Kaiser Michael Quotes

On Sunday, November 10, Kaiser Wilhelm II was dethroned, and he fled to Holland for his life. Britain’s King George V, who was his cousin, told his diary that Wilhelm was “the greatest criminal known for having plunged the world into this ghastly war,” having “utterly ruined his country and himself.” Keeping vigil at the White House, the President and First Lady learned by telephone, at three o’clock that morning, that the Germans had signed an armistice. As Edith later recalled, “We stood mute—unable to grasp the significance of the words.” From Paris, Colonel House, who had bargained for the armistice as Wilson’s envoy, wired the President, “Autocracy is dead. Long live democracy and its immortal leader. In this great hour my heart goes out to you in pride, admiration and love.” At 1:00 p.m., wearing a cutaway and gray trousers, Wilson faced a Joint Session of Congress, where he read out Germany’s surrender terms. He told the members that “this tragical war, whose consuming flames swept from one nation to another until all the world was on fire, is at an end,” and “it was the privilege of our own people to enter it at its most critical juncture.” He added that the war’s object, “upon which all free men had set their hearts,” had been achieved “with a sweeping completeness which even now we do not realize,” and Germany’s “illicit ambitions engulfed in black disaster.” This time, Senator La Follette clapped. Theodore Roosevelt and Senator Lodge complained that Wilson should have held out for unconditional German surrender. Driven down Capitol Hill, Wilson was cheered by joyous crowds on the streets. Eleanor Roosevelt recorded that Washington “went completely mad” as “bells rang, whistles blew, and people went up and down the streets throwing confetti.” Including those who had perished in theaters of conflict from influenza and other diseases, the nation’s nineteen-month intervention in the world war had levied a military death toll of more than 116,000 Americans, out of a total perhaps exceeding 8 million. There were rumors that Wilson planned to sail for France and horse-trade at the peace conference himself. No previous President had left the Americas during his term of office. The Boston Herald called this tradition “unwritten law.” Senator Key Pittman, Democrat from Nevada, told reporters that Wilson should go to Paris “because there is no man who is qualified to represent him.” The Knickerbocker Press of Albany, New York, was disturbed by the “evident desire of the President’s adulators to make this war his personal property.” The Free Press of Burlington, Vermont, said that Wilson’s presence in Paris would “not be seemly,” especially if the talks degenerated into “bitter controversies.” The Chattanooga Times called on Wilson to stay home, “where he could keep his own hand on the pulse of his own people” and “translate their wishes” into action by wireless and cable to his bargainers in Paris.

Strong institutional marketing also helps sell tickets. La Scala, the Bolshoi, and the Paris Opera Ballet all can spend less on programmatic marketing—the selling of tickets—because they benefit from their high institutional visibility, earned generations ago. No arts organization, however—no matter how famous—can afford to rest on its laurels. The Rome Opera, for example, is facing bankruptcy—and this was the house that offered the world premieres of both Cavelleria Rusticana and Tosca! We all compete for the same new audience members and the same new donors. If we are not working actively now, we will lose out to an organization that is.

The fact that costs rise faster for arts organizations than for other industries is often misread as “artists don’t handle money well” or “artists are wasteful.” Many board members believe that if an arts organization were managed carefully, it would turn a profit. They cannot understand why an organization that makes something people like should run at a perpetual deficit. This corporate prejudice can affect the way they govern their arts organization, encouraging them to try to cut budgets or to avoid addressing annual fund-raising requirements. Such board members start from the belief that arts managers are doing something wrong. They think that if corporate managers could run the arts organization, then it would become profitable, that if arts managers were smarter, fund-raising targets could be lower. They are simply wrong.

Most arts organizations have a development committee or a finance committee composed of interested and knowledgeable board members, but very few have a technology committee that can advise on new uses of technology and provide access to expertise or equipment. Technology is not a cure-all for the arts, or even for arts marketing. Without the right data and strategy—along with great arts programming—new technology can simply become an under-utilized (and expensive) toy. While the potential of new technology excites many people, including board members looking for answers to the income gap, all expenses must be viewed in context. If we are spending money on x, then we have to take it from y. Such trade-offs are never simple, especially when the choice is between technology and art. It bears repeating that no marketing technology can take the place of good art. Too many boards focus on a new Web site as the answer for a struggling organization, even as the art is being pruned back and made less interesting. New electronic technologies do not create new audiences, they only provide access to information.

(This reminds me of a group I once studied. The organization was an arts presenter in a major city; its mission was to break even. While not aspirational, it was indeed the board’s honest goal. I suggested that they could achieve this mission by closing shop and going home. This suggestion was not appreciated.)

But many arts organizations have been so frightened by fiscal issues that they have stopped taking risks. They are too deeply concerned that tickets won’t sell, donors won’t be happy, and cash will not be available; as a result, they have become too conservative in their art-making. They create works that are like other works that sold well in the past. And they start each project with the words, “How much can we spend?” But when one plans an artistic project simply to meet a budget, when the first concern is about resources and not about having something important to express, it is highly unlikely that the project will be transformational. When one replicates something else, even if that project was groundbreaking, one is still a copycat. Although television can get away with this approach, the performing arts cannot. Rather than conceiving great projects—with enough lead time to find the resources needed to pay for them—too many organizations are planning art that is inexpensive, undemanding and, frankly, boring. Whenever the budget is developed before the art is conceived, one is likely to produce staid, less interesting work.

As Kaiser Permanente’s guide The Plant-Based Diet: A Healthier Way to Eat puts it: “If you find you cannot do a plant-based diet 100 percent of the time, then aim for 80 percent. Any movement toward more plants and fewer animal products [and processed foods] can improve your health!”3

In his autobiography Clerical Error, Kaiser explains that he left the order before ordination because he felt that he could better implement the Jesuits’ goals by working directly for the CIA as Time magazine’s Rome correspondent during the Second Vatican Council. During the soirees he hosted at his posh Rome apartment on Time’s lavish expense account, Kaiser met Malachi Martin, another Jesuit who had also become a double agent. Martin was being paid by both B’nai B’rith and the American Jewish Committee to subvert the Catholic claim that the Jews had killed Christ.

Eat shit, losers " Michael Kaiser, Blue Lock

Hailed in his lifetime as ‘the Peacemaker’, Edward VII was spared the destruction of the European order of courts and crowned cousins in which he had been the dominant figure. Both of his imperial nephews, Tsar Nicholas of Russia and Kaiser Wilhelm of Germany, were brought low. Along with his wife and all of their children, Nicholas was butchered by the Bolsheviks in the summer of 1918. The year before, George V, worried about his own position, had resisted the suggestion that they should be given refuge in Britain. Once the news of their murders had been confirmed, he despatched a battleship to the Crimea to rescue his aunt, the Dowager Empress Marie, as well as a large party of her relations and retainers. Grand Duke Michael Alexandrovich, who had represented Nicholas at Edward’s funeral, was not among them. The first of the Romanovs to die, he had been taken into a forest in the Urals and shot a month before his elder brother. In the chaos that enveloped Russia during that terrible period, another, more improbable, victim met his end. Minoru, the royal racehorse which had swept to victory in the Epsom Derby of 1909, had subsequently been sold to a stud near Kharkiv for £20,000. He was last seen struggling to draw a cart on the 900-mile evacuation from Moscow to the Black Sea.