Gary Cooper Quotes

It comes as a great shock…to discover that the flag to which you have pledged allegiance…has not pledged allegiance to you. It comes as a great shock to see Gary Cooper killing off the Indians, and although you are rooting for Gary Cooper, that the Indians are you.

Ethical veganism results in a profound revolution within the individual; a complete rejection of the paradigm of oppression and violence that she has been taught from childhood to accept as the natural order. It changes her life and the lives of those with whom she shares this vision of nonviolence. Ethical veganism is anything but passive; on the contrary, it is the active refusal to cooperate with injustice

It comes as a great shock to see Gary Cooper killing off the Indians and, although you are rooting for Gary Cooper, that the Indians is you

There aint never a horse that could'nt be rode and never a rider that could'nt be throwed

I suspected the movies, considering her cheap crack about me being a ten-cent Clark Gable, which was ridiculous. He simpers, to begin with, and to end with no one can say I resemble a movie actor, and if they did it would be more apt to be Gary Cooper than Clark Gable.

I have waited outside in the cold gray-lit car-exhausted frigidity and caused the possible broken bones in Gary's hand to hear a band that is, manifestly, not Neutral Milk Hotel. And although he is nowhere amid the crowd of hushed and stunned NMH fans surrounding me, I immediately shout,"Damn you, Tiny Cooper!

Gary had hoped to find her more cooperative. He already had one "alternative" sibling and he didn't need another. It frustrated him that people could so happily drop out of the world of conventional expectations; it felt like a unilateral rewriting, to his disadvantage, of the rules of life.

Eventually you will come to understand that love heals everything, and love is all there is.” "An authentically powered person lives in love. Love is the energy of the soul. Love is what heals the personality. There is nothing that cannot be healed by love. There is nothing but love." "Love is the ability to live your life with an empowered heart without attachment to the outcome, the ability within yourself to distinguish within yourself between love and fear and choose love regardless of what is going on inside yourself or outside. This is self-mastery or authentic power...that means you become clear, forgiving, humble and loving... you are grounded in harmony, cooperating, sharing and reverence for life." "When you become completely loving and kind without fear and without thought of harming others, you graudate from the Earth school. That is when reincarnation ends." "The journey from love to love. This is the journey all of us are on- what happens between teh beginning and end of the journey is your life." "Open to others as you would like them to open to you.

And romance is just the place for creating mythic figures doing mythic things. Like carving 'civilzation' out of the wilderness. Like showing us what a hero looks life, a real, American, sprung-from-the soil, lethal-weapon-with-leggings, bona fide hero. And for a guy who never marries, he has a lot of offspring. Shane. The Virginian. The Ringo Kid. The Man with No Name. Just think how many actors would have had no careers without Natty Bumppo. Gary Cooper. John Wayne. Alan Ladd. Tom Mix. Clint Eastwood. Silent. Laconic. More committed to their horse or buddy than to a lady. Professional. Deadly. In his Studies in Classic American Literature, D.H. Lawrence waxes prolix on Natty's most salient feature: he's a killer. And so are his offspring. This heros can talk, stiltedly to be sure, but he prefers silence. He appreciates female beauty but is way more committed to his canoe or his business partner (his business being death and war) or, most disturbingly, his long rifle, Killdeer. Dr. Freud, your three-o'clock is here. Like those later avatars, he is a wilderness god, part backwoods sage, part cold-blooded killer, part unwilling Prince Charming, part jack-of-all-trades, but all man. Here's how his creator describes him: 'a philosopher of the wilderness, simple-minded, faithful, utterly without fear, yet prudent.' A great character, no doubt, but hardly a person. A paragon. An archetype. A miracle. But a potentially real person--not so much.

The mythic American character is made up of the virtues of fairness, self-reliance, toughness, and honesty. Those virtues are generally stuffed into a six-foot-tall, dark-haired, can-do kind of guy who is at once a family man, attractive to strange women, carefree, stable, realistic, and whimsical. in the lore of America, that man lives on the Great Plains. he's from Texas, Dodge City, Cheyenne, the Dakotas, or somewhere in Montana. In fact, the seedbed of this American character, from the days of de Tocqueville through Andrew Jackson, Wyattt Earp, Pony Express riders, pioneers, and cowboys to modern caricatures played by actors such as Tom Mix, Gary Cooper, and John Wayne has aways been the frontier. It's a place with plenty of room to roam, great sunsets, clear lines between right and wrong, and lots of horses. It's also a place that does not exist and never has. The truth is that there has never been much fairness out here.

Cooper looked at the house and tried to fix it in his mind like a painting that would never leave him. But its beauty was so think and so real that it could never be just a painting

In England and North America it was predominantly cooperative, progressive, social ethical, and pragmatic, usually fusing liberal and democratic elements, with less opposition from ecclesiastical establishments than Christian socialists experienced elsewhere.

It was, all in all, a grand example of interspecies lack of cooperation and the further illustration that might makes right. I stayed in the rest area, in my car, for another half an hour, until everything had settled down, and saw who emerged as the victor. The bees kept the water fountain.

I haven’t said it yet, but it seemed implied, that cinema for me was the American one, current Hollywood productions. “My” period goes roughly from The Lives of a Bengal Lancer (Henry Hathaway, 1935) with Gary Cooper and Mutiny on the Bounty (Frank Lloyd, 1935) with Charles Laughton and Clark Gable, to the death of Jean Harlow (which I relived many years later like the death of Marilyn Monroe, in an era more aware of the neurotic power of every symbol), with lots of comedies in between, the mystery-romances with Myrna Loy and William Powell and the dog Asta, the musicals of Fred Astaire and Ginger Rogers, the crime pictures of Chinese detective Charlie Chan and the horror films of Boris Karloff. I didn’t remember the names of the directors as well as the names of the actors, except for a few like Frank Capra, Gregory La Cava, and Frank Borzage, who represented the poor rather than the millionaires, usually with Spencer Tracy: they were the good-natured directors from the Roosevelt era; I learned this later; back then I consumed everything without distinguishing between them too much. American cinema in that moment consisted of a collection of actors’ faces without equal before or after (at least it seemed that way to me) and the adventures were simple mechanisms to get these faces together (sweethearts, character actors, extras) in different combinations.

the greatest democratic socialist achievements occur through organizations that begin with the everyday praxis of unions and social movements; dismantle structures of racial, gender, sex, class, and imperial domination; welcome religious allies; renew the struggles for freedom, equality, and cooperative community; and care for the planet’s ecological health.

After Gary had given the enlargements their sour baths, he raised the lights and discovered that both prints were webbed over with peculiar yellow blotches. He cursed a little, not so much because he cared about the prints as because he wanted to preserve his good spirits, his serotonin-rich mood, and to do this he needed... cooperation from the world of objects.

Sir Barry Domvile sensed the chill as soon as he arrived in Nuremberg for the 1937 Reichsparteitag. 'Thought the SS more truculent than usual,' he observed ... And he was further disappointed when the Führer passed by him at the reception without a word. Indeed as Hitler walked along the line of British guests, he remained stiff and expressionless until introduced to Francis Yeats-Brown when he burst into smiles. Yeats-Brown's autobiography, The Lives of a Bengal Lancer (1930), had been made into a Hollywood movie (starring Gary Cooper) that had become a great favourite of Hitler's. He thought the film such a valuable demonstration of how Aryans should deal with an inferior race that he had made it compulsory viewing for the SS.

Charles Fourier, in France, and Robert Owen, in England, propounded the original idea of socialism in the 1820s. It was to achieve the unrealized demands of the French Revolution, which never reached the working class. Instead of pitting workers against each other, a cooperative mode of production and exchange would allow them to work for each other. Socialism was about reorganizing society as a cooperative community.

Okay, it was agreed, Stan was coming with me. He was a rangy, bashful, shock-haired Denver boy with a big con-man smile . and slow, easy-going Gary Cooper movements. “Hot damn!” he said and stuck his thumbs on his belt and ambled down the street, swaying from side to side but slowly. His grandfather was having it out with him. He had been opposed to France and now he was opposed to the idea of going to Mexico. Stan was wandering around Denver like a bum because of his fight with his grandfather. That night after we’d done all our drinking and restrained Henry from getting his nose opened up in the Hot Shoppe on Colfax, Stan scraggled off to sleep in Henry’s hotel room on Glenarm. “I can’t even come home late—my grandfather starts fighting with me, then he turns on my mother. I tell you, Sal, I got to get out of Denver quick or I’ll go crazy.

Her first really great role, the one that cemented the “Jean Arthur character,” was as the wisecracking big-city reporter who eventually melts for country rube Gary Cooper in Frank Capra’s Mr. Deeds Goes to Town (1936). It was the first of three terrific films for Capra: Jean played the down-to-earth daughter of an annoyingly wacky family in Capra’s rendition of Kaufman and Hart’s You Can’t Take It With You (1938), and she was another hard-boiled city gal won over by a starry-eyed yokel in Mr. Smith Goes to Washington (1939). “Jean Arthur is my favorite actress,” said Capra, who had successfully worked with Stanwyck, Colbert and Hepburn. “. . . push that neurotic girl . . . in front of the camera . . . and that whining mop would magically blossom into a warm, lovely, poised and confident actress.” Capra obviously recognized that Jean was often frustrated in her career choice.

With William Wyler off in the Army, the fact that the Goldwyn Studio flourished during the war years was an accomplishment for which a former borscht belt comedian, Danny Kaye, should be given most of the credit. His first film for Goldwyn, Up in Arms, was a mediocre remake of Eddie Cantor’s 1930 hit Whoopee! The film was a big moneymaker for Goldwyn, and made an instant star of Danny Kaye. In 1948, Goldwyn was in danger of losing Danny, who was unhappy with the rehashed scripts he was being asked to do, particularly A Song Is Born, a dismal remake of Ball of Fire, a wonderful film Goldwyn had produced only seven years earlier starring Barbara Stanwyck and Gary Cooper. Goldwyn was smart enough to leave Danny alone, but he forced Virginia Mayo to watch Stanwyck’s performance in the original over and over. Used correctly, as Wyler used her in The Best Years of Our Lives, Virginia could be very effective, but she could never replicate Barbara Stanwyck, who was one of the most unique talents in the history of film.

Love is metaphysical gravity.” By Gary Zukav GUEST COMMENTATOR Bucky said, “Love is metaphysical gravity.” I agree. What else could it be? Without gravity you would float like an astronaut in a spacecraft. Up and down would mean nothing to you. Your slightest motion would send you tumbling head over feet or rolling uncontrollably. If you pushed hard against a wall, you would shoot backward fast until you hit another wall. If the lights in the spacecraft went out, you would have no way at all of orienting yourself. Without love the same thing happens. Every experience of anger, jealousy, resentment, and fear sends you spinning out of control. You have no way of knowing up from down except what your anger shows you, and it always shows you that you are right and someone else is wrong, that you are a victim and someone else is a villain. The more you act in anger, jealousy, resentment, or fear, the more painful consequences you create. You careen helplessly, spinning, rolling, hitting walls you can’t avoid and colliding with others. Love grounds you. It orients you. Love brings your awareness to others and yourself. Love opens your mind and heart to others and yourself. Love settles you and gives you balance. When you choose to become sensitive and caring instead of frightened and selfish, your anger turns to appreciation, your jealousy to gratitude, and your resentment to caring. You cannot loose your orientation: When your deeds harm others, you are in fear, and when you create harmony, cooperation, sharing, and reverence for Life, you are in love. The ground beneath you is always solid.

Eventually you will come to understand that love heals everything, and love is all there is.” "An authentically powered person lives in love. Love is the energy of the soul. Love is what heals the personality. There is nothing that cannot be healed by love. There is nothing but love." "Love is the ability to live your life with an empowered heart without attachment to the outcome, the ability within yourself to distinguish within yourself between love and fear and choose love regardless of what is going on inside yourself or outside. This is self-mastery or authentic power...that means you become clear, forgiving, humble and loving... you are grounded in harmony, cooperating, sharing and reverence for life." "When you become completely loving and kind without fear and without thought of harming others, you graudate from the Earth school. That is when reincarnation ends." "The journey from love to love. This is the journey all of us are on- what happens between the beginning and end of the journey is your life." "Open to others as you would like them to open to you

Gary Cooper called to invite me to a dinner party he was giving for Clark Gable at his house. When I accepted and he asked if I would mind picking up Barbara Stanwyck, I was delighted. I had always thought she was one of the greatest. The Lady Eve and Double Indemnity are two of my favorite films and feature two of the many terrific performances she gave through the years. I arrived at her door promptly at 6:30 P.M., a huge bouquet of pink peonies in hand. The maid said she would be right down, took the flowers, and offered me a glass of champagne. Barbara came down a few minutes later, looking terrific in something silver and slinky. She carried on about the flowers as the maid brought them in and joined me for some champagne. I was anxious to get things off to a good start with the right kind of small talk, but unfortunately I was out of touch with the latest gossip. I asked how and where her husband was. An expletive told me how she felt about her husband: “That son of a bitch ran off with some kraut starlet.” As I struggled to pull my foot out of my mouth, she started to laugh and said, “Don’t worry about it, baby, he’s not worth sweating over,” and the rest of the evening went like gangbusters. We arrived at 7:30 on the dot and were met at the door by Rocky, Mrs. Gary Cooper, who hugged Barbara and said, “He’s going to be so glad to see you.” Cooper and Stanwyck had made a couple of great films together, Meet John Doe and Ball of Fire, the latter for Sam Goldwyn, whom she liked even though she referred to him as “that tough old bastard.” Rocky sent Barbara out to the garden to see Coop, took my arm, and showed me around their lovely home. As we walked into the garden, I spotted him laughing with Barbara. Rocky took me over to meet him. He was tall, lean, warm, and friendly. The thing I remember most about him is the twinkle in his deep blue eyes, which were framed by thick dark lashes. He was a movie star.

Spending time around her house, I came across a cache of 16mm movies in her basement. It turned out that Barbara [Stanwyck] had a lot of her own movies, and I convinced her to spend some time watching them with me. I ran the projector. She had prints of Union Pacific, Ball of Fire, and Baby Face, among others. She didn't particularly like watching them, but she did enjoy reminiscing about their production: how she got the part, what the location was like, that sort of thing. She liked people with humor and always spoke highly of Gary Cooper, Joel McCrea, and Frank Capra. Oddly enough, she wasn't crazy about Preston Sturges; she seemed to feel that he expended all his charm and humor for his movies and that there wasn't anything left for his actors. In broad outline, all this sounds a little bit like the scene in Sunset Boulevard where Gloria Swanson sits with William Holden and watches a scene from Queen Kelly, rhapsodizing about her own face. But Barbara couldn't have cared less about how she looked; as I watched her films with her, it was clear that, for her, the movies were a job she loved, as well as a social occasion for a woman who was otherwise something of a loner.

5 Things To Do After a Shooting When the Police Arrive Point out the perpetrator to the police Tell the police you will “sign the complaint” Point out the evidence to the police Point out witnesses to the police State you are willing to give full cooperation in 24 hours — After speaking with an attorney

his point, you’re likely to get wrinkles. Wrinkles cause blisters. Blisters force players to the sideline. Players on the sideline result in losses. Don’t just tug, he directed. Be snug. Alcindor asserted himself on the first day under assistant coach Gary Cunningham, running the freshman squad, with a display that instantly convinced Wooden his next

On the eve of America’s entrance into World War II, Walter Brennan embodied fundamental decency and democratic virtues that made him indispensable to Cooper’s signature Everyman roles. Brennan’s performance in Sergeant York (September 27, 1941) foreshadows the country’s emergence from isolationism into a reluctant, then confirmed internationalism. Although Brennan received an Academy Award nomination for his work in Sergeant York, his low-key style is barely mentioned in later accounts of the film, which focus on Gary Cooper as Alvin York, a backwoods Tennessee conscientious objector who overcomes religious objections to war to become the nation’s greatest war hero. Brennan’s Pastor Pile persuades York to fight for his principles, to abide by the law and register for the draft, and then to serve in the army after he is denied conscientious objector status.

In The New Biographical Dictionary of Film, David Thomson argues that Brennan should have won awards for even better performances in To Have and Have Not (1944), My Darling Clementine (1946), Red River (1948), The Far Country (1955), and Rio Bravo (1959). Thomson counts no less than twenty-eight high caliber Brennan performances in still more films, including These Three (1936), Fury (1936), Meet John Doe (1941), and Bad Day At Black Rock (1955). Brennan worked with Hollywood’s greatest directors—John Ford, Howard Hawks, William Wyler, King Vidor, and Fritz Lang—while also starring in Jean Renoir’s Hollywood directorial debut, Swamp Water (1941). To discuss Brennan’s greatest performances is also to comment on the work of Gary Cooper, Henry Fonda, Dana Andrews, Spencer Tracy, John Wayne, Humphrey Bogart, Lauren Bacall, Anne Baxter, Barbara Stanwyck, Lana Turner, Linda Darnell, Ginger Rogers, Loretta Young, and many other stars.

So how could Walter Brennan possibly dominate Gary Cooper? It would be virtually unheard of in Hollywood to reverse the natural order of things and have a character actor outshine the star. Who would want to do that? What director or producer would take such a risk? It just wasn’t done, unless that character actor possessed that rare quality that could translate to leading roles. Even then, why build a picture around Brennan? As Walter Brennan told columnist Sheilah Graham, “My part is such that it cannot help but steal the spotlight.

By the time Cooper arrived from Montana and before Gary became the actor’s new first name, Brennan had been canvassing the studios for two years and was still doing crowd scenes. The two aspiring actors became friends and sometimes socialized together and shared their meager earnings. Walter remembered a day in 1926 when he and Cooper were driving to work in a 1919 Buick when the brakes gave out. “Those were the days when the brake bands were on the outside of the wheels,” Walter explained. “We’d heard somewhere that if you put castor oil on the bands, it would make them swell. Well, we tried it and it worked, and Gary and I came down over that steep pass praising God for castor oil.

Cooper caught a break with a featured role as a doomed aviator in Wings (1927), but Walter remained on the periphery, observing the unwritten rule that extras did not consort with stars, yet taking pride in work that reinforced the function of character actors. As character actress Beulah Bondi said, “We are the mortar between the bricks.” For Walter Brennan, it was enough to know that a chosen few—Joan Crawford, Norma Shearer, Gary Cooper, Clark Gable—began as extras and ended as stars. For a television documentary, the actor Richard Arlen, one of the stars of Wings, was asked what Walter Brennan was like in these early days as an extra. “He was not too unlike Gary Cooper in his mannerisms in those days. A slow way of talking—very much like Will Rogers,” said Arlen. “Walter sounded very much like he does today. Very dry and one of the nicest men I’ve known.

Brennan’s contribution to The Wedding Night (March 8, 1935), starring Gary Cooper and Anna Sten—the Russian beauty Samuel Goldwyn was promoting as the next European import to rival Greta Garbo and Marlene Dietrich—was of a different order. The anxious producer, worried about Sten’s accent (even though she was playing a Polish American), began to take notice of Brennan in a seemingly forgettable role he nevertheless freshened with his rapid-fire delivery. Brennan is Bill Jenkins, a cackling Connecticut cab driver, spitting tobacco juice (actually licorice) and showing the tobacco fields to Tony Barrett (Gary Cooper), an alcoholic writer modeled on F. Scott Fitzgerald and trying to dry out in a country hideaway. Goldwyn had been much impressed with the velocity of dialogue in It Happened One Night (February 23, 1934) and wanted his actors to perform at the same screwball speed. Brennan manages this feat more deftly than the picture’s ostensible stars, although Cooper perks up when doing scenes with Brennan. Unfortunately Sten did not the have the same opportunity. “I never even met Anna Sten,” Brennan told biographer Carol Easton. When Jenkins drives up to deliver a telegram to Barrett, walking along the road, neither the writer nor Jenkins has a pencil to use to reply to Barrett’s wife, who wants him to return to the city. So Barrett simply gives a verbal response: “My work won’t let me. Love Tony.” Jenkins repeats the message twice to fix it in his mind, but as soon as he drives off the message gets garbled: “My love won’t work me.” He tries again: “My work won’t love me.” Not satisfied, he begins again: “My work won’t love me.” In frustration, he spits, and says, “Gosh, I’m losin’ my memory.” His role is inconsequential, and yet so necessary to the local color that director King Vidor works Brennan into a scene whenever he can. Brennan would have made his character even more authentic if Goldwyn had not complied with a request from the Breen Office, the enforcers of the Production Code, that Brennan’s use of “damn” and “hell” be cut from the film.

[T]HE LEATHER, SUN-DRENCHED FACE THAT MOST COMMONLY HELPED tame the wild frontier was that of Walter Brennan,” writes critic Manny Pacheco. Not Gary Cooper, not John Wayne, not Randolph Scott—or any other star—meant more to the western than Walter Brennan, who played every sort of character, good and evil, and everything between.

Auren Uris, a highly respected researcher and writer in the fields of human resources and management, supports the importance of small teams. He writes, “There is growing evidence that the most creative problemsolving or decisionmaking will occur in small, odd-numbered groups (5, 7, 9).” He advises, “If you want originality and creative contributions, . . . keep the group small. Five people is the number many researchers suggest for optimum efficiency, freedom of exchange and cooperation.”[5]

Rio Bravo is an answer to the lionization of the lone town marshal, portrayed so powerfully by Gary Cooper in High Noon, but Rio Bravo is also a deft remake of Red River, one that highlights Brennan’s role as a moral authority and a witness to history central to the ethos of Howard Hawks’s Westerns. But heretofore the Brennan persona rarely displaced that of the stars he supported. That would happen when, in the television age, the actor became, like Ward Bond in Wagon Train (1957–61), the locus of the action, the center around which the family and the nation revolved.

Sam Goldwyn had a long-standing business partnership with Twentieth Century-Fox, the studio making Tobacco Road. As a contract player, Walter had to do what he was told. The system usually suited him. He was never one to gripe about servitude; indeed, he always seemed happy to serve. He might imitate the autocratic Sam Goldwyn, calling up Gary Cooper and convincingly fire the studio’s star in Goldwyn’s voice. But Walter also told a reporter, “Sam was class. We used to consider the Goldwyn studio the country club of the motion picture industry. He did nothing cheap. Everything was first class. So I have a soft spot in my heart for Sam Goldwyn.

When you have some authority, use it to promote love, respect, and cooperation. — Gene Farmer —

Creative good is the divine energy and love flowing through human history, healing what no longer serves human wellbeing, binding humanity together, transforming what is tired, luring creation toward deeper expressions of cooperative existence.

Hadn't Gary Gygax simply invented a game, and an esoteric one at that? It was hardly a footnote in the increasingly fast and complex information age that we live in. What was all the fuzz about? The reason for all the fuzz among those who understood his work was simple. Gary Gygax and his seminal game creation, Dungeons & Dragons, had influenced and transformed the world in extraordinary ways. Yet, much of his contribution would also go largely unrecognised by the general public. Although it is debatable whether D&D ever became a thoroughly mainstream activity, as a 1983 New York Times article had speculated, referring to it as the great game of the 1980's, D&D and its RPG derivatives are beloved by a relatively small but dedicated group of individuals affectionately known as 'geeks'. Although the term 'geek' is not exclusive to role-playing gamers, the activities of this particular audience have often been viewed as the most archetypal form of 'geekiness'. Labels aside, what is notable is that the activities of this RGP audience were highly correlated with interests in other activities such as early computers, digital technologies, visual effects, and the performing arts. In this way, these geeks, though relatively small in number, became in many instances the leaders and masters of this era. With the advent of the digital age, geeks worldwide found opportunity and recognition never previously available to their predecessors. Icons and innovators such as George R. R. Martin, Mike Myers, Richard Garriott, Vin Diesel, Tim Duncan, Anderson Cooper, David X. Cohen, John Carmak, Tim Harford, Moby, and the late Robin Williams, to name just a few, were all avid role-playing gamers in their younger years. The list of those who include D&D as a regular activity while growing up is both extensive and impressive.

Despite all this bad news, there is real-world evidence that groups do confront bullies as a group—and it works! A shining example is the “Code Pink” technique used by surgical nurses. These highly skilled professionals are often berated and belittled by pompous surgeons, both men and women. In some hospitals, whenever a bullying surgeon steps over the line into mistreatment, “Code Pink” is called by the targeted nurse. Immediately, supportive nurses form a circle around the physician. Together, they declare their unwillingness to assist that person with current and future patients, if an apology is not given with a promise to behave in a civil manner. The interdependent nature of surgery makes the surgeon powerless without the help of the team in the operating room. All work stops and the physician is accountable for her or his bullying. It is the physician who is responsible for the patient’s life. “Code Pink” is the group displaying its power to the bully, demanding cooperation instead of controlling games.

The V-2's accuracy remained very poor, however, with misses of up to 14 miles and sometimes as much as 40 miles not uncommon. The Germans built, at the highest estimate, 6,915 V-2 rockets, a remarkable and remarkably wasteful feat given the 46-foot length and immense complexity of each missile. Some 3,225 rockets that reached their targets killed 2,700 British citizens. The effects in Antwerp, however, reached appalling levels; as many as 30,000 civilians and soldiers died in V-2 strikes, including 591 people killed on December 16th, 1944 when a V-2 struck a packed theater, the “Rex Cinema,” screening the Gary Cooper film The Plainsman. The rockets also sank at least 150 ships, and approximately 15,000 slave laborers died building the V-2s, a deadly effect which might perhaps also be counted among the weapon's death toll.

So actually, of what was used in the picture, I think we shot thirty-one or thirty-two days. And the only high-priced actor in it was Gary Cooper. The girl . . . what was her name? . . . Grace Kelly . . . wasn’t high priced then. This was only the second picture she’d ever been in. She was not a name at all.

Il lui servit une dose maison de ce vieil optimisme américain, qu'ils ont en Europe.

Les hobos évitaient, en général, d'apprendre des langues, pour ne pas se laisser piéger par tous les trucs qui vont avec le vocabulaire, lequel est toujours celui des autres, une espèce d'héritage, qui vous tombe dessus.

Cookie avait fait quelque chose de tout à fait compréhensible, mais cela ne pouvait pas se communiquer. On ne peut pas mettre ça en mots. Les mots mentent comme ils respirent.

C'est ainsi que se forment les légendes : quand personne ne vous voit.

Tu as quelqu'un, quelque part ? A qui il faut écrire où on t'a enterré ? – C'est pas la peine de gaspiller un timbre. »

il se demandait parfois jusqu'où on pouvait aller nulle part.

In the end, I found that physical fitness offered to God, surrendered to God, pursued in cooperation with God has enormous spiritual, emotional, and physical benefits.

It is possible that one of the seven other major studios might have bought and made a movie from Everybody comes to Rick's, an unproduced play about a cynical American who owns a bar in Casablanca. (One producer at M-G-M, Sam Marx, did want to buy the play for $5.000, but his boss didn't think it was worth the money.) It wouldn't have been the same movie, not only because it would have starred Gary Cooper at Paramount, Clark Gable at M-G-M, or Tyrone Power at Fox but because another studio's style would have been more languid, less sardonic, or opulently Technicolored.

Where does the word cocktail come from? There are many answers to that question, and none is really satisfactory. One particular favorite story of mine, though, comes from The Booze Reader: A Soggy Saga of a Man in His Cups, by George Bishop: “The word itself stems from the English cock-tail which, in the middle 1800s, referred to a woman of easy virtue who was considered desirable but impure. The word was imported by expatriate Englishmen and applied derogatorily to the newly acquired American habit of bastardizing good British Gin with foreign matter, including ice. The disappearance of the hyphen coincided with the general acceptance of the word and its re-exportation back to England in its present meaning.” Of course, this can’t be true since the word was applied to a drink before the middle 1800s, but it’s entertaining nonetheless, and the definition of “desirable but impure” fits cocktails to a tee. A delightful story, published in 1936 in the Bartender, a British publication, details how English sailors of “many years ago” were served mixed drinks in a Mexican tavern. The drinks were stirred with “the fine, slender and smooth root of a plant which owing to its shape was called Cola de Gallo, which in English means ‘Cock’s tail.’ ” The story goes on to say that the sailors made the name popular in England, and from there the word made its way to America. Another Mexican tale about the etymology of cocktail—again, dated “many years ago”—concerns Xoc-tl (transliterated as Xochitl and Coctel in different accounts), the daughter of a Mexican king, who served drinks to visiting American officers. The Americans honored her by calling the drinks cocktails—the closest they could come to pronouncing her name. And one more south-of-the-border explanation for the word can be found in Made in America, by Bill Bryson, who explains that in the Krio language, spoken in Sierra Leone, a scorpion is called a kaktel. Could it be that the sting in the cocktail is related to the sting in the scorpion’s tail? It’s doubtful at best. One of the most popular tales told about the first drinks known as cocktails concerns a tavernkeeper by the name of Betsy Flanagan, who in 1779 served French soldiers drinks garnished with feathers she had plucked from a neighbor’s roosters. The soldiers toasted her by shouting, “Vive le cocktail!” William Grimes, however, points out in his book Straight Up or On the Rocks: A Cultural History of American Drink that Flanagan was a fictional character who appeared in The Spy, by James Fenimore Cooper. He also notes that the book “relied on oral testimony of Revolutionary War veterans,” so although it’s possible that the tale has some merit, it’s a very unsatisfactory explanation. A fairly plausible narrative on this subject can be found in Famous New Orleans Drinks & How to Mix ’em, by Stanley Clisby Arthur, first published in 1937. Arthur tells the story of Antoine Amedie Peychaud, a French refugee from San Domingo who settled in New Orleans in 1793. Peychaud was an apothecary who opened his own business, where, among other things, he made his own bitters, Peychaud’s, a concoction still available today. He created a stomach remedy by mixing his bitters with brandy in an eggcup—a vessel known to him in his native tongue as a coquetier. Presumably not all Peychaud’s customers spoke French, and it’s quite possible that the word, pronounced coh-KET-yay, could have been corrupted into cocktail. However, according to the Sazerac Company, the present-day producers of Peychaud’s bitters, the apothecary didn’t open until 1838, so there’s yet another explanation that doesn’t work.

Berlin wrote songs for a number of Astaire films of the period: Top Hat, Follow the Fleet, On the Avenue, Carefree. The two men became close personal friends for the rest of their lives. But the choice of Astaire as a Hollywood leading man is, at first glance, puzzling. Certainly, he was an extraordinary dancer, and songwriters appreciated his accuracy and clarity when singing their songs, even if his voice was reedy and thin. But a leading man? Essentially, Astaire epitomized what Berlin and other Jews strove to achieve. He was debonair, polished, sophisticated. His screen persona was that of a raffish, outspoken fellow, not obviously attractive, whose audacity and romanticism and wit in the end won out. It didn’t hurt that he could dance. But even his dance—so smooth and elegant—was done mostly to jazz. Unlike a Gene Kelly, who was athletic, handsome, and sexy, Astaire got by on style. Kelly was American whereas Astaire was continental. In short, Astaire was someone the immigrant might himself become. It was almost like Astaire was himself Jewish beneath the relaxed urbanity. In a film like Top Hat he is audacious, rude, clever, funny, and articulate, relying mostly on good intentions and charm to win over the girl—and the audience. He is the antithesis of a Clark Gable or a Gary Cooper; Astaire is all clever and chatty, balding, small, and thin. No rugged individualist he. And yet his romantic nature and persistence win all. Astaire only got on his knees to execute a dazzling dance move, never as an act of submission. His characters were largely wealthy, self-assured, and worldly. He danced with sophistication and class. In his famous pairings with Ginger Rogers, the primary dance numbers had the couple dressed to the nines, swirling on equally polished floors to the strains of deeply moving romantic ballads.

Berlin wrote songs for a number of Astaire films of the period: Top Hat, Follow the Fleet, On the Avenue, Carefree. The two men became close personal friends for the rest of their lives. But the choice of Astaire as a Hollywood leading man is, at first glance, puzzling. Certainly, he was an extraordinary dancer, and songwriters appreciated his accuracy and clarity when singing their songs, even if his voice was reedy and thin. But a leading man? Essentially, Astaire epitomized what Berlin and other Jews strove to achieve. He was debonair, polished, sophisticated. His screen persona was that of a raffish, outspoken fellow, not obviously attractive, whose audacity and romanticism and wit in the end won out. It didn’t hurt that he could dance. But even his dance—so smooth and elegant—was done mostly to jazz. Unlike a Gene Kelly, who was athletic, handsome, and sexy, Astaire got by on style. Kelly was American whereas Astaire was continental. In short, Astaire was someone the immigrant might himself become. It was almost like Astaire was himself Jewish beneath the relaxed urbanity. In a film like Top Hat he is audacious, rude, clever, funny, and articulate, relying mostly on good intentions and charm to win over the girl—and the audience. He is the antithesis of a Clark Gable or a Gary Cooper; Astaire is all clever and chatty, balding, small, and thin. No rugged individualist he. And yet his romantic nature and persistence win all.

Socialism was about reorganizing society as a cooperative community.

Christian socialists were not even democrats, although they learned to say that socialism had to be democratic. They said socialism was a modern name for the unifying and cooperative divine order that already exists.

Socialism” became an English word in 1827, when Cooperative Magazine described Welsh reformer Robert Owen (1771–1858) as a socialist—an advocate of the view that industrial wealth should be owned in common, on a cooperative basis. Owen was the first Briton to grasp the meaning of the Industrial Revolution.

C'est fini, Gary Cooper. Fini pour toujours. Fini, l'Américain tranquille, sûr de lui et de son droit, qui est contre les méchants, toujours pour la bonne cause, et qui fait triompher la justice et gagne toujours à la fin. Adieu l'Amérique des certitudes.

In Funny Face, all it takes for the lovely Audrey Hepburn, a mousy intellectual in a Greenwich Village bookshop, to question her high-minded celibacy (“My philosophic search / Has left me in the lurch”) is a peck on the cheek from a character played by Fred Astaire. Not Cary Grant or Gary Cooper: Fred Astaire. Well, he has as much right to play a chick magnet as she has to play an existentialist, but when she falls for him she hasn’t even seen him dance; she’s only seen him trash her bookstore.

With General Johnson dead, Cooper could disappear forever. Thanks to his earnings from Ibrahim Haddad, he had the means to live anywhere under any identity he created. Richard Cooper was long gone, twice killed. Maybe he would reinvent himself as a novelist. He always felt he could write political thrillers. And with more actual experience than anyone in his stock and trade, he thought he might be able to make the bestseller list.