Old Commercials Quotes

We've got a sort of brainwashing going on in our country, Morrie sighed. Do you know how they brainwash people? They repeat something over and over. And that's what we do in this country. Owning things is good. More money is good. More property is good. More commercialism is good. More is good. More is good. We repeat it--and have it repeated to us--over and over until nobody bothers to even think otherwise. The average person is so fogged up by all of this, he has no perspective on what's really important anymore. Wherever I went in my life, I met people wanting to gobble up something new. Gobble up a new car. Gobble up a new piece of property. Gobble up the latest toy. And then they wanted to tell you about it. 'Guess what I got? Guess what I got?' You know how I interpreted that? These were people so hungry for love that they were accepting substitutes. They were embracing material things and expecting a sort of hug back. But it never works. You can't substitute material things for love or for gentleness or for tenderness or for a sense of comradeship. Money is not a substitute for tenderness, and power is not a substitute for tenderness. I can tell you, as I'm sitting here dying, when you most need it, neither money nor power will give you the feeling you're looking for, no matter how much of them you have.

Pessimism is not in being tired of evil but in being tired of good. Despair does not lie in being weary of suffering, but in being weary of joy. It is when for some reason or other the good things in a society no longer work that the society begins to decline; when its food does not feed, when its cures do not cure, when its blessings refuse to bless. We might almost say that in a society without such good things we should hardly have any test by which to register a decline; that is why some of the static commercial oligarchies like Carthage have rather an air in history of standing and staring like mummies, so dried up and swathed and embalmed that no man knows when they are new or old.

She licked again, taking her time,even though she didn't need to; her first stroke numbed the bite site. No, this second taste was for her, not him, and there was no lying about that. "I'm starting to feel like a Tootsie Pop, here" he rasped. She couldn't contain a smile. " Yes... how did that old commercial go?" She licked him. "One." She licked him again, and he moaned. "Two." She licked him once more, and his hips came off the bed, "Three.

I've never been in love, but I've always imagined it--weirdly--like some sort of OxiClean commercial. The TV host shows a scene from an ordinary day, and then takes a big old sponge soaked in love and swipes away the stains. Suddenly that same scene is missing all the mistakes, all the loneliness. The colors are like jewels, ten times richer than they were before. The music is louder and clearer. "Love," the host will say, "makes life a little brighter.

You want your art to be hip and seem cool to people, but a great deal of what passes for hip or cool is now highly commercially driven. And some if it is important art. I think 'The Simpsons' is important art. On the other hand, it's also, in my opinion, relentlessly corrosive to the soul and everything is parodied and everything is ridiculous. Maybe I'm old but for my part I can be steeped in about an hour of it and then I have to walk away and look at a flower. If there's something to be talked about, that thing is this weird conflict between what my girlfriend calls the 'inner sap,' the part of us that can really wholeheartedly weep at stuff and the part of us that has to live in a world of smart, jaded, sophisticated people and wants very much to be taken seriously by those people.

I was ten years old. I had noticed something was weird earlier in the day but I knew from commercials that one's menstrual period was a blue liquid that you poured like laundry detergent onto maxi pads to test their absorbency. This wasn't blue so...I ignored it for a few hours. When we got home I pulled my mom aside to ask if it was weird I was bleeding in my underpants. She was very sympathetic but also a little baffled. Her eyes said "Dummy didn't you read 'How Shall I Tell My Daughter ". I HAD read it but nowhere in the pamphlet did anyone say that your period was NOT a blue liquid. At that moment two things became clear to me I was now technically a woman and I would never be a doctor.

Picture a thirteen-year-old boy sitting in the living room of his family home doing his math assignment while wearing his Walkman headphones or watching MTV. He enjoys the liberties hard won over centuries by the alliance of philosophic genius and political heroism, consecrated by the blood of martyrs; he is provided with comfort and leisure by the most productive economy ever known to mankind; science has penetrated the secrets of nature in order to provide him with the marvelous, lifelike electronic sound and image reproduction he is enjoying. And in what does progress culminate? A pubescent child whose body throbs with orgasmic rhythms; whose feelings are made articulate in hymns to the joys of onanism or the killing of parents; whose ambition is to win fame and wealth in imitating the drag-queen who makes the music. In short, life is made into a nonstop, commercially prepackaged masturbational fantasy.

At forty-five, I feel grateful almost daily to be the adult I wished I could be when I was seventeen. I work on my arm strength at the gym; I've become pretty good with tools. At the same time, almost daily, I lose battles with the seventeen-year-old who's still inside me. I eat half a box of Oreos for lunch, I binge on TV, I make sweeping moral judgments. I run around in torn jeans, I drink martinis on a Tuesday night, I stare at beer-commercial cleavage. I define as uncool any group to which I can't belong. I feel the urge to key Range Rovers and slash their tires; I pretend I'm never going to die. You never stop waiting for the real story to start, because the only real story, in the end, is that you die.

People walk the paths of the gardens below, and the wind sings anthems in the hedges, and the big old cedars at the entrance to the maze creak. Marie-Laure imagines the electromagnetic waves traveling into and out of Michel’s machine, bending around them, just as Etienne used to describe, except now a thousand times more crisscross the air than when he lived - maybe a million times more. Torrents of text conversations, tides of cell conversations, of televisions programs, of e-mails, vast networks of fiber and wire interlaced above and beneath the city, passing through buildings, arcing between transmitters in Metro tunnels, between antennas atop buildings, from lampposts with cellular transmitters in them, commercials for Carrefour and Evian and prebaked toaster pastries flashing into space and back to earth again, I am going to be late and Maybe we should get reservations? and Pick up avocados and What did he say? and ten thousand I miss yous, fifty thousand I love yous, hate mail and appointment reminders and market updates, jewelry ads, coffee ads, furniture ads flying invisibly over the warrens of Paris, over the battlefields and tombs, over the Ardennes, over the Rhine, over Belgium and Denmark, over the scarred and ever-shifting landscape we call nations. And is it so hard to believe that souls might also travel those paths? That her father and Etienne and Madame Manec and the German boy named Werner Pfennig might harry the sky in flocks, like egrets, like terns, like starlings? That great shuttles of souls might fly about, faded but audible if you listen closely enough? They flow above the chimneys, ride the sidewalks, slip through your jacket and shirt and breastbone and lungs, and pass out through the other side, the air a library and the record of every life lived, every sentence spoken, every word transmitted still reverberating within it. Every hour, she thinks, someone for whom the war was memory falls out of the world. We rise again in the grass. In the flowers. In songs.

I hope I am not too old to take it up seriously, nor too stupid about machines to qualify as a commercial pilot. I do not feel like spending the rest of my life writing books that no one will read. It is not as though I wanted to write them. *1937

Down there in the dark was the most technologically sophisticated navy strike force in the world, launching fighters and cruise missiles into Afghanistan...I had to admit that what the Taliban was doing was brillant. Without satellites, without an air force, with even their primitive radar knocked out, they were ingenious enough to use plain old commercial flights to keep track of the fifth fleets positions. I realized that if we were counting on our military technology alone to win the war on terror, we had a lot of lessons to learn.

America…is being lost through television. Because in advertising, mendacity and manipulation are raised to the level of internal values for the advertisers. Interruption is seen as a necessary concomitant to marketing. It used to be that a seven- or eight-year old could read consecutively for an hour or two. But they don’t do that much anymore. The habit has been lost. Every seven to ten minutes, a child is interrupted by a commercial on TV> Kids get used to the idea that their interest is there to be broken into. In consequence, they are no longer able to study as well. Their powers of concentration have been reduced by systematic interruption.

The business of scepticism is to be dangerous. Scepticism challenges established institutions. If we teach everybody, including, say, high school students, habits of sceptical thought, they will probably not restrict their scepticism to UFOs, aspirin commercials and 35,000-year-old channellees. Maybe they’ll start asking awkward questions about economic, or social, or political, or religious institutions. Perhaps they’ll challenge the opinions of those in power. Then where would we be?

He was the most perfectly formed man she'd ever imagined. He was movie stars, men in underwear commercials, guys at the gym, the construction worker in the red T-shirt who'd whistled at her but she'd pretended she hadn't heard; he was the men in three-piece suits whose brains were as sexy as their bodies; he was lazy, indolent seventeen-year-old boys whose muscles bulged out of their clothes, rodeo stars, and those smooth-cheeked, eyeglassed men who held their children tenderly. He was all of them.

Every morning when I wake up and look in the mirror, I see a black face and I love it. Sure, I've been to Paris and grew up surfing, and yes, I speak like I'm in a commercial. But I'm just like the women you see walking on the side of the road with their laundry baskets and their Bibles. I'm just like the old men pedaling their rusty bicycles. I'm no different from the men who drive your tractors or the woman who probably raised you. I'm just like them, no better and no worse. I'm black, Remy, which means everything and nothing

The time of dangling insects arrived. White houses with caterpillars dangling from the eaves. White stones in driveways. You can walk at night down the middle of the street and hear women talking on the telephone. Warmer weather produces voices in the dark. They are talking about their adolescent sons. How big, how fast. The sons are almost frightening. The quantities they eat. The way they loom in doorways. These are the days that are full of wormy bugs. They are in the grass, stuck to the siding, hanging in the hair, hanging from the trees and eaves, stuck to the window screens. The women talk long-distance to grandparents of growing boys. They share the Trimline phone, beamish old folks in hand-knit sweaters on fixed incomes. What happens to them when the commercial ends?

In a world where nearly everything that passes for art is tinny and commercial and often, in addition, hollow and academic, I argue--by reason and by banging the table--for an old-fashioned view of what art is and does and what the fundamental business of critics ought therefore to be. Not that I want joy taken out of the arts; but even frothy entertainment is not harmed by a touch of moral responsibility, at least an evasion of too fashionable simplifications.

Sabine was now sixteen and old enough to begin doing what any girl like her would.” Brazen Mortal crossed her arms over her chest and knowingly said, “Prostitution.” “Wrong. Commercial fishing.” “Really?” “Noooo,” Sabine said. “Fortune-telling.

In 1861, on the eve of the Civil War, Grant, aged thirty-nine, with four children at home and scarcely a penny in the bank, had made no mark on the world and looked unlikely to do so, for all the boom conditions of mid-century America. His Plymouth Rock ancestry, his specialist education, his military rank, which together must have ensured him a sheltered corner in the life of the Old World, counted for nothing in the New. He lacked the essential quality to be what Jacques Barzun has called a “booster,” one of those bustling, bonhomous, penny-counting, chance-grabbing optimists who, whether in the frenetic commercial activity of the Atlantic coast, in the emergent industries of New England and Pennsylvania or on the westward-moving frontier, were to make America’s fortune. Grant, in his introspective and undemonstrative style, was a gentleman, and was crippled by the quality.

Rereading, an operation contrary to the commercial and ideological habits of our society, which would have us "throw away" the story once it has been consumed ("devoured"), so that we can then move on to another story, buy another book, and which is tolerated only in certain marginal categories of readers (children, old people, and professors), rereading is here suggested at the outset, for it alone saves the text from repetition (those who fail to reread are obliged to read the same story everywhere), multiplies it in its variety and its plurality: rereading draws the text out of its internal chronology ("this happens before or after that") and recaptures a mythic time (without before or after); it contests the claim which would have us believe that the first reading is a primary, naïve, phenomenal reading which we will only, afterwards, have to "explicate," to intellectualize (as if there were a beginning of reading, as if everything were not already read: there is no first reading, even if the text is concerned to give us that illusion by several operations of suspense, artifices more spectacular than persuasive); rereading is no longer consumption, but play (that play which is the return of the different).

Cat Rambo: Where do you think the perennial debate between what is literary fiction and what is genre is sited? Norman Spinrad: I think it’s a load of crap. See my latest column in Asimov’s, particularly re The Road by Cormac McCarthy. I detest the whole concept of genre. A piece of fiction is either a good story well told or it isn’t. The supposed dichotomy between “literary fiction” and “popular fiction” is ridiculous. Hemingway, Fitzgerald, Mailer, did not have serious literary intent? As writers of serious literary intent, they didn’t want to be “popular,” meaning sell a lot of books? They wanted to be unpopular and have terrible sales figures to prove they were “serious”? I say this is bullshit and I say the hell with it. “Genre,” if it means anything at all, is a restrictive commercial requirement. “Westerns” must be set in the Old West. “Mysteries” must have a detective solving a crime, usually murder. “Nurse Novels” must have a nurse. And so forth. In the strictly literary sense, neither science fiction nor fantasy are “genres.” They are anti-genres. They can be set anywhere and anywhen except in the mimetic here and now or a real historical period. They are the liberation of fiction from the constraints of “genre” in an absolute literary sense.

Culture jamming is enjoying a resurgence, in part because of technological advancements but also more pertinently, because of the good old rules of supply and demand. Something not far from the surfaces of the public psyche is delighted to see the icons of corporate power subverted and mocked. There is, in short, a market for it. With commercialism able to overpower the traditional authority of religion, politics and schools, corporations have emerged a the natural targets for all sorts of free-floating rage and rebellion. The new ethos that culture jamming taps into is go-for-the-corporate-jugular.

It cannot be too often repeated that what destroyed the Family in the modern world was Capitalism. No doubt it might have been Communism, if Communism had ever had a chance, outside that semi-Mongolian wilderness where it actually flourishes. But, so far as we are concerned, what has broken up households and encouraged divorces, and treated the old domestic virtues with more and more open contempt, is the epoch and Power of Capitalism. It is Capitalism that has forced a moral feud and a commercial competition between the sexes; that has destroyed the influence of the parent in favour of the influence of the employer; that has driven men from their homes to look for jobs; that has forced them to live near their factories or their firms instead of near their families; and, above all, that has encouraged, for commercial reasons, a parade of publicity and garish novelty, which is in its nature the death of all that was called dignity and modesty by our mothers and fathers.

Now, it’s undeniably true that male writers (including yours truly) are generally and commercially allowed to write about “girl stuff” without being penalized for doing so. In part this is the same old shit it’s always been ... I’ve said before that men who write mostly about men win prizes for revealing the human condition, while women who write about both men and women are filed away as writing “womens’ issues.” Likewise, in fantasy, the imprimatur of a dude somehow makes stuff like romance, relationship drama, introspection, and adorable animal companions magically not girly after all. In a sense, we male fantasists are allowed to be like money launderers for girl cooties." [Game of Thrones and Invisible Cootie Vectors (blog post, March 30, 2014)]

David turned on the TV and sat on the couch. He could grade the Calc I homework but that always depressed him. It would almost put him in mourning, sitting Shiva, but it had to be done. He would get up early in the morning and do it. He chuckled. The TV had a stupid dog commercial. Cocker Spaniel mix. Same kind of mutt Miriam brought into their marriage. She was a dog person. Named it Lucky. Lucky died of poisoning while David was at home one afternoon. Somehow the dog had gotten into Clorox. Not so lucky. That had been their only fight. David did not want to get another dog. Claimed it would remind him of Lucky. When David was little, about eight or nine years old, he had learned Clorox would kill a dog. Their neighbor had a German shepherd. Sol would throw rocks at it when they walked to school. One day the dog got out and bit Sol, and if the neighbors had not stopped it, the dog may have mauled Sol to death. The dog’s name was Roxx, short for Roxanne. It was found dead a couple of days later. Poisoned. David was not a dog person.

Music has become more pervasive and portable than ever. But it feels less previous in the bargain. I don't want to confuse artistic and commercial value, but it's just a fact that some kid who rips an album for free isn't going to give it the same attention he would if it cost him ten bucks. At what point does convenience become spiritual indolence? I realize this makes me sound like an old fart, but sometimes I get nostalgic for the days when the universe of recorded sound wasn't at our fingertips, when we had to hunt and wait and - horror of horrors - do without, when our longing for a particular record or song made it feel sacred.

Undoubtedly the public is becoming aware of the methods which are being used to mold its opinions and habits. If the public is better informed about the processes of its life, it will be so much the more receptive to reasonable appeals to its own interests. No matter how sophisticated, how cynical the public may become about publicity methods, it must respond to the basic appeals, because it will always need food, crave amusement, long for beauty, respond to leadership. If the public becomes more intelligent in its commercial demands, commercial firms will meet the new standards. If it becomes weary of the old methods used to persuade it to accept a given idea or commodity, its leaders will present their appeals more intelligently. Propaganda will never die out. Intelligent men must realize that propaganda is the modern instrument by which they can fight for productive ends and help to bring order out of chaos.

My thoughts very much matched those old Tootsie Roll Pop commercials as I gazed at his body. ‘Mister Owl, how long can I stare at this man before it becomes socially inappropriate?’ ‘I don’t know, Liz. Let’s find out. One…Two…Three…

When I was 12 years old, I was obsessed with codes, conspiracies, and secret messages. I would record TV commercials with SoundRecorder.exe on Windows 95 and reverse them to see if I was subliminally influenced to watch Pokémon by Japanese spies

Pepper woke up thinking of butts. And nothing else. Ladies' butts. Skinny butts, big butts, saddlebag butts, flabby and firm butts, the kind that sit so high they seem like part of the woman's back, the kind that ride low and form a UU just above the thighs like in the old television commercials for Hanes Underalls, butts that wiggle and butts that jiggle, sagging butts and robust butts, butts that hardly make an impression under a pair of jeans; sidewinder butts and trumpet butts -- the ones so meaty they actually spread out until they appear to be a woman's thighs (ass so fat you can see it from the front), butts as knotty as acorns, butts as smooth as a slice of Gouda, butts with pimples and butts with cellulite, the kind that have pockmarks or red splotches, butts with tattoos and butts with bullet scars. Butts you can cup in your warm hands. Butts and butts and butts. In other words, Pepper woke up horny.

Conservative ideologues defend capitalism as the system that preserves culture, traditional values, the family, and community. Marxists would respond that capitalism has done more to undermine such things than any other system in history, given its wars, colonizations, and forced migrations, its enclosures, evictions, poverty wages, child labor, homelessness, underemployment, crime, drug infestation, and urban squalor. All over the world, community in the broader sense-the Gemeinschaft with its organic social relationships and strong reciprocal bonds of commonality and kinship- is forcibly transformed by global capital into commercialized, atomized, mass-market societies. In the Communist Manifesto, Marx and Engels referred to capitalism's implacable drive to settle "over the whole surface of the globe;' creating "a world after its own image." No system in history has been more relentless in battering down ancient and fragile cultures, pulverizing centuries-old practices in a matter of years, devouring the resources of whole regions, and standardizing the varieties of human experience.

For some, Life is rich and creamy, made according to an old peasant recipe from nothing but natural products, while Art is a pallid commercial confection, consisting mainly of artificial colourings and flavourings. For others, Art is the truer thing, full, bustling and emotionally satisfying, while Life is worse than the poorest novel: devoid of narrative, peopled by bores and rogues, short on wit, long on unpleasant incidents, and leading to a painfully predictable dénouement. Adherents of the latter view tend to cite Logan Pearsall Smith: ‘People say that life is the thing; but I prefer reading.’ Candidates are advised not to use this quotation in their answers.

For Seabrook this 'nobrow' state - where the old brow distinctions no longer seem to apply - is not only a dumbing down of intellectual culture; it is also a wising up to commercial culture, which is no longer seen as an object of disdain but as 'a source of status.' At the same time this child of the elite is ambivalent about the collapse of brow distinctions, caught as he is between the old world of middlebrow taste, as vetted by The New Yorker of yore, and the new world of nobrow taste, where culture and marketing are one.

think I was inspired by a commercial for an old board game called Stay Alive.

The commercialization of molecular biology is the most stunning ethical event in the history of science, and it has happened with astonishing speed. For four hundred years since Galileo, science has always proceeded as a free and open inquiry into the workings of nature. Scientists have always ignored national boundaries, holding themselves above the transitory concerns of politics and even wars. Scientists have always rebelled against secrecy in research, and have even frowned on the idea of patenting their discoveries, seeing themselves as working to the benefit of all mankind. And for many generations, the discoveries of scientists did indeed have a peculiarly selfless quality... Suddenly it seemed as if everyone wanted to become rich. New companies were announced almost weekly, and scientists flocked to exploit genetic research... It is necessary to emphasize how significant this shift in attitude actually was. In the past, pure scientists took a snobbish view of business. They saw the pursuit of money as intellectually uninteresting, suited only to shopkeepers. And to do research for industry, even at the prestigious Bell or IBM labs, was only for those who couldn't get a university appointment. Thus the attitude of pure scientists was fundamentally critical toward the work of applied scientists, and to industry in general. Their long-standing antagonism kept university scientists free of contaminating industry ties, and whenever debate arose about technological matters, disinterested scientists were available to discuss the issues at the highest levels. But that is no longer true. There are very few molecular biologists and very few research institutions without commercial affiliations. The old days are gone. Genetic research continues, at a more furious pace than ever. But it is done in secret, and in haste, and for profit.

[SF] was a commercial genre born in the old adventure pulp magazines of the first third of the twentieth century, aimed primarily at adolescent males, which, over the decades, in fits and starts, evolved into an intellectually credible, scientifically germane, transcendental literature without losing its popular base. Of what other literature in the history of the western world can this truly be said?

-Hello, welcome to Wal-Mart. Amanda lifted up her pink sunglasses to gape at the old guy in the requisite blue vest. - Ohmigod, it's just like the commercial. If a smiling yellow dot bounces toward me, I'm going to freak out.

These words on the screen represented her latest project, an attempt at a series of commercial, discreetly feminist crime novels. She had read all of Agatha Christie at eleven years old, and later lots of Chandler and James M.Cain. There seemed no reason why she shouldn't try writing something in between, but she was discovering once again that reading and writing were not the same-you couldn't just soak it up then squeeze it out again. She found herself unable to think of a name for her detective, let alone a cohesive original plot, and even her pseudonym was poor: Emma T. Wilde? She wondered if she was doomed to be one of those people who spend their lives trying things. She had tried being in a band, writing plays and children's books, she had tried acting and getting a job in publishing. Perhaps crime fiction was just another failed project to place alongside trapeze, Buddhism and Spanish. She used the computer's word counter feature. Thirty-five words, including the title page and her rotten pseudonym. Emma groaned, released the hydraulic lever on the side of her office chair and sank a little closer to the carpet.

Our new elite have more refined sensibilities than the old aristocracy: just as dowager duchesses would sniff that so-and-so was "in trade", so today's rulers have an antipathy to doers in general. How could Sarah Palin's executive experience running a state, a town, and a commercial fishing operation compare to all that experience Barack Obama had in sitting around thinking great thoughts? In forming his war cabinet, Winston Churchill said that he didn't want to fill it up with "mere advisors at large with nothing to do but think and talk." But Obama sent the Oval Office bust of Sir Winston back to the British, and now we have a government by men who've done nothing but "think and talk". There was less private-sector business experience in Obama's cabinet than in any administration going back a century.

I’VE LOST FAITH in the saying “You’re only as old as you think you are,” ever since I got old. It is a saying with a fine heritage. It goes right back to the idea of the Power of Positive Thinking, which is so strong in America because it fits in so well with the Power of Commercial Advertising and with the Power of Wishful Thinking, aka the American Dream. It is the bright side of Puritanism: What you deserve is what you get. (Never mind just now about the dark side.) Good things come to good people and youth will last forever for the young in heart.

Foundational design principles regarding aesthetics, symbolism and meaning of place were for the old-timer carpenter, simply routine. Unfortunately, these principles began to lose their footing in the late 1800s, when building practices shifted toward more commercial technologies.

The NBC University Theater combined superb drama with college credit. Its productions were fully the equal of any commercial radio series and better than most, though it got stuck with the “education” stigma early in its run and never attained much more than its targeted academically motivated audience.

Lake Michigan, impossibly blue, the morning light bouncing toward the city. Lake Michigan frozen in sheets you could walk on but wouldn't dare. Lake Michigan, gray out a high-rise window, indistinguishable from the sky. Bread, hot from the oven. Or even stale in the restaurant basket, rescued by salty butter. The Cubs winning the pendant someday. The Cubs winning the Series. The Cubs continuing to lose. His favorite song, not yet written. His favorite movie, not yet made. The depth of an oil brushstroke. Chagall's blue window. Picasso's blue man and his guitar. ... The sound of an old door creaking open. The sound of garlic cooking. The sound of typing. The sound of commercials from the next room, when you were in the kitchen getting a drink. The sound of someone else finishing a shower. ... Dancing till the floor was an optional landing place. Dancing elbows out, dancing with arms up, dancing in a pool of sweat. All the books he hadn't started. The man at Wax Trax! Records with the beautiful eyelashes. The man who sat every Saturday at Nookies, reading the Economist and eating eggs, his ears always strangely red. The ways his own life might have intersected with theirs, given enough time, enough energy, a better universe. The love of his life. Wasn't there supposed to be a love of his life? ... His body, his own stupid, slow, hairy body, its ridiculous desires, its aversions, its fears. The way his left knee cracked in the cold. The sun, the moon, the sky, the stars. The end of every story. Oak trees. Music. Breath. ...

It is in connection with the deliberate effort of the skillful demagogue to weld together a closely coherent and homogeneous body of supporters that the third and perhaps most important negative element of selection enters. It seems to be almost a law of human nature that it is easier for people to agree on a negative program — on the hatred of an enemy, on the envy of those better off — than on any positive task. The contrast between the "we" and the "they," the common fight against those outside the group, seems to be an essential ingredient in any creed which will solidly knit together a group for common action. It is consequently always employed by those who seek, not merely support of a policy, but the unreserved allegiance of huge masses. From their point of view it has the great advantage of leaving them greater freedom of action than almost any positive program. The enemy, whether he be internal, like the "Jew" or the "kulak," or external, seems to be an indispensable requisite in the armory of a totalitarian leader. That in Germany it was the Jew who became the enemy until his place was taken by the "plutocracies" was no less a result of the anticapitalist resentment on which the whole movement was based than the selection of the kulak in Russia. In Germany and Austria the Jew had come to be regarded as the representative of capitalism because a traditional dislike of large classes of the population for commercial pursuits had left these more readily accessible to a group that was practically excluded from the more highly esteemed occupations. It is the old story of the alien race's being admitted only to the less respected trades and then being hated still more for practicing them. The fact that German anti-Semitism and anticapitalism spring from the same root is of great importance for the understanding of what has happened there, but this is rarely grasped by foreign observers.

On January 24th, Apple computers will introduce Macintosh. And you’ll see why 1984 won’t be like 1984.” – Old Hollywood film director Sir Ridley Scott’s classic “1984” Apple Macintosh commercial, first aired 15 Dec. 1983, Top Ten Commercials of All Time, 2050 edition “Well, it all did lead to 1984.” – Goli, the tek-lord, 2089

It is real learning, knowledge cultivated for its own sake—the Art of Knowledge, in short—which is followed there, not the Commercial learning of the past. Though perhaps you do not know that in the nineteenth century Oxford and its less interesting sister Cambridge became definitely commercial. They (and especially Oxford) were the breeding places of a peculiar class of parasites, who called themselves cultivated people; they were indeed cynical enough, as the so-called educated classes of the day generally were; but they affected an exaggeration of cynicism in order that they might be thought knowing and worldly-wise. The rich middle classes (they had no relation with the working classes) treated them with the kind of contemptuous toleration with which a mediaeval baron treated his jester; though it must be said that they were by no means so pleasant as the old jesters were, being, in fact, THE bores of society. They were laughed at, despised—and paid. Which last was what they aimed at.

At Sea Oak there's no sea and no oak, just a hundred subsidized apartments and a rear view of FedEx. Min and Jade are feeding their babies while watching How My Child Died Violently. Min's my sister. Jade's our cousin. How My Child Died Violently is hosted by Matt Merton, a six-foot-five blond who's always giving the parents shoulder rubs and telling them they've been sainted by pain. Today's show features a ten-year-old who killed a five-year-old for refusing to join his gang. The ten-year-old strangled the five-year-old with a jump rope, filled his mouth with baseball cards, then locked himself in the bathroom and wouldn't come out until his parents agreed to take him to FunTimeZone, where he confessed, then dove screaming into a mesh cage full of plastic balls. The audience is shrieking threats at the parents of the killer while the parents of the victim urge restraint and forgiveness to such an extent that finally the audience starts shrieking threats at them too. Then it's a commercial.

Leonardo’s twenty-six-year-old father, Ser Piero, was (as his honorary title implied) a notary: someone who wrote wills, contracts, and other commercial and legal correspondence. The family had produced notaries for at least five generations, but with Leonardo the chain was to snap. He was, as his grandfather’s tax return stated a few years later, “non legittimo”—born out of wedlock—and as such he (along with criminals and priests) was barred from membership in the Guild of Judges and Notaries. Leonardo’s mother was a sixteen-year-old girl named Caterina, and an apparent difference in their social status meant she and Piero, a bright and ambitious young man, did not marry. Almost

From then on he would make two or three trips a week to similar premises – bookstores, crystal shops, candle parlours, short-let niche operations selling a mix of pop-cultural memorabilia and truther merchandise from two or three generations ago – which had flourished along the abandoned high streets of the post-2007 austerity, run by a network of shabby voters hoping to take advantage of tumbling rents. Their real obsession lay in the idea of commerce as a kind of politics, expression of a fundamental theology. They had bought the rhetoric without having the talent or the backing. The internet was killing them. The speed of things was killing them. They were like old-fashioned commercial travellers, fading away in bars and single rooms, exchanging order books on windy corners as if it was still 1981 – denizens of futures that failed to take, whole worlds that never got past the economic turbulence and out into clear air, men and women in cheap business clothes washed up on rail platforms, weak-eyed with the brief energy of the defeated, exchanging obsolete tradecraft like Thatcherite spies.

By the time children are ten years old, generally speaking, they’ve learned to eat like the people around them. Once food prejudices are set, it is no simple task to dissolve them. In a separate study, Rozin presented sixty-eight American college students with a grasshopper snack, this time a commercially prepared honey-covered variety sold in Japan. Only 12 percent were willing to try one. So

That brings us to the third bond,” Elizabeth said, pointing at another set of molecules, “the hydrogen bond—the most fragile, delicate bond of all. I call this the ‘love at first sight’ bond because both parties are drawn to each other based solely on visual information: you like his smile, he likes your hair. But then you talk and discover he’s a closet Nazi and thinks women complain too much. Poof. Just like that the delicate bond is broken. That’s the hydrogen bond for you, ladies—a chemical reminder that if things seem too good to be true, they probably are.” She walked back behind the counter and, exchanging the marker for a knife, took a Paul Bunyan swing at a large yellow onion, cleaving it in two. “It’s chicken pot pie night,” she announced. “Let’s get started.” “See?” a woman in Santa Monica demanded as she turned to her sullen seventeen-year-old daughter, the girl’s eyeliner so thick, it looked as if planes could land there. “What did I tell you? Your bond with that boy is hydrogen only. When are you going to wake up and smell the ions?” “Not this again.” “You could go to college. You could be something!” “He loves me!” “He’s holding you back!” “More after this,” Elizabeth said as the cameraman indicated a commercial break.

Some equestrians were involved in the potentially lucrative business of provincial taxation, thanks to another law of Gaius Gracchus. For it was he who first arranged that tax collecting in the new province of Asia should, like many other state responsibilities, be contracted out to private companies, often owned by equestrians. These contractors were known as publicani – ‘public service providers’ or ‘publicans’, as tax collectors are called in old translations of the New Testament, confusingly to modern readers. The system was simple, demanded little manpower on the part of the Roman state and provided a model for the tax arrangements in other provinces over the following decades (and was common in other early tax raising regimes). Periodic auctions of specific taxation rights in individual provinces took place at Rome. The company that bid the highest then collected the taxes, and anything it managed to rake in beyond the bid was its profit. To put it another way, the more the publicani could screw out of the provincials, the bigger their own take – and they were not liable to prosecution under Gaius’ compensation law. Romans had always made money out of their conquests and their empire, but increasingly there were explicitly, and even organised, commercial interests at stake.

Ten years after the first commercial train service began operating between Liverpool and Manchester, in 1830, the first train timetable was issued. The trains were much faster than the old carriages, so the quirky differences in local hours became a severe nuisance. In 1847, British train companies put their heads together and agreed that henceforth all train timetables would be calibrated to Greenwich Observatory time, rather than the local times of Liverpool, Manchester or Glasgow. More and more institutions followed the lead of the train companies. Finally, in 1880, the British government took the unprecedented step of legislating that all timetables in Britain must follow Greenwich. For the first time in history, a country adopted a national time and obliged its population to live according to an artificial clock rather than local ones or sunrise-to-sunset

I equate opening the boxes with the early ’90s stuffed toy for young girls, Puppy Surprise. The commercial for Puppy Surprise featured a group of five-to-seven-year-old girls crowded around a plush dog. They would shriek with delight as they opened her plushy stomach and discovered just how many stuffed baby puppies lived inside. Could be three, could be four, or even five! This was, of course, the “surprise.” Such was the case with dead bodies.

Once, during a concert of cathedral organ music, as I sat getting gooseflesh amid that tsunami of sound, I was struck with a thought: for a medieval peasant, this must have been the loudest human-made sound they ever experienced, awe-inspiring in now-unimaginable ways. No wonder they signed up for the religion being proffered. And now we are constantly pummeled with sounds that dwarf quaint organs. Once, hunter-gatherers might chance upon honey from a beehive and thus briefly satisfy a hardwired food craving. And now we have hundreds of carefully designed commercial foods that supply a burst of sensation unmatched by some lowly natural food. Once, we had lives that, amid considerable privation, also offered numerous subtle, hard-won pleasures. And now we have drugs that cause spasms of pleasure and dopamine release a thousandfold higher than anything stimulated in our old drug-free world.

To MGM fell the thankless task of policing the Garbo name and its commercial use. Several years earlier, J. Robert Rubin in MGM's New York office was panicked to learn of a trademarked product called Garbo - which turned out to be a new fangled garbage unit. The final cable from headquarters in Culver City concluded, 'It would be fairly hard to stop the word Garbo in connection with a refuse container. It does not seem anyone is going to confuse the two.

Parallel to the idea of the US Constitution as covenant, politicians, journalists, teachers, and even professional historians chant like a mantra that the United States is a “nation of immigrants.” From its beginning, the United States has welcomed—indeed, often solicited, even bribed—immigrants to repopulate conquered territories “cleansed” of their Indigenous inhabitants. From the mid-nineteenth century, immigrants were recruited to work mines, raze forests, construct canals and railroads, and labor in sweatshops, factories, and commercial farm fields. In the late twentieth century, technical and medical workers were recruited. The requirements for their formal citizenship were simple: adhere to the sacred covenant through taking the Citizenship Oath, pledging loyalty to the flag, and regarding those outside the covenant as enemies or potential enemies of the exceptional country that has adopted them, often after they escaped hunger, war, or repression, which in turn were often caused by US militarism or economic sanctions. Yet no matter how much immigrants might strive to prove themselves to be as hardworking and patriotic as descendants of the original settlers, and despite the rhetoric of E pluribus unum, they are suspect. The old stock against which they are judged inferior includes not only those who fought in the fifteen-year war for independence from Britain but also, and perhaps more important, those who fought and shed (Indian) blood, before and after independence, in order to acquire the land. These are the descendants of English Pilgrims, Scots, Scots-Irish, and Huguenot French—Calvinists all—who took the land bequeathed to them in the sacred covenant that predated the creation of the independent United States. These were the settlers who fought their way over the Appalachians into the fertile Ohio Valley region, and it is they who claimed blood sacrifice for their country. Immigrants, to be accepted, must prove their fidelity to the covenant and what it stands for.

These narrow notions about debt, held by the old fashioned Tullivers, may perhaps excite a smile on the faces of many readers in these days of wide commercial views and wide philosophy, according to which everything rights itself without any trouble of ours. The fact that my tradesman is out of pocket by me is to be looked at through the serene certainty that somebody else’s tradesman is in pocket by somebody else; and since there must be bad debts in the world, why, it is mere egoism not to like that we in particular should make them

This is Nick’s wife, Amy, who was born and raised in New York City.” And her friends, plump and welcoming, immediately suffer some strange Tourettesian episode: They repeat the words—New York City!—with clasped hands and say something that defies response: That must have been neat. Or, in reedy voices, they sing “New York, New York,” rocking side to side with tiny jazz hands. Maureen’s friend from the shoe store, Barb, drawls “Nue York Ceety! Get a rope,” and when I squint at her in confusion, she says, “Oh, it’s from that old salsa commercial!” and when I still fail to connect, she blushes, puts a hand on my arm, and says, “I wouldn’t really hang you.

However hyped the risk of germs may be, it is at least real. Some corporations go so far as to conjure threats where there are none. A television ad for Brita, the German manufacturer of water-filtration systems, starts with a close-up of a glass of water on a kitchen table. The sound of a flushing toilet is heard. A woman opens a door, enters the kitchen, sits at the table and drinks the water. The water in your toilet and the water in your faucet "come from the same source," the commercial concludes. Sharp-eyed viewers will also see a disclaimer a the start of the ad printed in tiny white letters: MUNICIPAL WATER IS TREATED FOR CONSUMPTION. This is effectively an admission that the shared origin of the water in the glass and the toilet is irrelevant and so the commercial makes no sense--at least not on a rational level. As a pitch aimed at Gut, however, it makes perfect sense. The danger of contaminated drinking water is as old as humanity, and the worst contaminant has always been feces. Our hardwired defense against contamination is disgust, an emotion that drives us to keep our distance from the contaminant. By linking the toilet and the drinking glass, the commercial connects feces to our home's drinking water and raises an ancient fear--a fear that can be eased with the purchase of one of the company's many fine products.

unless you take the view that footballers should be picked on their form as players, and not for personal considerations.’ ‘Ah!’ said Mr Bowles, ‘but that’s what Vicar would call a counsel of perfection. People talk a lot about the team spirit and let the best side win, but if you was to sit in this bar and listen to what goes on, it’s all spite and jealousy, or else it’s how to scrape up enough money to entice away some other team’s centre-forward, or it’s complaints about favouritism or wrong decisions, or something that leaves a nasty taste in the mouth. The game’s not what it was when I was a lad. Too much commercialism, and enough back-biting to stock an old maids’ tea-party.

I never understood those commercials with the parents celebrating the end of summer. Now I understand that around mid-August, all the summer camps are over and you’ve run out of constructive things to do with your kid and you are desperate to get them out of the house. You’ve grown tired of your four-year-old pointing to words and asking, “What does this say?” Apparently it’s not okay to respond to them with, “It says, ‘Learn how to read.’ ” You don’t want to get rid of your children, but you do want to get rid of them for a couple of hours a day. School seems like a perfect solution. Your precious child will learn something, and most important, you will be able to use the bathroom in peace.

cause of cavities, even more damaging than sugar consumption, bad diet, or poor hygiene. (This belief had been echoed by other dentists for a hundred years, and was endorsed by Catlin too.) Burhenne also found that mouthbreathing was both a cause of and a contributor to snoring and sleep apnea. He recommended his patients tape their mouths shut at night. “The health benefits of nose breathing are undeniable,” he told me. One of the many benefits is that the sinuses release a huge boost of nitric oxide, a molecule that plays an essential role in increasing circulation and delivering oxygen into cells. Immune function, weight, circulation, mood, and sexual function can all be heavily influenced by the amount of nitric oxide in the body. (The popular erectile dysfunction drug sildenafil, known by the commercial name Viagra, works by releasing nitric oxide into the bloodstream, which opens the capillaries in the genitals and elsewhere.) Nasal breathing alone can boost nitric oxide sixfold, which is one of the reasons we can absorb about 18 percent more oxygen than by just breathing through the mouth. Mouth taping, Burhenne said, helped a five-year-old patient of his overcome ADHD, a condition directly attributed to breathing difficulties during sleep. It helped Burhenne and his wife cure their own snoring and breathing problems. Hundreds of other patients reported similar benefits. The whole thing seemed a little sketchy until Ann Kearney, a doctor of speech-language pathology at the Stanford Voice and Swallowing Center, told me the same. Kearney helped rehabilitate patients who had swallowing and breathing disorders. She swore by mouth taping. Kearney herself had spent years as a mouthbreather due to chronic congestion. She visited an ear, nose, and throat specialist and discovered that her nasal cavities were blocked with tissue. The specialist advised that the only way to open her nose was through surgery or medications. She tried mouth taping instead. “The first night, I lasted five minutes before I ripped it off,” she told me. On the second night, she was able to tolerate the tape for ten minutes. A couple of days later, she slept through the night. Within six weeks, her nose opened up. “It’s a classic example of use it or lose it,” Kearney said. To prove her claim, she examined the noses of 50 patients who had undergone laryngectomies, a procedure in which a breathing hole is cut into the throat. Within two months to two years, every patient was suffering from complete nasal obstruction. Like other parts of the body, the nasal cavity responds to whatever inputs it receives. When the nose is denied regular use, it will atrophy. This is what happened to Kearney and many of her patients, and to so much of the general population. Snoring and sleep apnea often follow.

I am what I appear to be, Mr Kassandros. I am inhibited and shy, and I don’t go in for swinging affairs and casual abortions. I live a quiet life in my London flat and I work as a commercial artist. I can’t keep a real cat in the old-maid tradition, so I have a china one with a long neck and big eyes. When I can afford a seat at the theatre I go alone, but I lack the gall to sit alone in a restaurant, and our lovely old Lyons Corner Houses have become gambling halls. I also lack whatever it is that men like and I have long since resigned myself to life alone — but if I ever loved a man, it wouldn’t be because he has money, or because he couldn’t make love to me. I’m not frigid! I’m just on guard against being hurt!

Wild animals enjoying one another and taking pleasure in their world is so immediate and so real, yet this reality is utterly absent from textbooks and academic papers about animals and ecology. There is a truth revealed here, absurd in its simplicity. This insight is not that science is wrong or bad. On the contrary: science, done well, deepens our intimacy with the world. But there is a danger in an exclusively scientific way of thinking. The forest is turned into a diagram; animals become mere mechanisms; nature's workings become clever graphs. Today's conviviality of squirrels seems a refutation of such narrowness. Nature is not a machine. These animals feel. They are alive; they are our cousins, with the shared experience kinship implies. And they appear to enjoy the sun, a phenomenon that occurs nowhere in the curriculum of modern biology. Sadly, modern science is too often unable or unwilling to visualize or feel what others experience. Certainly science's "objective" gambit can be helpful in understanding parts of nature and in freeing us from some cultural preconceptions. Our modern scientific taste for dispassion when analyzing animal behaviour formed in reaction to the Victorian naturalists and their predecessors who saw all nature as an allegory confirming their cultural values. But a gambit is just an opening move, not a coherent vision of the whole game. Science's objectivity sheds some assumptions but takes on others that, dressed up in academic rigor, can produce hubris and callousness about the world. The danger comes when we confuse the limited scope of our scientific methods with the true scope of the world. It may be useful or expedient to describe nature as a flow diagram or an animal as a machine, but such utility should not be confused with a confirmation that our limited assumptions reflect the shape of the world. Not coincidentally, the hubris of narrowly applied science serves the needs of the industrial economy. Machines are bought, sold, and discarded; joyful cousins are not. Two days ago, on Christmas Eve, the U.S. Forest Service opened to commercial logging three hundred thousand acres of old growth in the Tongass National Forest, more than a billion square-meter mandalas. Arrows moved on a flowchart, graphs of quantified timber shifted. Modern forest science integrated seamlessly with global commodity markets—language and values needed no translation. Scientific models and metaphors of machines are helpful but limited. They cannot tell us all that we need to know. What lies beyond the theories we impose on nature? This year I have tried to put down scientific tools and to listen: to come to nature without a hypothesis, without a scheme for data extraction, without a lesson plan to convey answers to students, without machines or probes. I have glimpsed how rich science is but simultaneously how limited in scope and in spirit. It is unfortunate that the practice of listening generally has no place in the formal training of scientists. In this absence science needlessly fails. We are poorer for this, and possibly more hurtful. What Christmas Eve gifts might a listening culture give its forests? What was the insight that brushed past me as the squirrels basked? It was not to turn away from science. My experience of animals is richer for knowing their stories, and science is a powerful way to deepen this understanding. Rather, I realized that all stories are partly wrapped in fiction—the fiction of simplifying assumptions, of cultural myopia and of storytellers' pride. I learned to revel in the stories but not to mistake them for the bright, ineffable nature of the world.

Sitting at the edge of his bed those days, weaving and watching television movies – movies themselves, mostly made from the seasickness of misguided creative endeavor. Normalization of commercial compromise had left his medium as one of dominantly irrelevant fantasies adding nothing to the world, and instead providing a perfect storm of merchanteering thespians and image builders now less identifiable as creators of valued products than of products built for significant sales. Their masses of fans as happy as hustled, bustled, and rustled sheep. A country without culture? Nothing more than a shopping mall with a flag? Still, business is branding buoyantly, leaving Bob to yet another bout of that old society-is-sinking sensation.

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.

1: Everyone Knows It was in the summer of 1998 that my neighbor Coleman Silk—who, before retiring two years earlier, had been a classics professor at nearby Athena College for some twenty-odd years as well as serving for sixteen more as the dean of faculty—confided to me that, at the age of seventy-one, he was having an affair with a thirty-four-year-old cleaning woman who worked down at the college. Twice a week she also cleaned the rural post office, a small gray clapboard shack that looked as if it might have sheltered an Okie family from the winds of the Dust Bowl back in the 1930s and that, sitting alone and forlorn across from the gas station and the general store, flies its American flag at the junction of the two roads that mark the commercial center of this mountainside town.

Family Theater was created by Father Patrick Peyton of the Holy Cross Fathers in an effort to promote family unity and prayer. Initially it was seen as a forum to broadcast the Rosary: when the networks refused to allow such a narrow one-denominational appeal, Peyton broadened the scope, made it a weekly drama, added the glamor of Hollywood, and saved the “message” for the slots normally reserved for commercials. Throughout the ten-year run, only one commercial was heard: the continuous appeal for family prayer in America. Al Scalpone created the slogans that were used on each broadcast: A world at prayer is a world at peace and, most memorably, The family that prays together stays together. A line from Tennyson was used to open each broadcast: More things are wrought by prayer than this world dreams of.

Main Street is dead, which is no news to the families whose families ran family businesses on Main Street. When I returned...I found that all the local businesses from my childhood had been extirpated by Wal-Mart. If there is one single symbol for the demise of regional American culture, it is this superstore prototype, a huge capitalist boot that stomped the moms and pops, like soft, damp worms, to death. Don’t get me wrong. I love Wal-Mart. There is nothing I like more than to consign a mindless afternoon to those aisles, suspending thought, judgment. It’s like television. But to a documentarian of American culture, Wal-Mart is a nightmare. When it comes to towns, Hope, Alabama, becomes the same as Hope, Wyoming, or, for that matter, Hope, Alaska, and in the end, all that remains of our pioneering aspirations are the confused and self-conscious simulacra of relic culture: Ye Olde Curiosities ‘n’ Copie Shoppe, Deadeye Dick’s Saloon and Karaoke Bar—ingenious hybrids and strange global grafts that are the local businessperson’s only chance of survival in economies of scale.

Gertrude Stein to Margaret Craven: Every writer must have common sense. He must be sensitive and serious. But he must not grow solemn. He must not listen to himself. If he does, he might as well be under a tombstone. When he takes himself solemnly, he has no more to say. Yet he must despise nothing, not even solemn people. They are part of life and it's his job to write about life. Be direct. Indirectness ruins good writing. There is inner confusion in the world today and because of it people are turning back to old standards like children to their mothers. This makes indirect writing. A writer must preserve a balance between sensitivity and vitality. Commercial writers are vital but not sensitive. Trying to keep this balance is always hard. It is the whole job of living. When one writes a thing---when you discover and then put it down, which is the essence of discovering it---one is done with it. What people get out of it is none of the writer's business. Every writer is self-conscious. It's one reason he is a writer and he is lonely. If you know three writers in a lifetime, that is a great many.

James and Colleen Simmons, authors of Daniel's Challenge and Original Fast Foods, and owners of LDShealth.ning.com, have this to say on the subject: “The commercial bread-making industry figured out how to isolate strains of yeast that made bread raise very quickly compared to the old-fashion bread-making method; soon sourdough starts became a thing of the past for most of us. What we didn't know when we traded Old-World leavening techniques for quick-rise yeasts, is that not everything in wheat is good for you. In fact, there are several elements in wheat that are down-right problematic and that have led to grain intolerances in about 20 percent of today's population. When you compare what happens to the bread when it is leavened with commercial yeasts versus a good sourdough starter, another story unfolds…. The sourdough starter contains several natural strains of friendly bacteria and yeasts that also cause bread to rise; however, these friendly bacteria also neutralize the harmful effects of the grain. They neutralize phytic acids that otherwise prevent minerals found in the grain from being absorbed properly; they predigest the gluten, and they also neutralize lignans and tanins found in wheat.”1

Neoliberal economics, the logic of which is tending today to win out throughout the world thanks to international bodies like the World Bank or the International Monetary Fund and the governments to whom they, directly or indirectly, dictate their principles of ‘governance’,10 owes a certain number of its allegedly universal characteristics to the fact that it is immersed or embedded in a particular society, that is to say, rooted in a system of beliefs and values, an ethos and a moral view of the world, in short, an economic common sense, linked, as such, to the social and cognitive structures of a particular social order. It is from this particular economy that neoclassical economic theory borrows its fundamental assumptions, which it formalizes and rationalizes, thereby establishing them as the foundations of a universal model. That model rests on two postulates (which their advocates regard as proven propositions): the economy is a separate domain governed by natural and universal laws with which governments must not interfere by inappropriate intervention; the market is the optimum means for organizing production and trade efficiently and equitably in democratic societies. It is the universalization of a particular case, that of the United States of America, characterized fundamentally by the weakness of the state which, though already reduced to a bare minimum, has been further weakened by the ultra-liberal conservative revolution, giving rise as a consequence to various typical characteristics: a policy oriented towards withdrawal or abstention by the state in economic matters; the shifting into the private sector (or the contracting out) of ‘public services’ and the conversion of public goods such as health, housing, safety, education and culture – books, films, television and radio – into commercial goods and the users of those services into clients; a renunciation (linked to the reduction in the capacity to intervene in the economy) of the power to equalize opportunities and reduce inequality (which is tending to increase excessively) in the name of the old liberal ‘self-help’ tradition (a legacy of the Calvinist belief that God helps those who help themselves) and of the conservative glorification of individual responsibility (which leads, for example, to ascribing responsibility for unemployment or economic failure primarily to individuals, not to the social order, and encourages the delegation of functions of social assistance to lower levels of authority, such as the region or city); the withering away of the Hegelian–Durkheimian view of the state as a collective authority with a responsibility to act as the collective will and consciousness, and a duty to make decisions in keeping with the general interest and contribute to promoting greater solidarity. Moreover,

Walk out. Walk out. The recurrent voice that stays stuck in your throat. It is how you know you need to run. It is how you know that now is not the right time. How you also know there will never be a right time. How you know it is not the how of it that matters, but the when. How you know the world will laugh at you for a month-long marriage. Even that is not as cruel as the sight of the sad faces of your parents. Disgraced. You have given them nothing but disappointment. The defeat they will carry in their eyes for the rest of their days. Never again the old pride. Never again the easy trust. Never again will the way they say your name be the same. No more will they carry their dreams on your shoulders. Not just them and their heavy, gathered sorrows. You will have to live with one person all your life: you. The you wanting to leave today might be the you who thinks you should have stayed tomorrow. The fear that when you face yourself ten years from now, you will blame your haste, blame your hot blood, blame your sharp tongue, blame yourself for giving up so easily. The question within you, coming from your own sense of fairness: what if he was given the chance to rectify his mistakes, to change himself, to begin anew? The next question, coming up after the commercial break: were you willing to forgive him? And then of course, the inevitable, the unavoidable, absolutely vital: have you fought enough for what you believe in?

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

The other strikingly modern feature of the type of poet which Euripides now introduced into the history of literature is his apparently voluntary refusal to take any part whatever in public life. Euripides was not a soldier as Aeschylus was, nor a priestly dignitary as Sophocles was, but, on the other hand, he is the very first poet who is reported to have possessed a library, and he appears to be also the first poet to lead the life of a scholar in complete retirement from the world. If the bust of him, with its tousled hair, its tired eyes and the embittered lines round the mouth, is a true portrait, and if we are right in seeing in it a discrepancy between body and spirit, and the expression of a restless and dissatisfied life, then we may say that Euripides was the first unhappy poet, the first whose poetry brought him suffering. The notion of genius in the modern sense is not merely completely strange to the ancient world; its poets and artists have nothing of the genius about them. The rational and craftsmanlike elements in art are far more important for them than the irrational and intuitive. Plato’s doctrine of enthusiasm emphasized, indeed, that poets owed their work to divine inspiration and not to mere technical ability, but this idea by no means leads to the exaltation of the poet; it only increases the gulf between him and his work, and makes of him a mere instrument of the divine purpose. It is, however, of the essence of the modern notion of genius that there is no gulf between the artist and his work, or, if such a gulf is admitted, that the genius is far greater than any of his works and can never be adequately expressed in them. So genius connotes for us a tragic loneliness and inability to make itself fully understood. But the ancient world knows nothing of this or of the other tragic feature of the modern artist—his lack of recognition by his own contemporaries and his despairing appeals to a remote posterity. There is not a trace of all this—at least before Euripides. Euripides’ lack of success was mainly due to the fact that there was nothing in classical times that could be called an educated middle class. The old aristocracy took no pleasure in his plays, owing to their different outlook on life, and the new bourgeois public could not enjoy them either, owing to its lack of education. With his philosophical radicalism, Euripides is a unique pheno menon, even among the poets of his age, for these are in general as conservative in their outlook as were those of the classical age —in spite of a naturalism of style which was derived from the urban and commercial society they lived in, and which had reached a point at which it was really incompatible with political conservatism. As politicians and partisans these poets hold to their conservative doctrines, but as artists they are swept along in the progressive stream of their times. This inner contradiction in their work is a completely new phenomenon in the social history of art.

Look,” she told me one day in a Millsport coffeehouse. “Shopping—actual, physical shopping—could have been phased out centuries ago if they’d wanted it that way.” “They who?” “People. Society.” She waved a hand impatiently. “Whoever. They had the capacity back then. Mail order, virtual supermarkets, automated debiting systems. It could have been done and it never happened. What does that tell you?” At twenty-two years old, a Marine Corps grunt via the street gangs of Newpest, it told me nothing. Carlyle took in my blank look and sighed. “It tells you that people like shopping. That it satisfies a basic, acquisitive need at a genetic level. Something we inherited from our hunter-gatherer ancestors. Oh, you’ve got automated convenience shopping for basic household items, mechanical food distribution systems for the marginalized poor. But you’ve also got a massive proliferation of commercial hives and speciality markets in food and crafts that people physically have to go to. Now why would they do that, if they didn’t enjoy it?” I probably shrugged, maintaining my youthful cool. “Shopping is physical interaction, exercise of decision-making capacity, sating of the desire to acquire, and an impulse to more acquisition, a scouting urge. It’s so basically fucking human when you think about it. You’ve got to learn to love it, Tak. I mean you can cross the whole archipelago on a hover; you never even need to get wet. But that doesn’t take the basic pleasure out of swimming, does it? Learn to shop well, Tak. Get flexible. Enjoy the uncertainty.

A second element in the creation of commercial value is scarcity, the separation of people from whatever they might want or need. In artificial environments, where humans are separated from the sources of their survival, everything obtains a condition of relative scarcity and therefore value. There is the old story of the native living on a Pacific island, relaxing in a house on the beach, picking fruit from the tree and spearing fish in the water. A businessman arrives on the island, buys all the land, cuts down the trees and builds a factory. Then he hires the native to work in it for money so that someday the native can afford canned fruit and fish from the mainland, a nice little cinder-block house near the beach with a view of the water, and weekends off to enjoy it. The moment people move off land which has directly supported them, the necessities of life are removed from individual control. The things people could formerly produce for their survival must now be paid for. You may be living on the exact spot where a fruit tree once fed people. Now the fruit comes from five hundred miles away and costs thirty-five cents apiece. It is in the separation that the opportunity for profit resides. When the basic necessities are not scarce—in those places where food is still wild and abundant, for example—economic value can only be applied to new items. Candy bars, bottled or chemical milk, canned tuna, electrical appliances and CocaCola have all been intensively marketed in countries new to the market system. Because these products hadn’t existed in those places before, they are automatically relatively scarce and potentially valuable.

Once, during a concert of cathedral organ music, as I sat getting gooseflesh amid that tsunami of sound, I was struck with a thought: for a medieval peasant, this must have been the loudest human-made sound they ever experienced, awe-inspiring in now-unimaginable ways. No wonder they signed up for the religion being proffered. And now we are constantly pummeled with sounds that dwarf quaint organs. Once, hunter-gatherers might chance upon honey from a beehive and thus briefly satisfy a hardwired food craving. And now we have hundreds of carefully designed commercial foods that supply a burst of sensation unmatched by some lowly natural food. Once, we had lives that, amid considerable privation, also offered numerous subtle, hard-won pleasures. And now we have drugs that cause spasms of pleasure and dopamine release a thousandfold higher than anything stimulated in our old drug-free world. An emptiness comes from this combination of over-the-top nonnatural sources of reward and the inevitability of habituation; this is because unnaturally strong explosions of synthetic experience and sensation and pleasure evoke unnaturally strong degrees of habituation.90 This has two consequences. First, soon we barely notice the fleeting whispers of pleasure caused by leaves in autumn, or by the lingering glance of the right person, or by the promise of reward following a difficult, worthy task. And the other consequence is that we eventually habituate to even those artificial deluges of intensity. If we were designed by engineers, as we consumed more, we’d desire less. But our frequent human tragedy is that the more we consume, the hungrier we get. More and faster and stronger. What was an unexpected pleasure yesterday is what we feel entitled to today, and what won’t be enough tomorrow.

There can be no doubt–and this very fact has led to false conceptions–that the great revolutions that took place in trade in the sixteenth and seventeenth centuries, along with the geographical discoveries of that epoch, and which rapidly advanced the development of commercial capital, were a major moment in promoting the transition from the feudal to the capitalist mode of production. The sudden expansion of the world market, the multiplication of commodities in circulation, the competition among the European nations for the seizure of Asiatic products and American treasures, the colonial system, all made a fundamental contribution towards shattering the feudal barriers to production. And yet the modern mode of production in its first period, that of manufacture, developed only where the conditions for it had been created in the Middle Ages. Compare Holland with Portugal, for example.49 And whereas in the sixteenth century, and partly still in the seventeenth, the sudden expansion of trade and the creation of a new world market had an overwhelming influence on the defeat of the old mode of production and the rise of the capitalist mode, this happened in reverse on the basis of the capitalist mode of production, once it had been created. The world market itself forms the basis for this mode of production. On the other hand, the immanent need that this has to produce on an ever greater scale drives it to the constant expansion of the world market, so that now it is not trade that revolutionizes industry, but rather industry that constantly revolutionizes trade. Moreover, commercial supremacy is now linked with the greater or lesser prevalence of the conditions for large-scale industry. Compare England and Holland, for example. The history of Holland’s decline as the dominant trading nation is the history of the subordination of commercial capital to industrial capital. The

For, Melanie, these things I have named are but the symbols of the thing for which I risk my life, symbols of the kind of life I love. for I am fighting for the old days, the old ways I love so much but which, I fear, are now gone forever, no matter how the die may fall. For, win or lose, we lose just the same. If we win this war and have the Cotton Kingdom of our dreams, we still have lost, for we will become a different people and the old quiet ways will go. The world will be at our doors clamoring for cotton and we can command our own price. Then, I fear, we will become like the Yankees, at whose money-making activities, acquisitiveness, and commercialism we now sneer. And if we lose, Melanie, if we lose! I am not afraid of danger or capture or wounds or even death, if death must come, but I do fear that once this war is over, we will never get back to the old times. And I belong in those old times. I do not belong in this mad present of killing and I fear I will not fit into any future, try though I may. Nor will you, my dear, for you and I are of the same blood. I do not know what the future will bring, but it cannot be as beautiful or as satisfying as the past. I lie and look at the boys sleeping near me and I wonder if the twins or Alex or cade think these same thoughts. I wonder if they know they are fighting for a Cause that was lost the minute the first shot was fired, for our Cause is really our own way of living and that is gone already. But I do not think they think these things and they are lucky. I had not thought of this for us when I asked you to marry me. I had thought of life going on at Twelve Oaks as it had always done, peacefully, easily, unchanging. we are alike, Melanie, loving the same quiet things, and I saw before us a long stretch of uneventful years in which to read, hear music and dream. But not this! Never this! That this could happen to us all, this wrecking of old ways, this bloody slaughter and hate! Melanie, nothing is worth it-States' Rights, nor slaves, nor cotton. Nothing is worth what is happening to us now and what may happen, for if the Yankees whip us the future will be one of incredible horror. And, my dear, they may yet whip us.

Though it’s best not to be born a chicken at all, it is especially bad luck to be born a cockerel. From the perspective of the poultry farmer, male chickens are useless. They can’t lay eggs, their meat is stringy, and they’re ornery to the hens that do all the hard work of putting food on our tables. Commercial hatcheries tend to treat male chicks like fabric cutoffs or scrap metal: the wasteful but necessary by-product of an industrial process. The sooner they can be disposed of—often they’re ground into animal feed—the better. But a costly problem has vexed egg farmers for millennia: It’s virtually impossible to tell the difference between male and female chickens until they’re four to six weeks old, when they begin to grow distinctive feathers and secondary sex characteristics like the rooster’s comb. Until then, they’re all just indistinguishable fluff balls that have to be housed and fed—at considerable expense. Somehow it took until the 1920s before anyone figured out a solution to this costly dilemma. The momentous discovery was made by a group of Japanese veterinary scientists, who realized that just inside the chick’s rear end there is a constellation of folds, marks, spots, and bumps that to the untrained eye appear arbitrary, but when properly read, can divulge the sex of a day-old bird. When this discovery was unveiled at the 1927 World Poultry Congress in Ottawa, it revolutionized the global hatchery industry and eventually lowered the price of eggs worldwide. The professional chicken sexer, equipped with a skill that took years to master, became one of the most valuable workers in agriculture. The best of the best were graduates of the two-year Zen-Nippon Chick Sexing School, whose standards were so rigorous that only 5 to 10 percent of students received accreditation. But those who did graduate earned as much as five hundred dollars a day and were shuttled around the world from hatchery to hatchery like top-flight business consultants. A diaspora of Japanese chicken sexers spilled across the globe. Chicken sexing is a delicate art, requiring Zen-like concentration and a brain surgeon’s dexterity. The bird is cradled in the left hand and given a gentle squeeze that causes it to evacuate its intestines (too tight and the intestines will turn inside out, killing the bird and rendering its gender irrelevant). With his thumb and forefinger, the sexer flips the bird over and parts a small flap on its hindquarters to expose the cloaca, a tiny vent where both the genitals and anus are situated, and peers deep inside. To do this properly, his fingernails have to be precisely trimmed. In the simple cases—the ones that the sexer can actually explain—he’s looking for a barely perceptible protuberance called the “bead,” about the size of a pinhead. If the bead is convex, the bird is a boy, and gets thrown to the left; concave or flat and it’s a girl, sent down a chute to the right.

Wherever you go, Provincetown will always take you back, at whatever age and in whatever condition. Because time moves somewhat differently there, it is possible to return after ten years or more and run into an acquaintance, on Commercial or at the A&P, who will ask mildly, as if he’d seen you the day before yesterday, what you’ve been doing with yourself. The streets of Provincetown are not in any way threatening, at least not to those with an appetite for the full range of human passions. If you grow deaf and blind and lame in Provincetown, some younger person with a civic conscience will wheel you wherever you need to go; if you die there, the marshes and dunes are ready to receive your ashes. While you’re alive and healthy, for as long as it lasts, the golden hands of the clock tower at Town Hall will note each hour with an electric bell as we below, on our purchase of land, buy or sell, paint or write or fish for bass, or trade gossip on the post office steps. The old bayfront houses will go on dreaming, at least until the emptiness between their boards proves more durable than the boards themselves. The sands will continue their slow devouring of the forests that were the Pilgrims’ first sight of North America, where man, as Fitzgerald put it, “must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.” The ghost of Dorothy Bradford will walk the ocean floor off Herring Cove, draped in seaweed, surrounded by the fleeting silver lights of fish, and the ghost of Guglielmo Marconi will tap out his messages to those even longer dead than he. The whales will breach and loll in their offshore world, dive deep into black canyons, and swim south when the time comes. Herons will browse the tidal pools; crabs with blue claws tipped in scarlet will scramble sideways over their own shadows. At sunset the dunes will take on their pink-orange light, and just after sunset the boats will go luminous in the harbor. Ashes of the dead, bits of their bones, will mingle with the sand in the salt marsh, and wind and water will further disperse the scraps of wood, shell, and rope I’ve used for Billy’s various memorials. After dark the raccoons and opossums will start on their rounds; the skunks will rouse from their burrows and head into town. In summer music will rise up. The old man with the portable organ will play for passing change in front of the public library. People in finery will sing the anthems of vanished goddesses; people who are still trying to live by fishing will pump quarters into jukeboxes that play the songs of their high school days. As night progresses, people in diminishing numbers will wander the streets (where whaling captains and their wives once promenaded, where O’Neill strode in drunken furies, where Radio Girl—who knows where she is now?—announced the news), hoping for surprises or just hoping for what the night can be counted on to provide, always, in any weather: the smell of water and its sound; the little houses standing square against immensities of ocean and sky; and the shapes of gulls gliding overhead, white as bone china, searching from their high silence for whatever they might be able to eat down there among the dunes and marshes, the black rooftops, the little lights tossing on the water as the tides move out or in.

Since the military part of town could not tolerate disarray and the commercial part found it unprofitable, all of the chaos had been pushed into the old town, which had become the kingdom of broken plans and improvisations

One of the best ways to minimize your interaction with energy vampires is to become “empowered in the negative.” In other words, learn how to turn people down, even if you have to hurt them a bit in the process. This is essential. Be like those old drug commercials: Just Say No.

Meredith stands in a corner with a beer in her hand but she's not smiling. Her nails are painted purple and gold like her teammates but she didn't run today. She didn't even show up. She hasn't returned my calls and won't look at me. I can't stop staring at her. She holds her beer like a professional, like a woman in a commercial with long beautifully delicate but strong hands. Her top has spaghetti straps and plunges down the back so she can't wear a bra. With eyeliner, mascara and lip gloss highlighting her features she looks a little older, more sophisticated and more noticeable. Rowan has noticed her. He keeps watching her with his tiny eyes. He holds a cup full of punch, then he holds two cups full of punch. The he holds and cup full of punch and a beer. He wears a Princeton hat because that's wear he'll go next year, but it is tattered and old because he has always known he is going there. That is why he never has any fucks to give-- because his family can afford not to give them.

Meredith stands in a corner with a beer in her hand but she's not smiling. Her nails are painted purple and gold like her teammates but she didn't run today. She didn't even show up. She hasn't returned my calls and won't look at me. I can't stop staring at her. She holds her beer like a professional, like a woman in a commercial with long beautifully delicate but strong hands. Her top has spaghetti straps and plunges down the back so she can't wear a bra. With eyeliner, mascara and lip gloss highlighting her features she looks a little older, more sophisticated and more noticeable. Rowan has noticed her. He keeps watching her with his tiny eyes. He holds a cup full of punch, then he holds two cups full of punch. The he holds a cup full of punch and a beer. He wears a Princeton hat because that's wear he'll go next year, but it is tattered and old because he has always known he is going there. That is why he never has any fucks to give-- because his family can afford not to give them.

Another problem I think we have is that the people who come from universities are educated in the latest silver bullets, but really don’t know how to deal with commercial software they’ve inherited from past practices. When they come out young and fresh and energetic, we cannot make them start with something that they consider old-fashioned. They would just not take the job, particularly in good times. These young and inexperienced but well-studied people become quite dominant in organizations and

But Tokyo offers cat cafes, a commercial solution to the problem of wanting to commune with cats but being unwilling or unable to have one at home. Iris's favorite cat cafe is Nekorobi, in the Ikebukuro neighborhood. When I first heard about cat cafes, I imagined something like Starbucks with a cat on your lap. Wrong. Nekorobi is what you'd get if you asked a cat-obsessed kid to draw a floorplan of her dream apartment: a bathroom, a drink vending machine(free with admission), a snack table, video games, and about ten cats and their attendant toys, scratching posts, beds, and climbing structures. Oh, and the furniture is in the beanbag chic style. Considering all the attention they get, the cats were amazingly friendly, and I'd never seen such a variety of cat breeds up close. (Nor have I ever spent more than ten seconds thinking about cat breeds.) My favorite was a light gray cat with soft fur, which curled up and slept near me while I sat on a beanbag and read a book. Iris made the rounds, drinking a bottomless cup of the vitamin-fortified soda C.C. Lemon and making sure to give equal time to each cat, including the flat-faced feline that looked like it had beaned with a skillet in old-timey cartoon fashion.

First Lady Eleanor Roosevelt was heard often on radio beginning soon after her husband’s inauguration in 1932. To stem inevitable criticism, all fees from her commercial broadcasts were donated to charity. Her shows were often behindscenes color pieces: on one 1937 Blue Network Pond’s Cream broadcast, her topic was “White Housekeeping,” a discussion of life in the White House, with recipes. Her early talks were given in a hesitant, nervous voice, leading to widespread mimicry and even cruel ridicule. “Eleanor” jokes became common at parties and in the workplace. Perhaps her best radio series came after her husband’s death, when she had attained a kind of senior stateswoman status. She was in Paris for the opening programs of Eleanor and Anna Roosevelt, and her voice was heard by transcription while her daughter, Anna Boettiger, handled the rest of the show live from California. It made instant news: Mrs. Roosevelt blasted the “Dixiecrat” wing of the Democratic Party and called upon party bosses to throw the boll weevils out. While Washington buzzed, Variety raved about her courage and cited her as one of the “standout commentators of the air.

The memorable commercials on Cresta Blanca Carnival began with a cascade of music, indicating a verbal pouring of wine. Then, in a catchy jingle out of an echo chamber, with each letter punctuated by a plunking violin: C-R-E-S-T-A B-L-A-N-C-A … Cresta Blanca!

Commercial firms turned out Claghorn shirts and compasses (the needles always pointed south, son); Delmar cut two Claghorn records, I Love You, That Is and That’s a Joke, Son, and Warner Brothers pirated the concept for use in a series of cartoons. The strutting cartoon rooster, Foghorn J. Leghorn, was an obvious steal from Delmar: the cutting irony, he said years later, was that the cartoons were copyrighted, so that, from then on, “in order to do Claghorn, I had to ask permission from Warner Brothers.

He was walking one wet night through a desolate region of the City. A wagon trundled by, drenching his legs with a fine spray. He turned aside, and a maze of dingy streets opened before him. The sky between the slanting rooftops hung black as a slab of jet. Then a waning moon rode clear of the storm clouds. He had penetrated an old commercial sector of the City where winding lanes lay lampless, flanked by dilapidated warehouses. Every window was boarded up or shattered; too many doorways opened onto musty darkness. With every turn of the black road the same scene lay revealed: row upon row of grey, sagging eaves; scarred and battered gates; rusting fences; sickle moons in every shallow remnant of the rain. He seemed to be shedding the present with every step, moving backwards through time. It seemed that he was acting out some part prearranged, utterly without will. "The White Road

He shivered. A picture appeared in his mind’s eye, a big photograph in a wooden frame: the delegates to the first congress of the Party. They sat at a long wooden table, some with their elbows propped on it, others with their hands on their knees; bearded and earnest, they gazed into the photographer’s lens. Above each head was a small circle, enclosing a number corresponding to a name printed underneath. All were solemn, only the old man who was presiding had a sly and amused look in his slit Tartar eyes. Rubashov sat second to his right, with his pince-nez on his nose. No. 1 sat somewhere at the lower end of the table, four square and heavy. They looked like the meeting of a provincial town council, and were preparing the greatest revolution in human history. They were at that time a handful of men of an entirely new species: militant philosophers. They were as familiar with the prisons in the towns of Europe as commercial travellers with the hotels. They dreamed of power with the object of abolishing power; of ruling over the people to wean them from the habit of being ruled. All their thoughts became deeds and all their dreams were fulfilled. Where were they? Their brains, which had changed the course of the world, had each received a charge of lead. Some in the forehead, some in the back of the neck. Only two or three of them were left over, scattered throughout the world, worn out. And himself; and No. 1.

Stewart Brand: In any community, new people show up, and they want to participate, and the old hands typically close ranks and sneer at the newbies. I should have known that would happen at The Well. We should have made it the case where part of your job as a member of The Well was to make new people feel welcome. We never did that. It was a part of what kept The Well from growing. Kevin Kelly: After Stewart left, everything started to kind of get really big. This was the era of ISPs, and you had Pipeline and Echo and AOL, and it was clear that this was going to stick around. Some of them were growing fast. And so why can’t we grow fast? The problem was we were a nonprofit. Who’s going to invest into this nonprofit? And so that was the issue. I looked at it in different ways. Do we want to sell it? Do we want to turn commercial? What’s the point of that? So in the end it was like, No, I think we can be more useful being who we are. We could grow and we could make a lot of money, but a lot of people are going to do that. And that might have been the wrong decision or the right decision to make, but it was my decision to keep it sort of experimental. Stewart Brand: It was never a commercial success. It may have paid its own way, just barely. What could be tried with this medium? That was the thing. Kevin Kelly: Eventually it was sold to Salon, but it was really too late at that point.

He wanted to avoid both State socialism which he saw as merely another form of monopoly, and industrial development along ‘the old commercial capitalistic lines of the huge joint stock companies’:

The Atwater-Kent Hour set the standard for early concert music. Sponsored by a well-known radio manufacturer, Atwater-Kent featured stars of the Metropolitan Opera, backed by a large symphony orchestra. The obstacles to producing such a show in radio’s earliest days were political, economic, and personal. Stations were proliferating, and there was no real consensus as to how the airwaves should be used. The idea of commercial radio had many critics; others, pointing to the overall excellence of the Atwater-Kent, Eveready, and Palmolive hours, believed that only American capitalism could overcome the dreadful mediocrity that most stations offered. Major talent from the musical stage was needed, but many name performers found the prospect of entertaining for a cigar manufacturer or an oil company reprehensible. Politicians were deeply divided on the questions of regulations and constraints.

In the same way, we read a great deal about the Spirit of Christmas in modern journalism or commercialism; but it is really a reversal of the same kind. So far from preserving the essentials without the externals, it is rather preserving the externals where there cannot be the essentials. It means taking two mere material substances, like holly and mistletoe, and spreading them all over huge and homeless cosmopolitan hotels or round the Doric columns of impersonal clubs full of jaded and cynical old gentlemen; or in any other place where the actual spirit of Christmas is least likely to be.

banjo. A plucked, fretted lute where a thin skin diaphragm is stretched over a circular metal frame amplifying the sound of the strings. The instrument is believed to have evolved from various African and African-American prototypes. Four- and 5-stringed versions of the banjo are popular, each associated with specific music genres; the 5-stringed banjo, plucked and strummed with the fingers, is associated with Appalachian, old-time and bluegrass music, while the four-stringed versions (both the “plectrum” banjo, which is an identical 22-fret banjo, just like the 5-string instrument but without the fifth string and played with a plectrum, and the tenor banjo which has fewer frets [17 or 19], a shorter neck, is tuned in fifths and is played with a plectrum) is associated with vaudeville, Dixieland jazz, ragtime and swing, as well as Irish folk and traditional music. The first Irish banjo player to record commercially was James Wheeler, in the U.S. in 1916, for the Columbia label; as part of The Flanagan Brothers duo, Mick Flanagan recorded during the 1920s and 1930s as did others in the various dance bands popular in the U.S. at the time. Neil Nolan, a Boston-based banjo player originally from Prince Edward Island, recorded with Dan Sullivan’s Shamrock Band; the collaboration with Sullivan led to him also being included in the line-up for the Caledonia and Columbia Scotch Bands, alongside Cape Breton fiddlers; these were recorded for 78s in 1928. In the 1930s The Inverness Serenaders also included a banjo player (Paul Aucoin). While the instrument was not widely used in Cape Breton, a few notable players were Packie Haley and Nellie Coakley, who were involved in the Northside Irish tradition of the 1920s and 1930s; Ed MacGillivray played banjo with Tena Campbell; and the Iona area had some banjo players, such as the “Lighthouse” MacLeans. The banjo was well known in Cape Breton’s old-time tradition, especially in the 1960s, but was not really introduced to the Cape Breton fiddle scene until the 1970s when Paul Cranford, a 6-string banjo player, arrived from Toronto. He has since replaced the banjo with fiddle. A few fiddlers have dabbled with the instrument but it has had no major presence within the tradition.

The Helen Hayes Theater was considered prestige drama, but it was heard sporadically and never built the reputation or the audiences of the great theaters of the air. Appearances with Orson Welles’s Mercury troupe in 1939 confirmed her belief that, “next to the stage, radio is the best medium for drama.” Her Lipton Tea series, beginning the following year, was her best and longest forum. She supervised the entire production, playing the leads, helping with casting and sound effects, and even participating in the tea commercials. But it became the first casualty of World War II when, three weeks after Pearl Harbor, Lipton announced its cancellation in anticipation of tea shortages from India.