Iconic Series Quotes

Greatness makes you a legend; being the best makes you an icon. If you want to be great, deliver the unexpected. If you want to be the best, deliver a miracle.

The Qur’an does not hesitate to retell biblical incidents with modifications—or to introduce entirely new vignettes around iconic biblical figures. As a book purposely not constructed around a formal narrative, the Qur’an leverages these allusions primarily to emphasize a moral value rather than re- veal an origin story. Every time the Qur’an presents a story, it always follows with terse analyses synthesizing key takeaways.

[W]hat is always overlooked is that although the poor want to be rich, it does not follow that they either like the rich or that they in any way want to emulate their characters which, in fact, they despise. Both the poor and the rich have always found precisely the same grounds on which to complain about each other. Each feels the other has no manners, is disloyal, corrupt, insensitive - and has never put in an honest day's work in its life.

I cadged a complimentary green matchbook with a gold bird icon from the Bell canning jar. Later we'd use the matches to light our spliffs. My fingertips tapped the stem to the gizmo that dinged a bell. Nobody came out. Wrong signal, so I did two bell rings. No response prompted me to tap out a series of bell rings.

Then, unprompted, Henry says into the stretching stillness, “Return of the Jedi.” A beat. “What?” “To answer your question,” Henry says. “Yes, I do like Star Wars, and my favorite is Return of the Jedi.” “Oh,” Alex says. “Wow, you’re wrong.” Henry huffs out the tiniest, most poshly indignant puff of air. It smells minty. Alex resists the urge to throw another elbow. “How can I be wrong about my own favorite? It’s a personal truth.” “It’s a personal truth that is wrong and bad.” “Which do you prefer, then? Please show me the error of my ways.” “Okay, Empire.” Henry sniffs. “So dark, though.” “Yeah, which is what makes it good,” Alex says. “It’s the most thematically complex. It’s got the Han and Leia kiss in it, you meet Yoda, Han is at the top of his game, fucking Lando Calrissian, and the best twist in cinematic history. What does Jedi have? Fuckin’ Ewoks.” “Ewoks are iconic.” “Ewoks are stupid.” “But Endor.” “But Hoth. There’s a reason people always call the best, grittiest installment of a trilogy the Empire of the series.” “And I can appreciate that. But isn’t there something to be valued in a happy ending as well?” “Spoken like a true Prince Charming.” “I’m only saying, I like the resolution of Jedi. It ties everything up nicely. And the overall theme you’re intended to take away from the films is hope and love and … er, you know, all that. Which is what Jedi leaves you with a sense of most of all.

The magnificence of such objects hardly pertains to the human. They live only in a world of icons and there they participate in rituals which transmute life itself to a series of grand gestures, as moving as they are absurd.

Acting is the most insecure of all the trades, the most risky. In their professional lifetime most actors rehearse longer than they play, spend more time traipsing from office to office in search of jobs than they rehearse and play combined.

I jerked my phone out of my pocket and took a sharp left to follow the bold green line. I didn't fail to notice my walking icon had been replaced with a bicycle. Stupid Google. Doesn't have a "Succubus on Steroids" setting. J.M. Friedman. Succubus in Seattle (Kindle Locations 1198-1199).

True Films On TrueFilms.com, Kevin has reviewed the best documentaries he’s seen over decades. The counterpart book series, True Films 3.0, contains the 200 documentaries he feels you should see before you die, and it is available as a PDF on kk.org. Three docs we both love are The King of Kong, Man on Wire, and A State of Mind.

[W]hat upset grownups of both sexes about Elvis' performance was that he had broken the deepest taboo of all. He used his body as rhythmically and erotically and seductively as a woman--that was the forbidden territory he had entered. It was not only repulsive and offensive--it was nauseating--the word most used. It was an attack on male dignity. The kids, however, not yet grown into the stereotypes of gender, saw in him an exhilarating physical freedom.

More than that, however, the rigid lens of breed seems to present the dog as a series of switches and levers waiting to be manipulated for our own use, rather than as a sentient creature with an emotional life and the ability to make choices.

When passing a certain field near the railroad tracks John Allen Cooke, a black former truck driver, often points to it saying: "This is where I used to see Elvis laying around. Killing time. He was real quiet. Thinking about his music, I guess...

To boldly go where no man has gone before” says the iconic Captain’s Oath in the Star Trek series. Humanity seeks to live adventures, either by conquering mountains or the seas, or by watching war movies, space adventures, fantasies and thrillers. But often the greatest adventure of them all is to negotiate through a lifetime.

People are nicer than they look, but you have to go first. This made me think of a line from fictional character Raylan Givens in the TV series Justified: “If you run into an asshole in the morning, you ran into an asshole. If you run into assholes all day, you’re the asshole.” I will often write “GO FIRST” in my morning journal as a daily prompt.

When he was restored to the throne at Apple, we put him on the cover of Time, and soon thereafter he began offering me his ideas for a series we were doing on the most influential people of the century. He had launched his “Think Different” campaign, featuring iconic photos of some of the same people we were considering, and he found the endeavor of assessing historic influence fascinating.

Don hits rock bottom in the series’ finest hour, “The Suitcase,” which is essentially a two-character play about Don and Peggy stuck in the office through a tumultuous night. She wants to leave for a birthday dinner with her boyfriend, while he needs company to avoid placing the phone call that will tell him that Anna Draper — the widow of the real Don, and the one person on Earth with whom this Don feels truly comfortable and safe — has died of cancer. Over the course of the episode, Jon Hamm and Elisabeth Moss are asked to play every emotion possible: rage and despair, joy and humiliation, companionship and absolute contempt. In the most iconic moment, Peggy complains that Don took all the credit for an award-winning campaign she helped conceive. “It’s your job,” he tells her, his voice dripping with condescension. “I give you money. You give me ideas.” “And you never say, ‘Thank you,’” she complains, fighting back tears. “That’s what the money is for!” he screams.

Which philosophers would Alain suggest for practical living? Alain’s list overlaps nearly 100% with my own: Epicurus, Seneca, Marcus Aurelius, Plato, Michel de Montaigne, Arthur Schopenhauer, Friedrich Nietzsche, and Bertrand Russell. * Most-gifted or recommended books? The Unbearable Lightness of Being by Milan Kundera, Essays of Michel de Montaigne. * Favorite documentary The Up series: This ongoing series is filmed in the UK, and revisits the same group of people every 7 years. It started with their 7th birthdays (Seven Up!) and continues up to present day, when they are in their 50s. Subjects were picked from a wide variety of social backgrounds. Alain calls these very undramatic and quietly powerful films “probably the best documentary that exists.” TF: This is also the favorite of Stephen Dubner on page 574. Stephen says, “If you are at all interested in any kind of science or sociology, or human decision-making, or nurture versus nature, it is the best thing ever.” * Advice to your 30-year-old self? “I would have said, ‘Appreciate what’s good about this moment. Don’t always think that you’re on a permanent journey. Stop and enjoy the view.’ . . . I always had this assumption that if you appreciate the moment, you’re weakening your resolve to improve your circumstances. That’s not true, but I think when you’re young, it’s sort of associated with that. . . . I had people around me who’d say things like, ‘Oh, a flower, nice.’ A little part of me was thinking, ‘You absolute loser. You’ve taken time to appreciate a flower? Do you not have bigger plans? I mean, this the limit of your ambition?’ and when life’s knocked you around a bit and when you’ve seen a few things, and time has happened and you’ve got some years under your belt, you start to think more highly of modest things like flowers and a pretty sky, or just a morning where nothing’s wrong and everyone’s been pretty nice to everyone else. . . . Fortune can do anything with us. We are very fragile creatures. You only need to tap us or hit us in slightly the wrong place. . . . You only have to push us a little bit, and we crack very easily, whether that’s the pressure of disgrace or physical illness, financial pressure, etc. It doesn’t take very much. So, we do have to appreciate every day that goes by without a major disaster.

know that taking a long walk was his preferred way to have a serious conversation. It turned out that he wanted me to write a biography of him. I had recently published one on Benjamin Franklin and was writing one about Albert Einstein, and my initial reaction was to wonder, half jokingly, whether he saw himself as the natural successor in that sequence. Because I assumed that he was still in the middle of an oscillating career that had many more ups and downs left, I demurred. Not now, I said. Maybe in a decade or two, when you retire. I had known him since 1984, when he came to Manhattan to have lunch with Time’s editors and extol his new Macintosh. He was petulant even then, attacking a Time correspondent for having wounded him with a story that was too revealing. But talking to him afterward, I found myself rather captivated, as so many others have been over the years, by his engaging intensity. We stayed in touch, even after he was ousted from Apple. When he had something to pitch, such as a NeXT computer or Pixar movie, the beam of his charm would suddenly refocus on me, and he would take me to a sushi restaurant in Lower Manhattan to tell me that whatever he was touting was the best thing he had ever produced. I liked him. When he was restored to the throne at Apple, we put him on the cover of Time, and soon thereafter he began offering me his ideas for a series we were doing on the most influential people of the century. He had launched his “Think Different” campaign, featuring iconic photos of some of the same people we were considering, and he found the endeavor of assessing historic influence fascinating. After I had deflected his suggestion that I write a biography of him, I heard from him every now and then. At one point I emailed to ask if it was true, as my daughter had told me, that the Apple logo was an homage to Alan Turing, the British computer pioneer who broke the German wartime codes and then committed suicide by biting into a cyanide-laced apple. He replied that he wished he had thought of that, but hadn’t. That started an exchange about the early history of Apple, and I found myself gathering string on the subject, just in case I ever decided to do such a book. When my Einstein biography came out, he came to a book event in Palo Alto and

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.

Icon Books has a fine series called “Revolutions in Science.” These works are succinct, highly readable, and authoritative. The series includes John Henry's Moving Heaven and Earth: Copernicus and the Solar System (Duxford, Cambridge: Icon Books, 2001). Henry's book can be read in an afternoon, and, while not as detailed as Kuhn's classic, it tells the story with verve and lucidity.

When John Kenneth Galbraith rose to deliver the presidential address of the American Economic Association in 1972, the angular Harvard professor and supremely self-confident adviser to presidents was arguably the most famous living economist in America. From The Affluent Society in 1958 to The New Industrial State in 1967, his critical accounts of capitalism's tendencies to underfund social goods and concentrate corporate control had been fixtures on the best-seller lists. Galbraith's thirteen-part BBC television series on the workings of capitalism in 1977 was to help goad the production of Milton Friedman's counterassertion of 1980, the PBS series Free to Choose, an iconic statement of the new market ideology.

Hi Tim, Patience. Far too soon to expect strength improvements. Strength improvements [for a movement like this] take a minimum of 6 weeks. Any perceived improvements prior to that are simply the result of improved synaptic facilitation. In plain English, the central nervous system simply became more efficient at that particular movement with practice. This is, however, not to be confused with actual strength gains. Dealing with the temporary frustration of not making progress is an integral part of the path towards excellence. In fact, it is essential and something that every single elite athlete has had to learn to deal with. If the pursuit of excellence was easy, everyone would do it. In fact, this impatience in dealing with frustration is the primary reason that most people fail to achieve their goals. Unreasonable expectations timewise, resulting in unnecessary frustration, due to a perceived feeling of failure. Achieving the extraordinary is not a linear process. The secret is to show up, do the work, and go home. A blue collar work ethic married to indomitable will. It is literally that simple. Nothing interferes. Nothing can sway you from your purpose. Once the decision is made, simply refuse to budge. Refuse to compromise. And accept that quality long-term results require quality long-term focus. No emotion. No drama. No beating yourself up over small bumps in the road. Learn to enjoy and appreciate the process. This is especially important because you are going to spend far more time on the actual journey than with those all too brief moments of triumph at the end. Certainly celebrate the moments of triumph when they occur. More importantly, learn from defeats when they happen. In fact, if you are not encountering defeat on a fairly regular basis, you are not trying hard enough. And absolutely refuse to accept less than your best. Throw out a timeline. It will take what it takes. If the commitment is to a long-term goal and not to a series of smaller intermediate goals, then only one decision needs to be made and adhered to. Clear, simple, straightforward. Much easier to maintain than having to make small decision after small decision to stay the course when dealing with each step along the way. This provides far too many opportunities to inadvertently drift from your chosen goal. The single decision is one of the most powerful tools in the toolbox. 2 Wealthy “If you set your goals ridiculously high and it’s a failure, you will fail above everyone else’s success.” —James Cameron

Ten shockingly arty events What arty types like to call a ‘creative tension’ exists in art and music, about working right at the limits of public taste. Plus, there’s money to be made there. Here’s ten examples reflecting both motivations. Painting: Manet’s Breakfast on the Lawn, featuring a group of sophisticated French aristocrats picnicking outside, shocked the art world back in 1862 because one of the young lady guests is stark naked! Painting: Balthus’s Guitar Lesson (1934), depicting a teacher fondling the private parts of a nude pupil, caused predictable uproar. The artist claimed this was part of his strategy to ‘make people more aware’. Music: Jump to 1969 when Jimi Hendrix performed his own interpretation of the American National Anthem at the hippy festival Woodstock, shocking the mainstream US. Film: In 1974 censors deemed Night Porter, a film about a love affair between an ex-Nazi SS commander and his beautiful young prisoner (featuring flashbacks to concentration camp romps and lots of sexy scenes in bed with Nazi apparel), out of bounds. Installation: In December 1993 the 50-metre-high obelisk in the Place Concorde in the centre of Paris was covered in a giant fluorescent red condom by a group called ActUp. Publishing: In 1989 Salman Rushdie’s novel Satanic Verses outraged Islamic authorities for its irreverent treatment of Islam. In 2005 cartoons making political points about Islam featuring the prophet Mohammed likewise resulted in riots in many Muslim cities around the world, with several people killed. Installation: In 1992 the soon-to-be extremely rich English artist Damien Hirst exhibited a 7-metre-long shark in a giant box of formaldehyde in a London art gallery – the first of a series of dead things in preservative. Sculpture: In 1999 Sotheby’s in London sold a urinoir or toilet-bowl-thing by Marcel Duchamp as art for more than a million pounds ($1,762,000) to a Greek collector. He must have lost his marbles! Painting: Also in 1999 The Holy Virgin Mary, a painting by Chris Ofili representing the Christian icon as a rather crude figure constructed out of elephant dung, caused a storm. Curiously, it was banned in Australia because (like Damien Hirst’s shark) the artist was being funded by people (the Saatchis) who stood to benefit financially from controversy. Sculpture: In 2008 Gunther von Hagens, also known as Dr Death, exhibited in several European cities a collection of skinned corpses mounted in grotesque postures that he insists should count as art.

Then all of it — the contempt, the bitter fury, and abhorrence — returned with renewed and revitalized clarity, like a computer in the final stages of its reboot repopulating icons onto the desktop of his mind.

Moreover, it is important to recognize that notions of self-fashioning were circulating in Renaissance Europe not only among members of the rising middle class but also in writings addressed to monarchs. Consider, for example, Machiavelli’s Prince or the various Mirrors for Princes of the early modern period, which advocate that monarchs carefully manipulate their image in order to solidify their authority and to mask the exercise of coercive power, for, as Machiavelli writes, the vulgar are always taken by what a thing seems to be and by what comes of it; and in the world there are only the vulgar, for the few find a place there only when the many have no ground to rest on (2002) (for more on Putin and Machiavelli,

Scholars generally understand post-Soviet nostalgia as something more than a simple longing for the return of the Soviet past (Boym 2001; Ivanova 1997; Nadkarni and Shevchenko 2004; Oushakine 2007; Sabonis-Chafee 1999). Nostalgia “emphasizes the irretrievability of the past as the very condition of desire,” since it “is never longing for a specific past as much as it is longing for longing itself, made all the safer by the fact that the object of that desire is deemed irrevocably lost” (Nadkarni and Shevchenko 2004: 491).

former KGB officer with a confident walk and shy smile, a tough administrator of disarming simplicity, a market-oriented reformer willing to increase state control over the market, and a touching father who can fly a jet and uses military slang in his speech. (Fartyshev

The Yeltsin years considerably lowered the bar [of public expectations] for the country’s next leader: Putin’s specific policies and actions arguably matter far less than his reassuring symbolic function as “a real man” who can husband the nation’s resources and promise a return to greatness. (2007: 227)

The Director’s Chair is with Francis Ford Coppola (The Godfather, Apocalypse Now, etc.), and Robert refers later to this quote from Francis: “Failure is not necessarily durable. Remember that the things that they fire you for when you are young are the same things that they give lifetime achievement awards for when you’re old.” ROBERT: “Even if I didn’t sell Mariachi, I would have learned so much by doing that project. That was the idea—I’m there to learn. I’m not there to win; I’m there to learn, because then I’ll win, eventually. . . . “You’ve got to be able to look at your failures and know that there’s a key to success in every failure. If you look through the ashes long enough, you’ll find something. I’ll give you one. Quentin [Tarantino] asked me, ‘Do you want to do one of these short films called Four Rooms [where each director can create the film of their choosing, but it has to be limited to a single hotel room, and include New Year’s Eve and a bellhop]?’ and my hand went up right away, instinctively. . . . “The movie bombed. In the ashes of that failure, I can find at least two keys of success. On the set when I was doing it, I had cast Antonio Banderas as the dad and had this cool little Mexican as his son. They looked really close together. Then I found the best actress I could find, this little half-Asian girl. She was amazing. I needed an Asian mom. I really wanted them to look like a family. It’s New Year’s Eve, because [it] was dictated by the script, so they’re all dressed in tuxedos. I was looking at Antonio and his Asian wife and thinking, ‘Wow, they look like this really cool, international spy couple. What if they were spies, and these two little kids, who can barely tie their shoes, didn’t know they were spies?’ I thought of that on the set of Four Rooms. There are four of those [Spy Kids movies] now and a TV series coming. “So that’s one. The other one was, after [Four Rooms] failed, I thought, ‘I still love short films.’ Anthologies never work. We shouldn’t have had four stories; it should have been three stories because that’s probably three acts, and it should just be the same director instead of different directors because we didn’t know what each person was doing. I’m going to try it again. Why on earth would I try it again, if I knew they didn’t work? Because you figured something out when you’re doing it the first time, and [the second attempt] was Sin City.” TIM: “Amazing.

Hi Tim, Patience. Far too soon to expect strength improvements. Strength improvements [for a movement like this] take a minimum of 6 weeks. Any perceived improvements prior to that are simply the result of improved synaptic facilitation. In plain English, the central nervous system simply became more efficient at that particular movement with practice. This is, however, not to be confused with actual strength gains. Dealing with the temporary frustration of not making progress is an integral part of the path towards excellence. In fact, it is essential and something that every single elite athlete has had to learn to deal with. If the pursuit of excellence was easy, everyone would do it. In fact, this impatience in dealing with frustration is the primary reason that most people fail to achieve their goals. Unreasonable expectations timewise, resulting in unnecessary frustration, due to a perceived feeling of failure. Achieving the extraordinary is not a linear process. The secret is to show up, do the work, and go home. A blue collar work ethic married to indomitable will. It is literally that simple. Nothing interferes. Nothing can sway you from your purpose. Once the decision is made, simply refuse to budge. Refuse to compromise. And accept that quality long-term results require quality long-term focus. No emotion. No drama. No beating yourself up over small bumps in the road. Learn to enjoy and appreciate the process. This is especially important because you are going to spend far more time on the actual journey than with those all too brief moments of triumph at the end. Certainly celebrate the moments of triumph when they occur. More importantly, learn from defeats when they happen. In fact, if you are not encountering defeat on a fairly regular basis, you are not trying hard enough. And absolutely refuse to accept less than your best. Throw out a timeline. It will take what it takes. If the commitment is to a long-term goal and not to a series of smaller intermediate goals, then only one decision needs to be made and adhered to. Clear, simple, straightforward. Much easier to maintain than having to make small decision after small decision to stay the course when dealing with each step along the way. This provides far too many opportunities to inadvertently drift from your chosen goal. The single decision is one of the most powerful tools in the toolbox.

Fussell, Chris: “‘Life is a series of choices—take accountability for yours.

If the commitment is to a long-term goal and not to a series of smaller intermediate goals, then only one decision needs to be made and adhered to. Clear, simple, straightforward. Much easier to maintain than having to make small decision after small decision to stay the course when dealing with each step along the way. This provides far too many opportunities to inadvertently drift from your chosen goal. The single decision is one of the most powerful tools in the toolbox.

Sometimes brands make a stand more quietly. Deep inside one of the world’s most famous factories, located in the tiny town of Billund, Denmark, more than a hundred engineers and scientists are collaborating to redesign a product that has worked perfectly for more than eighty years. The LEGO Sustainable Materials Centre, a well-funded group within LEGO, is dedicated to finding more sustainable materials within the next decade to make the company’s iconic bricks. In 2018 the group launched its first innovation, making flexible pieces such as leaves and palm trees from a plant-based plastic sourced from sugar cane. This sense of commitment to the environment is deeply felt at LEGO. Its efforts may inspire more such initiatives across the toy industry, especially if consumers take note of LEGO’s efforts and demand similar forward-looking commitments from other companies as well.

Laird was one of my surfing teachers in my TV series, The Tim Ferriss Experiment,

As already noted, the heretics viewed Jesus as one among a series of lesser spirits descending in sequential inferiority from God. Paul refutes that with two powerful descriptions of who Jesus really is. First, Paul describes Him as the image of the invisible God. Eikōn (image) means “image” or “likeness.” From it we get our English word icon, referring

You must drink lots of wine. We must get you normal again. I don’t want to travel with an imbecile. Not that I’m quite right in the head myself. What have I let myself in for?

There's more to life than just the things that can be explained by encyclopedias and facts. Facts alone are not adequate.

Like the iconic song by the Beatles, the journey of faith is a "long and winding road" and not a straight path. Faith isn't monolithic or one-size-fits-all. It isn't linear, but is instead sinuous. Sometimes it gets worse before it gets better. God is a great artist and the Bible tells us he is painting a masterpiece and we are his canvas; except he isn't finished yet. Thus, we might not be able to connect the dots in our lives just yet, since dots often only make sense in reverse.

In the 1960s, the rise of "flower power" brought yoga to the attention of a generation of young Americans and Europeans. The wholesale embrace of Indian metaphysics and yoga by many countercultural icons (such as The Beatles' spiritual romance with the Maharishi Mahesh Yogi) reinforced the position of yoga in the popular psyche and inspired many to join the "hippy trail" to India in pursuit of alternative philosophies and lifestyles. Increased media attention brought yoga closer to the mainstream, and printed primers and television series throughout the 1960s and 1970s, such as Richard Hittleman's Yoga for Health (first broadcast in 1961), encouraged many to take up posture-based yoga in the comfort of their own homes.

I think we have two choices in life when somebody we love dearly dies. You either close the curtains and take the pills in the bedroom, or you throw the curtains open. You plant flowers. You light candles. And you try to move on. It’s a very gradual process, and a really painful one, but there’s a will to celebrate the person—and a will to celebrate yourself for having survived. I don’t think of the tsunami every time I look down and see this watch. I think of the course of my life—the memories I have of my dad, the memories I have of Fernando. And also I think a lot about the future. The fact that it was one event, tragic and drastic, but one event in a long chain of events both happy and sad in my life.

Nobody believes that – or, rather, nobody dares believe it. What is this curse that makes us all so inert and cowed that we cannot pull ourselves together and deprive the generals of their grants? We are oafs most of us, lazy and ignorant, and we nod our heads and are satisfied when we hear a lot of profound nonsense about ‘balance of power’ and ‘interplay of forces’ and all the rest of the jargon. Balance of power? If every Tom, Dick and Harry were to exert himself and demand that the money should be spent on making him better off instead of on arms and war there would be no war and we should all be better off. But the Toms, Dicks and Harrys must first bang their fists on the table and let it be known who holds the power and how that power is to be used.

In 2016, pop icon and actor Selena Gomez posted a photo on Instagram of herself in a dressing room watching The Big Bang Theory on her computer with the caption that read “The one thing that gets me going before anything… Sheldon Cooper—Big Bang Theory.” Molaro saw the post, which sparked an idea. Steve Molaro: After I had heard she liked the show, we approached Selena’s team a couple of times to have her on, but it never worked out due to scheduling reasons, etc. I’m a fan of hers and would have loved to have had her on. I never even got to pitch it to them, but I had kicked around an idea that Amy had been complaining about her awful stepsister and what a bitch she was. Which would be news because we didn’t even know she had one. This, of course, was before we established Amy’s dad and mom were still together. When we meet this stepsister, played by Selena, she’s beautiful and great and everyone loves her and Amy was just being jealous. It never got further than that. It would have been fun if it could have worked

The Kingdom of God is not a Talmud, nor is it a mechanical collection of scriptural or patristic quotations outside our being and our lives. The Kingdom of God is within us, like a dynamic leaven which fundamentally changes man's whole life, his spirit and his body. What is required in patristic study, in order to remain faithful to the Fathers' spirit of freedom and worthy of their spiritual nobility and freshness, is to approach their holy texts with the fear in which we approach and venerate their holy relics and holy icons. This liturgical reverence will soon reveal to us that here is another inexpressible grace. The whole atmosphere is different. There are certain vital passages in the patristic texts which, we feel, demand of us, and work within us, an unaccustomed change. These we must make part of our being and our lives, as truths and as standpoints, to leaven the whole. And at the same time we must put our whole self into studying the Fathers, waiting and marking time. This marriage, this baptism into patristic study brings what we need, which is not an additional load of patristic references and the memorizing of other people's opinions, but the acquisition of a new clear-sighted sense which enables man to see things differently and rightly. If we limit ourselves to learning passages by heart and classifying them mechanically — and teach men likewise — then we fall into a basic error which simply makes us fail to teach and make known the patristic way of life and philosophy.

Kunal Nayyar: Her wake was held at the Magic Castle in Los Angeles… but maybe six weeks before she passed, every time you asked how she was, she’d say in that iconic voice, “I’m great, darling. I’m lovely! Every day is a blessing.

The biblical King David was also a sacred shepherd. His sensual and ecstatic songs of earthly love, so untypical of the Bible, derive from the ancient love rites of the shepherd king and the Goddess—her Canaanite names were Asherah, Astarte, Ashtoreth. The settled people of the Old Testament, like everyone else in the Near East, practiced Goddess worship. The Old Testament is the record of the conquest and massacre of these Neolithic people by the nomadic Hebrews, followers of a Sky God, who then set up their biblical God in the place of the ancient Goddess. The biblical Hebrews were a nomadic pastoral and patriarchal people, tribes of sheepherders and warriors who invaded land belonging to the matriarchal Canaanites. Both Hebrews and Canaanites were Semitic people. The Canaanites lived in agricultural communities and worshiped the orgiastic-ecstatic Moon Mother Astarte. As Old Testament stories relate, the Hebrews sacked, burned, and destroyed village after village belonging to the Canaanites, massacring or enslaving the people—a series of brutal invasions and slaughters described typically by theologians and preachers as “a spiritual victory.” In this way the Hebrews established themselves on the land, along with the worship of their Sky-and-Thunder God Yahweh (Jehovah), calling themselves his “chosen people.” Yahweh’s male prophets and priests, however, despite their political victory over the Canaanites, had to carry on a continuous struggle and fulmination against their own people, who kept “backsliding” into worship of the Great Mother, the Goddess of all their Near Eastern neighbors. For she had originally been the Goddess of the Hebrews themselves. This constant fight against matriarchal religion and custom is the primary theme of the Old Testament. It begins in Genesis, with the takeover of the Goddess’s Garden of Immortality by a male God, and the inversion of all her sacred symbols—tree, serpent, moon-fruit, woman—into icons of evil. Of the two sons of Eve and Adam, Cain was made the “evil brother” because he chose settled agriculture (matriarchal)—the “good brother” Abel was a nomadic pastoralist (patriarchal). The war against the Goddess is carried on by the prophets’ rantings against the “golden calf,” the “brazen serpents,” the “great harlot” and “Whore of Babylon” (the Babylonian Goddess Ishtar), against enchantresses, pythonic diviners, and those who practice witchcraft. It is in the prophets’ war against the Canaanite worship of “stone idols”—the Triple Moon Goddess worshiped as three horned pillars, or menhirs. One of her shrines was on Mount Sinai, which means “Mountain of the Moon.” Moses was commanded by “the Lord” to go forth and destroy these “idols”—who all had breasts. We are told monotheism began with the Jews, that it was the great “spiritual invention” of the religious leader Moses. This is not so. The worship of one God, like everything else in religion, began with the worship of the Goddess. Her universality has been duly noted by everyone who has ever studied the matter. “Monotheism, once thought to have been the invention of Moses or Akhnaton, was worldwide in the prehistoric and early historic world,” i.e., throughout the Paleolithic and Neolithic ages. As E. O. James wrote in The Cult of the Mother Goddess, “It seems that Evans was correct when he affirmed that it was a ‘monotheism in which the female form of divinity was supreme.” The original monotheism of the Goddess is perhaps most clearly shown by the fact that, in Elizabeth Gould Davis’s words, “Almighty Yahweh, the god of Moses and the later Hebrews, was originally a goddess.” His name, Iahu ’anat, derives from that of the Sumerian Goddess Inanna.

A great perfume can express the intangible, but essential, intentions of a designer and convey the constant, enduring, and driving identity of the fashion house. It was through Marc Rosen's advocacy that I came to realize that the greatest modern perfume bottles were an art reflecting art. They exist as design objects in their own right, but are directly responsive to the composition of the scents they hold. A perfume, based on a series of layers and combinations of scent and composed of "notes" in a system that is at once science and subjectivity, is dependent on the sensory and the intuitive. With evocative qualities that are an amalgam of references framing it conceptually, a perfume can inspire possibilities of representation through graphics and the form of its flacon. Perfume bottles reside at the intersection of aesthetics and technology. They are, at their most artful, the sculptural manifestations of the ideas, emotions, and poetry elicited by a fragrance.

* Favorite documentary Carl Sagan’s Cosmos series inspired Adam to become a scientist, which is true for many of the top-tier scientists I’ve met and interviewed. [TF: Neil deGrasse Tyson has a revised version of Cosmos that is also spectacular.] “It was a really powerful, friendly way of being introduced to the complexities and wonders that were gripping to me as a kid. I watched it with my dad. It was great bonding for us. The way [Sagan] delivered it was just captivating, and it was really what sealed the deal for me that I wanted to be a scientist.” * Advice to your 30-year-old self? “I would say to have no fear. I mean, you’ve got one chance here to do amazing things, and being afraid of being wrong or making a mistake or fumbling is just not how you do something of impact. You just have to be fearless.” As context, Adam said the following earlier in our conversation: “I want to do fundamental breakthroughs, if possible. If you have that mindset, if that’s how you challenge yourself, that that’s what you want to do with your life, with your small amount of time that you have here to make a difference, then the only way to do it is to do the type of research that other people would think of as risky or even foolhardy. That’s just part of the game.

My inspiration comes from many sources. Clearly, Mother Nature has always occupied an important position in this regard, which is tied up to my early experiences in Mexico. In addition, the patterns used in Mexican arts and crafts—ceramics, textiles, tiles, masks, etc.—also have been present in the development of my mental and artistic imaginary from the very beginning. Other elements that I can mention are indigenous myths and legends, the expressions of other artists from various cultures, iconic historical figures, and the works of poets and other writers, some of whom are my friends. Obviously, my surroundings are also a big source of inspiration, as my series of paintings on the Pacific Northwest clearly show. (Interview in Artophilia)

1937 Talbot-Lago Type 150-C-S

From Binet, the idea of measuring imagination with inkblots spread to a string of American intelligence-testing pioneers and educators—Dearborn, Sharp, Whipple, Kirkpatrick. It reached Russia as well, where a psychology professor named Fyodor Rybakov, unaware of the Americans’ work, included a series of eight blots in his Atlas of the Experimental-Psychology Study of Personality (1910). It was an American, Guy Montrose Whipple, who called his version an “ink-blot test” in his Manual of Mental and Physical Tests (also 1910)—this is why the Rorschach cards would come to be called “inkblots” when American psychologists took them

Without Sally the Sleuth, there would be no Superman. In fact, without the pulp heroine with a penchant for solving crimes in a state of undress, there would be no Batman either. Or Wonder Woman. Or even the Avengers. This statement reeks of hyperbole, clearly. From her black and white pulp origins in 1934 to her full colour comic books outings in the 1950s, Sally spent the bulk of her time fighting off goons and cracking cases in a series of adventures that were an odd mix of heroism and hedonism. She’s a fascinating figure in the history of comic books in her own right, but an unusual and little known one, especially in comparison to globally beloved superhero icons. Nonetheless, not only does the superhero industry owe its existence to Sally the Sleuth, it owes it twice over.

In past centuries, preachers, teachers, and apologists could at least count on a basic cultural context that supplied some degree of meaning for religious language. In church, worshippers had the opportunity for imaginative engagement in many different modes, as they would encounter Christian ideas not only in the Scripture readings and in the sermons, but also in stained glass windows, statues, icons, works of art, clerical vestments, gestures (such as genuflections and crossings), and the symbolism of the liturgy.

The Hall of Presidents is host to the Great Seal of the United States, which is used with permission granted by an Act of Congress. Out of respect for this symbol, the seal must never be walked upon. Its placement on the floor of the Hall of Presidents makes this nearly impossible to avoid, so a fence was placed around it. However, there are parents who simply lift their children over the fence for a “priceless” photo. Take your photo of this great icon, but don’t be that person! It’s the real deal, deserving of respect.

Amelia Boone (TW: @ameliaboone, ameliabooneracing.com) has been called “the Michael Jordan of obstacle course racing” (OCR) and is widely considered the world’s most decorated obstacle racer. Since the inception of the sport, she’s amassed more than 30 victories and 50 podiums. In the 2012 World’s Toughest Mudder competition, which lasts 24 hours (she covered 90 miles and ~300 obstacles), she finished second OVERALL out of more than 1,000 competitors, 80% of whom were male. The one person who beat her finished just 8 minutes ahead of her. Her major victories include the Spartan Race World Championship and the Spartan Race Elite Point Series, and she is the only three-time winner of the World’s Toughest Mudder (2012, 2014, and 2015). She won the 2014 championship 8 weeks after knee surgery. Amelia is also a three-time finisher of the Death Race, a full-time attorney at Apple, and she dabbles in ultra running (qualified for the Western States 100) in all of her spare time.