Lafayette Best Quotes

Here’s what I’m selling—you leave the world a better place than when you entered it. That’s all there is. For us it means we take down bad guys. For the dude who owns Lafayette it means serving the best goddamned coney dogs you’re ever gonna eat. For some Peace Corps sap it means putting rice in some poor kid’s bowl and swatting the flies off him. It doesn’t matter what you choose, it only matters what you can make stick.

Berry’s investigation was a searing indictment of how church officials in Louisiana buried reports of sexual abuse of minors and did their best to pay off victims to keep them silent. By the time his story ran, the tiny Lafayette diocese in which Gauthe had committed his crimes was deeply in the red from $4.2 million in confidential settlements to the families of nine victims, and $114 million in pending claims in another eleven lawsuits.

But what set Steuben apart from his contemporaries was his schooling under Frederick the Great, Prince Henry, and a dozen other general officers. He had learned from the best soldiers in the world how to gather and assess intelligence, how to read and exploit terrain, how to plan marches, camps, battles, and entire campaigns. He gleaned more from his seventeen years in the Prussian military than most professional soldiers would in a lifetime. In the Seven Years’ War alone, he built up a record of professional education that none of his future comrades in the Continental Army—Horatio Gates, Charles Lee, the Baron Johann de Kalb, and Lafayette included—could match.

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

Yolshimhi hapsida ! (Yohl-sheem-hee hahp-shedah!), or “Let’s do our best!” In

We are doing 55 on Indiana 65. Jasper County. Flooded fields. Iroquois River spread way out, wide and brown as a Hershey bar. Distances in this glacier-flattened planed-down ground-level ground aren't blue, but whitish, and the sky is whitish-blue. It's in the eighties at 9:30 in the morning, the air is soft and humid, and the wind darkens the flooded fields between rows of oaks. Watch Your Speed - We Are. Severely clean white farmhouses inside square white fences painted by Tom Sawyer yesterday produce a smell of dung. A rich and heavy smell of dung on the southwest wind. Can shit be heady? La merde majestueuse. This is the "Old Northwest." Not very old, not very north, not very west. And in Indiana there are no Indians. Wabash River right up to the road and the oaks are standing ten feet out in the brown shadowmottled flood, but the man at the diesel station just says: You should of seen her yesterday. The essence is motion being in motion moving on not resting at a point: and so by catching at points and letting them go again without recurrence or rhyme or rhythm I attempt to suggest or imitate that essence the essence of which is that you cannot catch it. Of course there are other continuities: the other aspect of the essence of moving on. The county courthouses. Kids on bikes. White frame houses with high sashed windows. Dipping telephone wires, telephone poles. The names of the dispossessed. The redwing blackbird singing to you from fencepost to fencepost. Dave and Shelley singing "You're the Reason God Made Oklahoma" on the radio. The yellow weedy clover by the road. The flowering grasses. And the crow, not the Indian, the bird, you seen one crow you seen 'em all, kronk kronk. CHEW MAIL POUCH TOBACCO TREAT YOURSELF TO THE BEST on an old plank barn, the letters half worn off, and that's a continuity, not only in space but time: my California in the thirties, & I at six years old would read the sign and imagine a Pony Express rider at full gallop eating a candy cigarette. Lafayette Greencastle And the roadsign points: Left to Indianapolis Right to Brazil. Now there's some choice.

Slaves also could often be seen herded across the National Mall, some heading to Alexandria, Virginia, for sale and others toward the slave pens and markets that quickly sprang up around the edges of the Mall. While slave markets and pens were scattered all around the District of Columbia—including near the White House (Lafayette Tavern on F Street between Thirteenth and Fourteenth NW near the White House) and in Georgetown (McCandless Tavern near the southwest corner of Wisconsin Avenue and M Street NW)—the best known were located near or on the National Mall.

Oui oui, mon ami, je m'appelle Lafayette! The Lancelot of the revolutionary set! I came from afar just to say "Bonsoir!" Tell the King "Casse toi!" Who's the best? C'est moi!