study at all he received a diploma. In the institute, when they found time to sit down to study, they made their way through the mathematics and radio-technology as through a dense pine forest. But more often there was no time at all. Every fall for a month or more the students were taken to collective farms to harvest potatoes. For this reason, they had to attend lectures for eight and ten hours a day all the rest of the year, leaving no time to study their course work. On Monday evenings there was political indoctrination. Once a week a meeting of some kind was obligatory. Then one had to do socially useful work, too: issue bulletins, organize concerts, and it was also necessary to help at home, to shop, to wash, to dress. And what about the movies? And the theater? And the club? If a girl didn't have some fun and dance a bit during her student years, when would she do so afterward? For their examinations Simochka and her girlfriends wrote many cribs, which they hid in those sections of female clothing denied to males, and at the exams they pulled out the one the needed, smoothed it out, and turned it in as a work sheet. The examiners, of course, could have easily discovered the women students' ignorance, but they themselves were overburdened with committee meetings, assemblies, a variety of plans and reports to the dean's office and to the rector. It was hard on them to have to give an examination a second time. Besides, when their students failed, the examiners were reprimanded as if the failures were spoiled goods in a production process—according to the well-known theory that there are no bad pupils, only bad teachers. Therefore the examiners did not try to trip the students up but, in fact, attempted to get them through the examination with as good results as possible.

Then I remembered something else from the 2112 liner notes. I pulled them up and scanned over them again. There was my answer, in the text that preceded Part III—“Discovery”: Behind my beloved waterfall, in the little room that was hidden beneath the cave, I found it. I brushed away the dust of the years, and picked it up, holding it reverently in my hands. I had no idea what it might be, but it was beautiful. I learned to lay my fingers across the wires, and to turn the keys to make them sound differently. As I struck the wires with my other hand, I produced my first harmonious sounds, and soon my own music! I found the waterfall near the southern edge of the city, just inside the curved wall of the atmospheric dome. As soon as I found it, I activated my jet boots and flew over the foaming river below the falls, then passed through the waterfall itself. My haptic suit did its best to simulate the sensation of torrents of falling water striking my body, but it felt more like someone pounding on my head, shoulders, and back with a bundle of sticks. Once I’d passed through the falls to the other side, I found the opening of a cave and went inside. The cave narrowed into a long tunnel, which terminated in a small, cavernous room. I searched the room and discovered that one of the stalagmites protruding from the floor was slightly worn around the tip. I grabbed the stalagmite and pulled it toward me, but it didn’t budge. I tried pushing, and it gave, bending as if on some hidden hinge, like a lever. I heard a rumble of grinding stone behind me, and I turned to see a trapdoor opening in the floor. A hole had also opened in the roof of the cave, casting a brilliant shaft of light down through the open trapdoor, into a tiny hidden chamber below. I took an item out of my inventory, a wand that could detect hidden traps, magical or otherwise. I used it to make sure the area was clear, then jumped down through the trapdoor and landed on the dusty floor of the hidden chamber. It was a tiny cube-shaped room with a large rough-hewn stone standing against the north wall. Embedded in the stone, neck first, was an electric guitar. I recognized its design from the 2112 concert footage I’d watched during the trip here. It was a 1974 Gibson Les Paul, the exact guitar used by Alex Lifeson during the 2112 tour.

I had long wanted to see “true” indigo, and thought that drugs might be the way to do this. So one sunny Saturday in 1964, I developed a pharmacologic launchpad consisting of a base of amphetamine (for general arousal), LSD (for hallucinogenic intensity), and a touch of cannabis (for a little added delirium). About twenty minutes after taking this, I faced a white wall and exclaimed, “I want to see indigo now—now!” And then, as if thrown by a giant paintbrush, there appeared a huge, trembling, pear-shaped blob of the purest indigo. Luminous, numinous, it filled me with rapture: It was the color of heaven, the color, I thought, which Giotto had spent a lifetime trying to get but never achieved—never achieved, perhaps, because the color of heaven is not to be seen on earth. But it had existed once, I thought—it was the color of the Paleozoic sea, the color the ocean used to be. I leaned toward it in a sort of ecstasy. And then it suddenly disappeared, leaving me with an overwhelming sense of loss and sadness that it had been snatched away. But I consoled myself: Yes, indigo exists, and it can be conjured up in the brain. For months afterward, I searched for indigo. I turned over little stones and rocks near my house, looking for it. I examined specimens of azurite in the natural history museum—but even they were infinitely far from the color I had seen. And then, in 1965, when I had moved to New York, I went to a concert in the Egyptology gallery of the Metropolitan Museum of Art. In the first half, a Monteverdi piece was performed, and I was utterly transported. I had taken no drugs, but I felt a glorious river of music, four hundred years long, flowing from Monteverdi’s mind into my own. In this ecstatic mood, I wandered out during the intermission and looked at the ancient Egyptian objects on display—lapis lazuli amulets, jewelry, and so forth—and I was enchanted to see glints of indigo. I thought: Thank God, it really exists! During the second half of the concert, I got a bit bored and restless, but I consoled myself, knowing that I could go out and take a “sip” of indigo afterward. It would be there, waiting for me. But when I went out to look at the gallery after the concert was finished, I could see only blue and purple and mauve and puce—no indigo. That was nearly fifty years ago, and I have never seen indigo again.

I’m sure we can manage to tolerate each other’s company for one meal.” “I won’t say anything about farming. We can discuss other subjects. I have a vast and complex array of interests.” “Such as?” Mr. Ravenel considered that. “Never mind, I don’t have a vast array of interests. But I feel like the kind of man who does.” Amused despite herself, Phoebe smiled reluctantly. “Aside from my children, I have no interests.” “Thank God. I hate stimulating conversation. My mind isn’t deep enough to float a straw.” Phoebe did enjoy a man with a sense of humor. Perhaps this dinner wouldn’t be as dreadful as she’d thought. “You’ll be glad to hear, then, that I haven’t read a book in months.” “I haven’t gone to a classical music concert in years,” he said. “Too many moments of ‘clap here, not there.’ It makes me nervous.” “I’m afraid we can’t discuss art, either. I find symbolism exhausting.” “Then I assume you don’t like poetry.” “No . . . unless it rhymes.” “I happen to write poetry,” Ravenel said gravely. Heaven help me, Phoebe thought, the momentary fun vanishing. Years ago, when she’d first entered society, it had seemed as if every young man she met at a ball or dinner was an amateur poet. They had insisted on quoting their own poems, filled with bombast about starlight and dewdrops and lost love, in the hopes of impressing her with how sensitive they were. Apparently, the fad had not ended yet. “Do you?” she asked without enthusiasm, praying silently that he wouldn’t offer to recite any of it. “Yes. Shall I recite a line or two?” Repressing a sigh, Phoebe shaped her mouth into a polite curve. “By all means.” “It’s from an unfinished work.” Looking solemn, Mr. Ravenel began, “There once was a young man named Bruce . . . whose trousers were always too loose.” Phoebe willed herself not to encourage him by laughing. She heard a quiet cough of amusement behind her and deduced that one of the footmen had overheard. “Mr. Ravenel,” she asked, “have you forgotten this is a formal dinner?” His eyes glinted with mischief. “Help me with the next line.” “Absolutely not.” “I dare you.” Phoebe ignored him, meticulously spreading her napkin over her lap. “I double dare you,” he persisted. “Really, you are the most . . . oh, very well.” Phoebe took a sip of water while mulling over words. After setting down the glass, she said, “One day he bent over, while picking a clover.” Ravenel absently fingered the stem of an empty crystal goblet. After a moment, he said triumphantly, “. . . and a bee stung him on the caboose.” Phoebe almost choked on a laugh. “Could we at least pretend to be dignified?” she begged. “But it’s going to be such a long dinner.

During [Erté]’s childhood St. Petersburg was an elegant centre of theatrical and artistic life. At the same time, under its cultivated sophistication, ominous rumbles could be distinguished. The reign of the tough Alexander III ended in 1894 and his more gentle successor Nicholas was to be the last of the Tsars … St. Petersburg was a very French city. The Franco-Russian Pact of 1892 consolidated military and cultural ties, and later brought Russia into the First World war. Two activities that deeply influenced [Erté], fashion and art, were particularly dominated by France. The brilliant couturier Paul Poiret, for whom Erté was later to work in Paris, visited the city to display his creations. Modern art from abroad, principally French, was beginning to be show in Russia in the early years of the century … In St. Petersburg there were three Imperial theatres―the Maryinsky, devoted to opera and ballet, the Alexandrinsky, with its lovely classical façade, performing Russian and foreign classical drama, and the Michaelovsky with a French repertoire and company … It is not surprising that an artistic youth in St. Petersburg in the first decade of this century should have seen his future in the theatre. The theatre, especially opera and ballet, attracted the leading young painters of the day, including Mikhail Vrubel, possibly the greatest Russian painter of the pre-modernistic period. The father of modern theatrical design in Russia was Alexandre Benois, an offspring of the brilliant foreign colony in the imperial capital. Before 1890 he formed a club of fellow-pupils who were called ‘The Nevsky Pickwickians’. They were joined by the young Jew, Leon Rosenberg, who later took the name of one of his grandparents, Bakst. Another member introduced his cousin to the group―Serge Diaghilev. From these origins emerged the Mir Iskustva (World of Art) society, the forerunner of the whole modern movement in Russia. Soon after its foundation in 1899 both Benois and Bakst produced their first work in the theatre, The infiltration of the members of Mir Iskustva into the Imperial theatre was due to the patronage of its director Prince Volkonsky who appointed Diaghilev as an assistant. But under Volkonsky’s successor Diagilev lost his job and was barred from further state employment. He then devoted his energies and genius to editing the Mir Iskustva magazine and to a series of exhibitions which introduced Russia to work of foreign artists … These culminated in the remarkable exhibition of Russian portraiture held at the Taurida Palace in 1905, and the Russian section at the salon d'Autumne in Paris the following year. This was the most comprehensive Russian exhibition ever held, from early icons to the young Larionov and Gontcharova. Diagilev’s ban from Russian theatrical life also led to a series of concerts in Paris in 1907, at which he introduced contemporary Russian composers, the production Boris Godunov the following year with Chaliapin and costumes and décor by Benois and Golovin, and then in 1909, on May 19, the first season of the ballet Russes at the Châtelet Theatre.

Speech to the Reichstag April 26, 1942 The British Jew, Lord Disraeli, once said that the race problem is the key to the history of the world. We National Socialists have become great in this knowledge. By devoting our attention to the existence of the race problem, we have found the solution for many problems which would have otherwise have seemed incomprehensible. The hidden forces which incited England already in 1914, in the first world war, were Jews. The force which paralyzed us at that time and finally forced us to surrender with the slogan that Germany was no longer able to bear homeward a victorious flag, came from the Jews. It was the Jews who fomented the revolution among our people and thus robbed us of every possibility at further resistance. Since 1939 the Jews have maneuvered the British Empire into the most perilous crisis it has ever known. The Jews were the carriers of that Bolshevist infection which once threatened to destroy Europe. It was also they who incited the ranks of the plutocracies to war, and it is the Jews who have driven America to war against all her own interests, simply and solely from the Jewish capitalistic point of view. And President Roosevelt, lacking ability himself, lends an ear to his brain trust, whose leading men I do not need to mention by name; they are Jews, nothing but Jews. And once again, as in the year 1915, she (America) will be incited by a Jewish President and his completely Jewish entourage to go to war without any reason or sense whatever, with nations which have never done anything to America, and with people from whom America can never win anything. For what is the sense of a war waged by a state having territory without people against people without territory. In the terms of the war it is no longer a question of the interests of individual nations; it is, rather, a question of conflict between nations which want to make the lives of their people secure on this earth, and nations which have become the helpless tools of an international world parasite. The German soldiers and the allies have had an opportunity to witness at first hand the actual work of this Jewish International-war mongers in that country in which Jewish dictatorship has exclusive power and in which it is being taught as the most ideal form of government in the world for future generations and to which low subjects of other nations have become inexplicably subservient just as this was the case with us at one time. And at this juncture this seemingly senile Europe has, as always in the course of its history, raised aloft the torch of its perception and today the men of Europe are marching as the representatives of a new and better order as the genuine youth of social and national liberty throughout the world. Gentlemen! In the course of this winter a decision has been reached in international struggle which as regards to problems involved far exceeds in scope those difficulties which must and can be solved in normal warfare; when in November 1918 the German nation being befogged by the hypocritical phraseology of the American President at that time, Wilson, laid down its arms, although undefeated, and withdrew from the field of battle it was acting under the influence of that Jewish race which hoped to succeed in establishing a secure bulwark of Bolshevism in the very heart of Europe. We know the theoretical principles and the cruel truth regarding the aims of this world-wide pestilence. It is called, "the Rule of the Proletariat," and it really is "Jewish Dictatorship," the extermination of national government and of the intelligent element among the nations, and the rule over the proletariat after it has thus deprived of its leaders and through its own fault ended defenseless by the concerted efforts of Jewish international criminals.