M 1931 Quotes

And so now, having been born, I'm going to rewind the film, so that my pink blanket flies off, my crib scoots across the floor as my umbilical cord reattaches, and I cry out as I'm sucked back between my mother's legs. She gets really fat again. Then back some more as a spoon stops swinging and a thermometer goes back into its velvet case. Sputnik chases its rocket trail back to the launching pad and polio stalks the land. There's a quick shot of my father as a twenty-year-old clarinetist, playing an Artie Shaw number into the phone, and then he's in church, age eight, being scandalized by the price of candles; and next my grandfather is untaping his first U.S. dollar bill over a cash register in 1931. Then we're out of America completely; we're in the middle of the ocean, the sound track sounding funny in reverse. A steamship appears, and up on a deck a lifeboat is curiously rocking; but then the boat docks, stern first, and we're up on dry land again, where the film unspools, back at the beginning...

I’m so odd, and I’m so limited, and I’m so different from the ordinary human being—so you say. I have a strong suspicion that I’m the simplest of you all, and that it's my extreme transparency that baffles you. I dont think I ever feel anything but the most ordinary emotions.

In 1931, Kurt Godel proved in his famous second incompleteness theorem that there could be no finitary proof of the consistency of arithmetic. He had killed Hilbert's program with a single stroke. So should you be worried that all of mathematics might collapse tomorrow afternoon? For what it's worth, I'm not. I do believe in infinite sets, and I find the proofs of consistency that use infinite sets to be convincing enough to let me sleep at night.

And I bought myself a thick black notebook and cut some doves out of white paper and stuck them on the cover, and now I'm looking for a beginning. My name is Doris, and I'm baptized and Christian, and born too. We are living in the year 1931. Tomorrow, I'll write more.

The show is said to have originated on WCAU, Philadelphia, the sponsor’s home city, in 1927. Its arrival in New York in 1931 kicked off an unusual commercial identity—a children’s song-dance-and-story hour sponsored by one of the strongest symbols of New York city life, the automat (where nickel coffee and a piece of pie was a Broadway tradition). With its first New York broadcast, Horn and Hardart admitted it had nothing to sell to kids but reasoned that a strong appeal to children would reach adults as well. A sample of its fare was the show of Dec. 7, 1941, a few hours before Pearl Harbor. The entire hour was a tribute to ailing George M. Cohan, with the kids singing such favorites as Give My Regards to Broadway, Yankee Doodle Dandy, and Harrigan.

And so now, having been born, I’m going to rewind the film, so that my pink blanket flies off, my crib scoots across the floor as my umbilical cord reattaches, and I cry out as I’m sucked back between my mother’s legs. She gets really fat again. Then back some more as a spoon stops swinging and a thermometer goes back into its velvet case. Sputnik chases its rocket trail back to the launching pad and polio stalks the land. There’s a quick shot of my father as a twenty-year-old clarinetist, playing an Artie Shaw number into the phone, and then he’s in church, age eight, being scandalized by the price of candles; and next my grandfather is untaping his first U.S. dollar bill over a cash register in 1931. Then we’re out of America completely; we’re in the middle of the ocean, the sound track sounding funny in reverse. A steamship appears, and up on deck a lifeboat is curiously rocking; but then the boat docks, stern first, and we’re up on dry land again, where the film unspools, back at the beginning . . .

If any actress best represents the snappy 1930s dame, it’s Joan Blondell. During that era she played a lively assortment of chorus girls, waitresses, golddiggers, reporters and secretaries in a total of 53 movies, 44 of them for Warner Bros. “Yet, for all that overwork,” Mick LaSalle writes in Complicated Women, “Blondell hardly ever had a false moment. Self-possessed, unimpressed, completely natural, always sane, without attitude or pretense … the greatest of the screen’s great broads. No one was better at playing someone both fun-loving yet grounded, ready for a great time, yet substantial, too.” She was fun-loving, but sometimes there were limits. As a flip waitress in Other Men’s Women (1931), Joan puts the breaks on a fresh customer: BLONDELL: Anything else you guys want? CUSTOMER (checking her out as she bends over): Yeah, give me a big slice of you—and some french fried potatoes on the side. BLONDELL: Listen, baby, I’m A.P.O. CUSTOMER (turning to friend): What does she mean, A.P.O.? BLONDELL: Ain’t Putting Out. “I was the fizz on the soda,” she once said. “I just showed my big boobs and tiny waist and acted glib and flirty.” While that’s a fair assessment of most of her early roles, it wasn’t the whole story.

On August 21, 1931, invited to address an American Legion convention in Connecticut, he made the first no-holds-barred antiwar speech of his career. It stunned all who heard it or read it in the few papers that dared report it in part: I spent 33 years . . . being a high-class muscle man for Big Business, for Wall Street and the bankers. In short, I was a racketeer for capitalism. . . . I helped purify Nicaragua for the international banking house of Brown Brothers in 1909-1912. I helped make Mexico and especially Tampico safe for American oil interests in 1916. I brought light to the Dominican Republic for American sugar interests in 1916. I helped make Haiti and Cuba a decent place for the National City [Bank] boys to collect revenue in. I helped in the rape of half a dozen Central American republics for the benefit of Wall Street. . . . In China in 1927 I helped see to it that Standard Oil went its way unmolested. . . . I had . . . a swell racket. I was rewarded with honors, medals, promotions. . . . I might have given Al Capone a few hints. The best he could do was to operate a racket in three cities. The Marines operated on three continents. . . . We don’t want any more wars, but a man is a damn fool to think there won’t be any more of them. I am a peace-loving Quaker, but when war breaks out every damn man in my family goes. If we’re ready, nobody will tackle us. Give us a club and we will face them all. . . . There is no use talking about abolishing war; that’s damn foolishness. Take the guns away from men and they will fight just the same. . . . In the Spanish-American War we didn’t have any bullets to shoot, and if we had not had a war with a nation that was already licked and looking for an excuse to quit, we would have had hell licked out of us. . . . No pacifists or Communists are going to govern this country. If they try it there will be seven million men like you rise up and strangle them. Pacifists? Hell, I’m a pacifist, but I always have a club behind my back!

Birds flyin' high... You know how I feel... Sun in the Sky... You know how I feel... Breeze driftin' on by... You know how I feel... It's a New Dawn, it's a New Day, it's a New Life for me... Yeah, it's a New Dawn, it's a New Day, it's a New Life for me... Ooooooooh... And I'm Feelin' Good...

With attempts to find scientific support for free will failing badly, it is no surprise that the twentieth century saw the slow decline of free will as a scientifically tenable concept. In 1931, Einstein had declared it “man’s illusion that he [is] acting according to his own free will.

For the last generation, military history has fallen into disfavor among professional historians. Yet in East Asia the pivotal events occurring from 1931 to 1949 were overwhelmingly military.

In June 1894, working independently and competitively, the French and Japanese microbiologists Alexandre Yersin (1863–1943) and Shibasaburo Kitasato (1853–1931) almost simultaneously identified Yersinia pestis as the pathogen responsible for bubonic plague.

J’ai été bon quelquefois. Je ne m’en félicite pas. J’ai été mé- chant souvent; je ne m’en repens pas,” writes Gauguin.

no publishing firm would take the novel, even though Steinbeck worked diligently in successive drafts to improve it by enlarging his characterization of the protagonist, another indication of the novel’s growing reach: “I’m having a devil of a time with my new book,” he wrote Albee on February 27, 1931, Steinbeck’s twenty-ninth birthday: “It just won’t seem to come right. Largeness of character is difficult. Never deal with an Olympian character.