Record Player Quotes

To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

The paraphrase of Gödel's Theorem says that for any record player, there are records which it cannot play because they will cause its indirect self-destruction.

I've apparently been the victim of growing up, which apparently happens to all of us at one point or another. It's been going on for quite some time now, without me knowing it. I've found that growing up can mean a lot of things. For me, it doesn't mean I should become somebody completely new and stop loving the things I used to love. It means I've just added more things to my list. Like for example, I'm still beyond obsessed with the winter season and I still start putting up strings of lights in September. I still love sparkles and grocery shopping and really old cats that are only nice to you half the time. I still love writing in my journal and wearing dresses all the time and staring at chandeliers. But some new things I've fallen in love with -- mismatched everything. Mismatched chairs, mismatched colors, mismatched personalities. I love spraying perfumes I used to wear when I was in high school. It brings me back to the days of trying to get a close parking spot at school, trying to get noticed by soccer players, and trying to figure out how to avoid doing or saying anything uncool, and wishing every minute of every day that one day maybe I'd get a chance to win a Grammy. Or something crazy and out of reach like that. ;) I love old buildings with the paint chipping off the walls and my dad's stories about college. I love the freedom of living alone, but I also love things that make me feel seven again. Back then naivety was the norm and skepticism was a foreign language, and I just think every once in a while you need fries and a chocolate milkshake and your mom. I love picking up a cookbook and closing my eyes and opening it to a random page, then attempting to make that recipe. I've loved my fans from the very first day, but they've said things and done things recently that make me feel like they're my friends -- more now than ever before. I'll never go a day without thinking about our memories together.

I have always, essentially, been waiting. Waiting to become something else, waiting to be that person I always thought I was on the verge of becoming, waiting for that life I thought I would have. In my head, I was always one step away. In high school, I was biding my time until I could become the college version of myself, the one my mind could see so clearly. In college, the post-college “adult” person was always looming in front of me, smarter, stronger, more organized. Then the married person, then the person I’d become when we have kids. For twenty years, literally, I have waited to become the thin version of myself, because that’s when life will really begin. And through all that waiting, here I am. My life is passing, day by day, and I am waiting for it to start. I am waiting for that time, that person, that event when my life will finally begin. I love movies about “The Big Moment” – the game or the performance or the wedding day or the record deal, the stories that split time with that key event, and everything is reframed, before it and after it, because it has changed everything. I have always wanted this movie-worthy event, something that will change everything and grab me out of this waiting game into the whirlwind in front of me. I cry and cry at these movies, because I am still waiting for my own big moment. I had visions of life as an adventure, a thing to be celebrated and experienced, but all I was doing was going to work and coming home, and that wasn’t what it looked like in the movies. John Lennon once said, “Life is what happens when you’re busy making other plans.” For me, life is what was happening while I was busy waiting for my big moment. I was ready for it and believed that the rest of my life would fade into the background, and that my big moment would carry me through life like a lifeboat. The Big Moment, unfortunately, is an urban myth. Some people have them, in a sense, when they win the Heisman or become the next American Idol. But even that football player or that singer is living a life made up of more than that one moment. Life is a collection of a million, billion moments, tiny little moments and choices, like a handful of luminous, glowing pearl. It takes so much time, and so much work, and those beads and moments are so small, and so much less fabulous and dramatic than the movies. But this is what I’m finding, in glimpses and flashes: this is it. This is it, in the best possible way. That thing I’m waiting for, that adventure, that move-score-worthy experience unfolding gracefully. This is it. Normal, daily life ticking by on our streets and sidewalks, in our houses and apartments, in our beds and at our dinner tables, in our dreams and prayers and fights and secrets – this pedestrian life is the most precious thing any of use will ever experience.

I put my hand on the altar rail. 'What if ... what if Heaven is real, but only in moments? Like a glass of water on a hot day when you're dying of thirst, or when someone's nice to you for no reason, or ...' Mam's pancakes with Toblerone sauce; Dad dashing up from the bar just to tell me, 'Sleep tight, don't let the bedbugs bite'; or Jacko and Sharon singing 'For She's A Squishy Marshmallow' instead of 'For She's A Jolly Good Fellow' every single birthday and wetting themselves even though it's not at all funny; and Brendan giving his old record player to me instead of one of his mates. 'S'pose Heaven's not like a painting that's just hanging there for ever, but more like ... Like the best song anyone ever wrote, but a song you only catch in snatches, while you're alive, from passing cars, or ... upstairs windows when you're lost ...

After I read them, I sat in the living room by our record player and put on Carly Simon and sobbed. Then I moved on to Daisy Jones and Carole King. All so easy to cry to, if you’re in the mood.

His voice ripped through her, low, soft, and a little husky- like the hushed crackling of an old fashioned record player just before the music starts

I always wear roller skates when I ride my bicycle. The more wheels the better, and that's what makes me a better lover. You know you want to go for a spin. I'll bring the record player, if you bring 1982 and her little sister, Elton John.

The rhythm of her conversation. The perfection of her creation. The sex she slipped into my coffee. The way she felt when she first saw me. Hate to love and love to hate her. Like a broken record player. Back and forth and here and gone and on and on and on and on...

As you wish, of course." Lucius lowered the volume on an old record player, which spun a warped vinyl disk that wailed unfamiliar music, scratchy and whiny, like cats fighting. Or a coffin with rusty hinges opening and closing over and over again in a deserted mausoleum. "Do you like Croatian folk?" heasked, seeing my interest. "It reminds me of home." "I prefer normal music." "Ah, yes, your MTV with all the bumping and grinding. Like a shot of raging adolescent hormones administered via television. I'm not averse.

Lighting a match felt exciting and a little bit dangerous, and when the flame came into contact with the paper, it made a sound like the needle coming down on a record player—like the music was about to start.

When they had been deciding what to call their company all those years ago, Marx had argued for calling it Tomorrow Games, a name Sam and Sadie instantly rejected as "too soft." Marx explained that the name referenced his favorite speech in Shakespeare, and that it wasn't soft at all. "Do you have any ideas that aren't from Shakespeare?" Sadie said. To make his case, Marx jumped up on a kitchen chair and recited the "Tomorrow" speech for them, which he knew by heart: Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing. "That's bleak," Sadie said. "Why start a game company? Let's go kill ourselves," Sam joked. "Also," Sadie said, "What does any of that have to do with games?" "Isn't it obvious?" Marx said. It was not obvious to Sam or to Sadie. "What is a game?" Marx said. "It's tomorrow, and tomorrow, and tomorrow. It's the possibility of infinite rebirth, infinite redemption. The idea that if you keep playing, you could win. No loss is permanent, because nothing is permanent, ever." "Nice try, handsome," Sadie said. "Next.

So now the polar ice caps are melting, sea levels are rising, and the weather is all messed up. Plants and animals are dying off in record numbers, and lots of people are starving and homeless. And we’re still fighting wars with each other, mostly over the few resources we have left.

I couldn't control my brain any more.  It wasn't working.  It was like a record player needle had slipped into the groove in the vinyl

And for the record, there are plenty of women I haven't slept with." Several sets of eyes turned on him in disbelief. Geez.

I can appreciate that,” says Henry. He’s adding to the list. I look over his shoulder. Sex Pistols, the Clash, Gang of Four, Buzzcocks, Dead Kennedys, X, the Mekons, the Raincoats, the Dead Boys, New Order, the Smiths, Lora Logic, the Au Pairs, Big Black, Pil, the Pixies, the Breeders, Sonic Youth… Henry, they’re not going to be able to get any of that up here.” He nods, and jots the phone number and address for Vintage Vinyl at the bottom of the sheet. “You do have a record player, right?” My parents have one,” Bobby says. Henry winces. What do you really like?” I ask Jodie. I feel as though she’s fallen out of the conversation during the male bonding ritual Henry and Bobby are conducting. Prince,” she admits. Henry and I let out a big Whoo! And I start singing “1999” as loud as I can, and Henry jumps up and we’re doing a bump and grind across the kitchen. Laura hears us and runs off to put the actual record on and just like that, it’s a dance party.

We live in a uniform civilization, within well-defined cultural models: furnishings, decorative elements, blankets, record player have all been chosen among a certain number of given possibilities. What can they reveal to you about what she is really like?

I first set the needle on this record and bingo! the whole mechanism begins: the record player's arm tugs at a thread as the record plays; the thread pulls over this glass and lets this marble loose; the marble rolls down this miniature slide and snap! the spring is released, cutting off your heads! Brilliant! 'And just to be on the safe side,' he continued, 'this crossbow will shoot you as the trap is released, the axe will chop you in half and the anvil will crush you to pieces!' 'And do you see this gun?' Ratigan asked with a smile. 'In case you hadn't noticed, dear friends, it's also pointed at you! Ha! Ha! Ha!' Ratigan burst you laughing

slip off my bed and scurry over to the corner of my room where I set up my record player, putting on the Fine Line album from Harry Styles.

If I remember rightly, you on one occasion defined my limits in a very precise fashion." "Yes," [Watson] answered, laughing. "It was a singular document. Philosophy, astronomy, and politics were marked at zero, I remember. Botany variable, geology profound as regards the mudstains from any region within fifty miles of town, chemistry eccentric, anatomy unsystematic, sensational literature and crime records unique, violin player, boxer, swordsman, lawyer, and self-poisoner by cocaine and tobacco. Those, I think, were the main points of my analysis.

Last night as your breathing settled into sleep what I heard was the half-forgotten sound, the velvet rush and hiss, the automatic click as the record player's arm runs out, is brushed away at the record's centre, the pulse of its subsiding oddly comforting. 33 1/3 rpm. The knowledge that when the music ends, there will not be silence.

We have all the time in the world.' Love found a record. He laid it on the player. The music started again, scratchy from age, but so sweet and beautiful and deep. Someday. And there, in the darkness, Love and Death and the ones inside of them danced until the song was done. And then, when all around them was silent and still, they disappeared.

Sometimes it can be as brutally overwhelming as a tidal wave flooding every orifice, the suffocation, the pressure, the immensity of this damnable depression like an ocean, unsurmountable. It swallows me whole and gnaws at my very bones. It floods me over and over, drowning me over and over... It is a torturous broken record player with a scratched disc on repeat, the wailing disrupting any possible good remaining after the tsunami. It wails and wails inside my ribcage and inside my skull. I cannot make it stop.

The most satisfying compliment a reader can pay is to tell me that he or she feels personally addressed. Think of your own favorite authors and see if that isn’t precisely one of the things that engages you, often at first without your noticing it. A good conversation is the only human equivalent: the realizing that decent points are being made and understood, that irony is in play, and elaboration, and that a dull or obvious remark would be almost physically hurtful. This is how philosophy evolved in the symposium, before philosophy was written down. And poetry began with the voice as its only player and the ear as its only recorder.

i wanted to take your hand and run with you together toward ourselves down the street to your street i wanted to laugh aloud and skip the notes past the marquee advertising “women in love” past the record shop with “The Spirit In The Dark” past the smoke shop past the park and no parking today signs past the people watching me in my blue velvet and i don’t remember what you wore but only that i didn’t want anything to be wearing you i wanted to give myself to the cyclone that is your arms and let you in the eye of my hurricane and know the calm before and some fall evening after the cocktails and the very expensive and very bad steak served with day-old baked potatoes after the second cup of coffee taken while listening to the rejected violin player maybe some fall evening when the taxis have passed you by and that light sort of rain that occasionally falls in new york begins you’ll take a thought and laugh aloud the notes carrying all the way over to me and we’ll run again together toward each other yes?

And each year, more gunters called it quits, concluding that Halliday had indeed made the egg impossible to find. And another year went by. And another. Then, on the evening of February 11, 2045, an avatar’s name appeared at the top of the Scoreboard, for the whole world to see. After five long years, the Copper Key had finally been found, by an eighteen-year-old kid living in a trailer park on the outskirts of Oklahoma City. That kid was me. Dozens of books, cartoons, movies, and miniseries have attempted to tell the story of everything that happened next, but every single one of them got it wrong. So I want to set the record straight, once and for all.

Behind his bedroom door, he can sit and put Hall & Oates on the record player in the corner, and nobody hears him humming along like his dad to "Rich Girl." He can wear the reading glasses he always insists he doesn't need. He can make as many meticulous study guides with color-coded sticky notes as he wants. He's not going to be the youngest elected congressman in modern history without earning it, but nobody needs to know how hard he's kicking underwater. His sex symbol stock would plummet.

Losing to Pete has caused me enormous pain, but in the long run it’s also made me more resilient. If I’d beaten Pete more often, or if he’d come along in a different generation, I’d have a better record, and I might go down as a better player, but I’d be less.

I just believe,' he said, 'that the whole thing is going to be reduced to the human body, once and for all. I want to be ready.... I think the machines are going to fail, the political systems are going to fail, and a few men are going to take to the hills and start over.... I had an air-raid shelter built,' he said. 'I'll take you down there sometime. We've got double doors and stocks of bouillon and bully beef for a couple of years at least. We've got games for the kids, and a record player and a whole set of records on how to play the recorder and get up a family recorder group. But I went down there one day and sat for a while. I decided that survival was not in the rivets and the metal, and not in the double-sealed doors and not in the marbles of Chinese checkers. It was in me. It came down to the man, and what he could do. The body is the one thing you can't fake; it's just got to be there.... At times I get the feeling I can't wait. Life is so fucked-up now, and so complicated, that I wouldn't mind if it came down, right quick, to the bare survival of who was ready to survive. You might say I've got the survival craze, the real bug. And to tell you the truth I don't think most other people have. They might cry and tear their hair and be ready for some short hysterical violence or other, but I think most of them wouldn't be too happy to give down and get it over with.... If everything wasn't dead, you could make a kind of life that wasn't out of touch with everything, with other forms of life. Where the seasons would mean something, would mean everything. Where you could hunt as you needed to, and maybe do a little light farming, and get along. You'd die early, and you'd suffer, and your children would suffer, but you'd be in touch.

Weeks later, she said: 'The guy was about middle-aged. All his things right there in his yard. No lie. We got real pissed and danced. In the driveway. Oh, my God. Don't laugh. He played us these records. Look at this record-player. The old guy gave it to us. And all these crappy records. Will you look at this shit?' She kept talking. She told everyone. There was more to it, and she was trying to get it talked out. After a time, she quit trying

Our players aren’t our problem. But we are what our record says we are.

Fear of Flying (Because every time you fly, you land somewhere new and you have to make new friends.) Leave something you love in every city you've lived in. A record player in Shanghai, a kitten in Seattle, your best dresses hanging in a closet in Paris. That way you'll always have a reason to retrace your steps back to old friends. So it means you won't have to stay away forever. Learn to enjoy being alone, appreciate the silence of dinners where an entire roast duck can be gnawed away, cartilage and all, without conversational interruption. You are free and oh-so-mysterious. Think: Friends, who needs friends?

A day will come when certain antiques and old homes will be able to play sounds and voices of our past like record players. Technology will scan the grooves embedded within them as mediums can do without it.

One of Satan’s greatest fears is that women will find out who they really are and what a significant role they play in his ultimate downfall. Women have not been relegated to mere privates in God’s army, rather they have been chosen as key players. The biblical record shows that God will use women to transform the world.

The next day, when I came home from the library, there was a small, used red record player in my room. I found my mother in the kitchen and spotted a bandage taped to her arm. “Ma,” I asked. “Where did you get the money for the record player?” “I had it saved,” she lied. My father lived well, had a large house and an expensive imported car, wanted for little, and gave nothing. My mother lived on welfare in a slum and sold her blood to the Red Cross to get me a record player. “Education is everything, Johnny,” she said, as she headed for the refrigerator to get me food. “You get smart like regular people and you don’t have to live like this no more.” She and I were not hugging types, but I put my hand on her shoulder as she washed the dishes with her back to me and she said, in best Brooklynese, “So go and enjoy, already.” My father always said I was my mother’s son and I was proud of that. On her good days, she was a good and noble thing to be a part of. That evening, I plugged in the red record player and placed it by the window. My mother and I took the kitchen chairs out to the porch and listened to Beethoven’s Sixth Symphony from beginning to end, as we watched the oil-stained waters of the Mad River roll by. It was a good night, another good night, one of many that have blessed my life.

In desperation, I’d tried to find a part-time after-school job, just to earn some walking-around money. I applied for dozens of tech support and programming jobs (mostly grunt construction work, coding parts of OASIS malls and office buildings), but it was completely hopeless. Millions of college-educated adults couldn’t get one of those jobs. The Great Recession was now entering its third decade, and unemployment was still at a record high. Even the fast-food joints in my neighborhood had a two-year waiting list for job applicants. So I remained stuck at school. I felt like a kid standing in the world’s greatest video arcade without any quarters, unable to do anything but walk around and watch the other kids play.

Noah held his hand out. She accepted it - it was bone-cold, as always - and together they turned to face the huge room. Noah took a deep breath as if they were preparing to explore the jungle instead of stepping deeper into Monmouth Manufacturing. It seemed bigger with just the two of them there. The cobwebbed ceiling soared, dust motes making mobiles overhead. They turned their heads sideways and read the titles of the books aloud. Blue peered at Henrietta through the telescope. Noah daringly reattached one of the broken miniature roofs on Gansey's scale town. They went through the fridge tucked in the bathroom. Blue selected a soda. Noah took a plastic spoon. He chewed on it as Blue fed Chainsaw a leftover hamburger. They closed Ronan's door - if Gansey still managed to inhabit the rest of the apartment, Ronan's presence was still decidedly pervasive in his room. Noah showed Blue his room. They jumped on his perfectly made bed and then they played a bad game of pool. Noah lounged on the new sofa while Blue persuaded the old record player to play an LP too clever to interest either of them. They opened all the drawers on the desk in the main room. One of Gansey's EpiPens bounced against the interior of the topmost drawer as Blue withdrew a fancy pen. She copied Gansey's blocky handwriting onto a Nino's receipt as Noah put on a preppy sweater he'd found balled under the desk. She ate a mint leaf and breathed on Noah's face. Crouching, they crab-walked along the aerial printout Gansey had spread the length of the room. He'd jotted enigmatic notes to himself all along the margin of it. Some of them were coordinates. Some of them were explanations of topography. Some of them were Beatles lyrics.

Yes, Mom but how does the music get from that needle" - I pointed my chubby little finger to the record player -"to my heart." My earliest memories of music had nothing to do with listening, and everything in the world to do with feeling. - Mim, Mosquitoland

Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

What if . . . what if heaven is real, but only in moments? Like a glass of water on a hot day when you're dying of thirst, or when someone's nice to your for no reason, or . . . ' Mam's pancakes with Mars Bar sauce; Dad dashing up from the bar just to tell me, 'Sleep tight don't let the bedbugs bite'; or Jacko and Sharon singing "For She's a Squishy Marshmallow' instead of 'For She's A Jolly Good Fellow' every single birthday and wetting themselves even though it's not at all funny; and Brendan giving his old record player to me instead of one of his mates. "S'pose heaven's not like a painting that's just hanging there forever, but more like . . . like the best song anyone ever wrote, but a song you only catch in snatches, while you're alive, from passing cars, or . . . upstairs windows when you're lost . . .

It was still early, so we took advantage of our time together. We played our favorite songs on her record player and danced and sang along into a hairbrush. When we grew tired of singing, Kat styled my hair in two ponytails, while we looked at teen magazines and swooned over pictures of David Cassidy.

An extreme representative of this view is Ted Kaczynski, infamously known as the Unabomber. Kaczynski was a child prodigy who enrolled at Harvard at 16. He went on to get a PhD in math and become a professor at UC Berkeley. But you’ve only ever heard of him because of the 17-year terror campaign he waged with pipe bombs against professors, technologists, and businesspeople. In late 1995, the authorities didn’t know who or where the Unabomber was. The biggest clue was a 35,000-word manifesto that Kaczynski had written and anonymously mailed to the press. The FBI asked some prominent newspapers to publish it, hoping for a break in the case. It worked: Kaczynski’s brother recognized his writing style and turned him in. You might expect that writing style to have shown obvious signs of insanity, but the manifesto is eerily cogent. Kaczynski claimed that in order to be happy, every individual “needs to have goals whose attainment requires effort, and needs to succeed in attaining at least some of his goals.” He divided human goals into three groups: 1. Goals that can be satisfied with minimal effort; 2. Goals that can be satisfied with serious effort; and 3. Goals that cannot be satisfied, no matter how much effort one makes. This is the classic trichotomy of the easy, the hard, and the impossible. Kaczynski argued that modern people are depressed because all the world’s hard problems have already been solved. What’s left to do is either easy or impossible, and pursuing those tasks is deeply unsatisfying. What you can do, even a child can do; what you can’t do, even Einstein couldn’t have done. So Kaczynski’s idea was to destroy existing institutions, get rid of all technology, and let people start over and work on hard problems anew. Kaczynski’s methods were crazy, but his loss of faith in the technological frontier is all around us. Consider the trivial but revealing hallmarks of urban hipsterdom: faux vintage photography, the handlebar mustache, and vinyl record players all hark back to an earlier time when people were still optimistic about the future. If everything worth doing has already been done, you may as well feign an allergy to achievement and become a barista.

the trivial but revealing hallmarks of urban hipsterdom: faux vintage photography, the handlebar mustache, and vinyl record players all hark back to an earlier time when people were still optimistic about the future. If everything worth doing has already been done, you may as well feign an allergy to achievement and become a barista.

Dialogue in the works of autobiography is quite naturally viewed with some suspicion. How on earth can the writer remember verbatim conversations that happened fifteen, twenty, fifty years ago? But 'Are you playing, Bob?' is one of only four sentences I have ever uttered to any Arsenal player (for the record the others are 'How's the leg, Bob?' to Bob Wilson, recovering from injury the following season; 'Can I have your autograph, please?' to Charlie George, Pat Rice, Alan Ball and Bertie Mee; and, well, 'How's the leg, Brian?' to Brian Marwood outside the Arsenal club shop when I was old enough to know better) and I can therefore vouch for its absolute authenticity.

One day at the library I found a stack of record albums. I was hoping I’d find ta Beatles album, but it was all classical music so I reached for the first name I knew, Beethoven. I checked it out his Sixth Symphony and walked home. I didn’t own a record player and I don’t know why I took it out. I had Beethoven’s Sixth Symphony but nothing to play it on.

I think of you now more than ever. It’s raining today. Rain Sundays make it hard for me. When it rains, I can’t do laundry, which means I can’t do ironing. I can’t go walking, and I can’t lie down on the roof. About all I can do is put the record player on auto repeat and listen to Kind of Blue over and over while I watch the rain falling in the quadrangle

His personal belongings were so few that when someone gave him a gift of some CDs he asked a friend to record them to cassettes, as he did not have a CD player.

For the record, I am the record.

Memory isn't the defective tape recording you've been led to believe. It's the tape player itself, playing back the tracks of music we select—and sometimes those we don't.

One Sunday evening when it was very hot and breathlessly still we sere sitting here in this room in the dusk. He switched on the record player. Liszt. We sat. As I say, here. In this very room. We listened to the piece. Neither of us said a word. That's when he took my hand and we went out into the garden. In a quiet voice he said that I wasn't like any other person in the world and that some people wouldn't understand that. They wouldn't want me to be the way I was. They'd want to change me. They'd try to order me about and make me into the kind of person they wanted me to be. Since I was still a child there would be little I could do except stay alone, stay out of trouble, and make myself very small in the world.

Everything I knew about Cuba came from this coastal town, hundreds of miles from the island that was so unknown to me. I met my culture in the food I ate at our table, the songs that played on my abuela’s record player, and the stories that flowed through the bodega and Ana- Maria’s lively home. But I couldn’t find my family in those stories. I couldn’t find me.

Our records also show that you are currently unemployed and have therefore been classified as impecunious. Under current federal law, you are now eligible for mandatory indenturement.

The Great Recession was now entering its third decade, and unemployment was still at a record high. Even the fast-food joints in my neighborhood had a two-year waiting list for job applicants.

And this, I realized, is the excruciating scrupulosity, the same maddening, meticulous attention to every last detail that makes you great, that keeps you going and got you through and now is dragging you down. Standing with E. I. Lonoff over the disobedient arm of his record player, I understood the celebrated phenomenon for the first time: a man, his destiny, and his work—all one. What a terrible triumph!

He flipped the switch on the side of the player and was delighted when the record began to spin, crackling quietly. “I think we’re in business,” he murmured. “It would appear so,” Arthur replied. He lowered the needle. The speakers crackled a little louder. And then— A man began to sing, saying darling, you send me, I know you send me. “Sam Cooke,” Linus whispered. He dropped his hand back to his side. “Oh. Oh. That’s wonderful.

When Peter got injured in Canada and Kira started work, Peter was left at home alone with Isak. One day the child had a stomach ache and wouldn't stop screaming. Panic-stricken, Peter tried everything. He rocked him and took him out in the stroller and tried all the home remedies he had ever heard of, but nothing worked. Until he put a record on. Perhaps it was something about the old record player - the crackle in the speakers, the voices filling the room - but Isak fell completely silent. Then he smiled. And then he fell asleep in Peter's arms. That's the last time Peter can remember really feeling like a good father. The last time he had been able to tell himself that he actually knew what he was doing. He's never told Kira that, has never told anyone. But now he buys records in secret because he keeps hoping that feeling my come back, if only for a moment

The record," said Finnerty, and he seemed satisfied with the toast. He had got what he wanted from the revolution, Paul supposed--a chance to give a savage blow to a close little society that made no comfortable place for him.

They will ask her about the alcohol and marijuana. They won’t ask about the bottomless terror that will never leave her. About this room with its record-player and posters, from which she will never really escape again. One blouse-button somewhere on the floor, and a sense of panic that will be with her forever. She sobs noiselessly beneath his body, and screams silently behind his hand. * * * For the perpetrator, rape lasts just a matter of minutes. For the victim, it never stops.

Myths are like dreams in that without them, we’re as good as dead. However…dreams can be dangerous. Anybody living with one they are unable to manifest, articulate and/or share has, perhaps, already begun losing their handle. In the face of unknowns, I appreciate handles. They let me float in the abyss, knowing there is a grip to return to somewhere. Occasionally, I feel the only real handle there is, is my physical body. It’s a relief to release that grip on occasion—to collapse, drop my big act and “die.

From a recording: "If you're listening to this in your car and you find yourself in a beautiful feeling, roll down your window, pop the tape out of the tape player, and throw it out the window. Stay with the feeling, and it will teach you everything you need to know.

The catechism of the vinyl LP involved a complex series of rituals over sleeves, sides played, needles, fluff and cloths, that were only enhanced by the scents of the record (rather waxy) and cardboard (woodlouse dampish, if anything) that mingled with the actions like incense.

I truly believe Brad is from another planet – not sure where, but he is otherworldly gifted. His dexterity, fluidity, and precision are extraordinary – and in addition to these shaving techniques, he’s also not a bad guitar player. Just for the record, Brad has never actually asked me to start a band, and frankly that hurts!

Have you ever listened to a song from a long time ago; from your past; a song that was filled with so many memories tied to it, that you felt it so deeply- that it made you cry? And did you listen to it again, intentionally, for a second time? So you could travel back in time through that song; back when everything seemed so much simpler, basic, carefree? Those are the songs that are the soundtracks of our lives… the ones that bring back childhood memories, deep feelings, snapshots of our lives (or short videos), best friends, first loves, first heartbreaks… births, deaths. Our lives are like the record albums that we used to play just a few years ago; just yesterday. We played some of the songs over and over again- to the point of which we can sing along with every word as we play it. Other songs seem somewhat unfamiliar, as we rarely go back to listen to them; we skip over them or we barely listen to the start of it before we turn off the record player. But just like on a record album and just like in our memories, you can't cut a song out off an album... just like you can't cut out a memory. The songs and memories remain there, side by side; the good ones, the bad ones, the ones that thrill us and the ones that hurt. Those are the songs that our lives are composed of. Those are the songs that we chase back, back into our our own memories in our private and personal musical time machines.

I looked around for that welcoming light I'd heard about, but I didn't see it. Instead, everything around me seemed to glow and shimmer in the sunlight. I heard beautiful sounds-not the voices of dead loved ones, but the laughter and singing of my children when they were tiny. I saw James, young and shirtless, chasing them through Mama's garden. Off in the distance I saw Barbara Jean and Clarice, and even myself when we were kids, dancing to music pouring out of my old pink and violet portable record player. Here I was with my fingers brushing up against the frame of the picture I'd been painting for the last fifty-five years, and my beautiful, scarred husband, my happy children, and my laughing friends were right there with me.

In 2001 Jobs had a vision: Your personal computer would serve as a “digital hub” for a variety of lifestyle devices, such as music players, video recorders, phones, and tablets. This played to Apple’s strength of creating end-to-end products that were simple to use. The company was thus transformed from a high-end niche computer company to the most valuable technology company in the world.

Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Also, it turns out that burning all of those fossil fuels had some nasty side effects, like raising the temperature of our planet and screwing up the environment. So now the polar ice caps are melting, sea levels are rising, and the weather is all messed up. Plants and animals are dying off in record numbers, and lots of people are starving and homeless. And we’re still fighting wars with each other, mostly over the few resources we have left.

In his time, Hornsby was an unbelievable hitter who three times finished with an average of over .400, reaching .424 in 1924, a record still standing. This background has not made him exactly tolerant of the ability of baseball players. To illustrate, we reprint herewith the most glowing report on an individual which Hornsby handed in all season: LOOKS LIKE A MAJOR-LEAGUE PLAYER The name at the top of the sheet said the report was about Mickey Mantle.

Like many companies, Sony worried about cannibalization. If it built a music player and service that made it easy for people to share digital songs, that might hurt sales of its record division. One of Jobs’s business rules was to never be afraid of cannibalizing yourself. “If you don’t cannibalize yourself, someone else will,” he said. So even though an iPhone might cannibalize sales of an iPod, or an iPad might cannibalize sales of a laptop, that did not deter him.

Expanding further on his own observations of Prince’s writing style(s) during the course of the album’s recording, fellow Paisley Park engineer Eddie Miller, who engineered the recording of ‘Electric Chair’ among other Prince recordings during the Batman era, recalled that “he would write all sorts of ways. I have to admit that I listened to some of his cassette demos that he would sometimes bring into the studio to reference (as I remember, he would hold the cassette player up to his ear, so you couldn’t really hear it.). They were fascinating. His cassette demo technique was extremely crude but ingenious—it’s like something you’d do if you had no access to any equipment. He’d use two cheap cassette recorders. If he wanted to hear drums, he’d record a human beat box rhythm for the length of the song—and most likely, he’d have the form of the song in his head while he was recording this. By the way, it was the same in the studio when he’d do his one man band approach to recording a song. He’d know the song in his head, and start out recording the drums for the song (it would essentially become the ‘click track’—the way a click track should be). Back to the cassette demo—he’d then play his beat box groove over the speaker on the cassette recorder and sing the bass line while recording all this onto the second cassette machine. He’d build up a rhythm track this way, and then add vocals. And there’s your demo.

She should have died hereafter; There would have been a time for such a word. To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Another time, the power cut out and we dug up a headlamp and a few candles from one of the still-unpacked moving boxes. While the storm went on outside, we went round and placed the candles at various guiding points throughout the house. When I lit them in the kitchen, it smelled briefly of birthday cakes. I remember cooking a simple dinner, pulling the skins off the tomatoes in the near darkness, going by feel rather than by sight. Laurie had put the record player on, and danced slowly and achingly in front of the cat, who continued to glower from her cushion on the floor. We could barely see the food on the table, noticing only the shapes and textures of the vegetables in their bowls. I had taken the washing in and sheets were hung and draped over the rack, a ladder, a glass door. Outside, w could hear that the wind was strong, but inside it was still. I remembered thinking, as we ate, how such happiness could come from such simple things." (71)

In addition, like many companies, Sony worried about cannibalization. If it built a music player and service that made it easy for people to share digital songs, that might hurt sales of its record division. One of Jobs’s business rules was to never be afraid of cannibalizing yourself. “If you don’t cannibalize yourself, someone else will,”he said. So even though an iPhone might cannibalize sales of an iPod, or an iPad might cannibalize sales of a laptop, that did not deter him.

In addition, like many companies, Sony worried about cannibalization. If it built a music player and service that made it easy for people to share digital songs, that might hurt sales of its record division. One of Jobs’s business rules was to never be afraid of cannibalizing yourself. “If you don’t cannibalize yourself, someone else will,” he said. So even though an iPhone might cannibalize sales of an iPod, or an iPad might cannibalize sales of a laptop, that did not deter him.

Pegi just recorded "I Don't Want to Talk About," written by Danny Whitten, the original Crazy Horse guitar player and singer who's all over Early Daze, an album of songs from the beginning of Crazy Horse that I have been working on compiling recently. Danny was every bit the artist I am, but he died of a heroin OD in the early seventies. Every time I hear Pegi sing that song, it makes me tremendously sad. She sings it so beautifully, phrasing it to break my heart. She does it justice. You can see I have some unfinished business with Danny.

A year before Wenger’s appointment, Leyton Orient manager John Sitton had been the subject of a Channel 4 documentary that recorded him threatening to fight his own players in a famously bizarre dressing-room outburst. ‘When I tell you to do something, do it, and if you come back at me, we’ll have a fucking right sort-out in here,’ he roared at two players. ‘All right? And you can pair up if you like, and you can fucking pick someone else to help you, and you can bring your fucking dinner, ’coz by the time I’ve finished with you, you’ll fucking need it.’ That was the 1990s football manager.

Now, isn’t that neat.” Midwestern sarcasm, when it’s done correctly, can be a thing of rare beauty. It’s like performance art. Everywhere else in the world, you can identify sarcasm if you’re paying attention. Even if the hostility isn’t overt, you can read the signs. There’ll be slightly elongated syllables or a pitch that’s just a little off. It’s like a trombone player with a plunger head. There’s that slight “wah-wah” tone-bending to let you know not to take this too seriously. Midwestern sarcasm plays it straight and makes you listen more closely. You have to treat every conversation like a safecracker. Unless your ears have been trained to recognize it, you’ll miss the hint of a minor key. Sometimes you don’t realize what’s happened until hours later, when it’s 3:00 a.m. and you’re half-asleep, and it suddenly hits you. “Aw, crap, they didn’t mean any of that, did they?” Midwestern sarcasm becomes even more deadly when it’s combined with small-town isolationism. These women had been cheerleaders at our high school, they weren’t indie rock aficionados, and Wilco isn’t exactly a household name. So on the one hand, it wasn’t surprising that they hadn’t followed every turn in my career. It’s shocking that they even remembered I played music at all.

As for the world beyond my family—well, what they would see for most of my teenage years was not a budding leader but rather a lackadaisical student, a passionate basketball player of limited talent, and an incessant, dedicated partyer. No student government for me; no Eagle Scouts or interning at the local congressman’s office. Through high school, my friends and I didn’t discuss much beyond sports, girls, music, and plans for getting loaded. Three of these guys—Bobby Titcomb, Greg Orme, and Mike Ramos—remain some of my closest friends. To this day, we can laugh for hours over stories of our misspent youth. In later years, they would throw themselves into my campaigns with a loyalty for which I will always be grateful, becoming as skilled at defending my record as anyone on MSNBC. But there were also times during my presidency—after they had watched me speak to a big crowd, say, or receive a series of crisp salutes from young Marines during a base tour—when their faces would betray a certain bafflement, as if they were trying to reconcile the graying man in a suit and tie with the ill-defined man-child they’d once known. That guy? they must have said to themselves. How the hell did that happen? And if my friends had ever asked me directly, I’m not sure I’d have had a good answer.

I jumped then. It seemed I heard a child laugh. My imagination, of course. And then, when I should have known better, I headed for the closet and the high and narrow door at the very back end and the steep and narrow dark stairs. A million times I’d ascended these stairs. A million times in the dark, without a candle, or a flashlight. Up into the dark, eerie, gigantic attic, and only when I was there did I feel around for the place where Chris and I had hidden our candles and matches. Still there. Time did stand still in this place. We’d had several candle holders, all of pewter with small handles to grasp. Holders we’d found in an old trunk along with boxes and boxes of short, stubby, clumsily made candles. We’d always presumed them to be homemade candles, for they had smelled so rank and old when they burned. My breath caught! Oh! It was the same! The paper flowers still dangled down, mobiles to sway in the drafts, and the giant flowers were still on the walls. Only all the colors had faded to indistinct gray—ghost flowers. The sparkling gem centers we’d glued on had loosened, and now only a few daisies had sequins, or gleaming stones, for centers. Carrie’s purple worm was there only now he too was a nothing color. Cory’s epileptic snail didn’t appear a bright, lopsided beach ball now, it was more a tepid, half-rotten squashy orange. The BEWARE signs Chris and I had painted in red were still on the walls, and the swings still dangled down from the attic rafters. Over near the record player was the barre Chris had fashioned, then nailed to the wall so I could practice my ballet positions. Even my outgrown costumes hung limply from nails, dozens of them with matching leotards and worn out pointe shoes, all faded and dusty, rotten smelling. As in an unhappy dream I was committed to, I drifted aimlessly toward the distant schoolroom, with the candelight flickering. Ghosts were unsettled, memories and specters followed me as things began to wake up, yawn and whisper. No, I told myself, it was only the floating panels of my long chiffon wings . . . that was all. The spotted rocking-horse loomed up, scary and threatening, and my hand rose to my throat as I held back a scream. The rusty red wagon seemed to move by unseen hands pushing it, so my eyes took flight to the blackboard where I’d printed my enigmatic farewell message to those who came in the future. How was I to know it would be me? We lived in the attic, Christopher, Cory, Carrie and me— Now there are only three. Behind the small desk that had been Cory’s I scrunched down, and tried to fit my legs under. I wanted to put myself into a deep reverie that would call up Cory’s spirit that would tell me where he lay.

It was at that moment that Jobs launched a new grand strategy that would transform Apple—and with it the entire technology industry. The personal computer, instead of edging toward the sidelines, would become a “digital hub” that coordinated a variety of devices, from music players to video recorders to cameras. You’d link and sync all these devices with your computer, and it would manage your music, pictures, video, text, and all aspects of what Jobs dubbed your “digital lifestyle.” Apple would no longer be just a computer company—indeed it would drop that word from its name—but the Macintosh would be reinvigorated by becoming the hub for an astounding array of new gadgets, including the iPod and iPhone and iPad.

Every Pirate Wants to Be an Admiral IT’S NOT AS though this is the first time we’ve had to rethink what copyright is, what it should do, and whom it should serve. The activities that copyright regulates—copying, transmission, display, performance—are technological activities, so when technology changes, it’s usually the case that copyright has to change, too. And it’s rarely pretty. When piano rolls were invented, the composers, whose income came from sheet music, were aghast. They couldn’t believe that player-piano companies had the audacity to record and sell performances of their work. They tried—unsuccessfully—to have such recordings classified as copyright violations. Then (thanks in part to the institution of a compulsory license) the piano-roll pirates and their compatriots in the wax-cylinder business got legit, and became the record industry. Then the radio came along, and broadcasters had the audacity to argue that they should be able to play records over the air. The record industry was furious, and tried (unsuccessfully) to block radio broadcasts without explicit permission from recording artists. Their argument was “When we used technology to appropriate and further commercialize the works of composers, that was progress. When these upstart broadcasters do it to our records, that’s piracy.” A few decades later, with the dust settled around radio transmission, along came cable TV, which appropriated broadcasts sent over the air and retransmitted them over cables. The broadcasters argued (unsuccessfully) that this was a form of piracy, and that the law should put an immediate halt to it. Their argument? The familiar one: “When we did it, it was progress. When they do it to us, that’s piracy.” Then came the VCR, which instigated a landmark lawsuit by the cable operators and the studios, a legal battle that was waged for eight years, finishing up in the 1984 Supreme Court “Betamax” ruling. You can look up the briefs if you’d like, but fundamentally, they went like this: “When we took the broadcasts without permission, that was progress. Now that someone’s recording our cable signals without permission, that’s piracy.” Sony won, and fifteen years later it was one of the first companies to get in line to sue Internet companies that were making it easier to copy music and videos online. I have a name for the principle at work here: “Every pirate wants to be an admiral.

Rewriting the baseball record book must be very fulfilling. Or maybe not. Yankees outfielder Roger Maris knew firsthand the fickle nature of success. After an MVP season in 1960—when he hit 39 homers and drove in a league-high 112 runs—Maris began a historic assault on one of baseball’s most imposing records: Babe Ruth’s single-season home run mark of 60. In the thirty-three seasons since the Bambino had set the standard, only a handful of players had come close when Jimmie Foxx in 1932 and Hank Greenberg in 1938 each hit 58. Hack Wilson, in 1930, slammed 56. But in 1961, Maris—playing in “The House That Ruth Built”—launched 61 home runs to surpass baseball’s most legendary slugger. Surprisingly, the achievement angered fans who seemed to feel Maris lacked the appropriate credentials to unseat Ruth. Some record books reminded readers that the native Minnesotan had accomplished his feat in a season eight games longer than Ruth’s. Major League Baseball, due to expansion, changed the traditional 154-game season to 162 games with the 1961 season. Of the new home run record, Maris said, “All it ever brought me was trouble.” Human achievements can be that way. Apart from God, the things we most desire can become empty and unfulfilling—even frustrating—as the writer of Ecclesiastes noted. “Whoever loves money never has enough; whoever loves wealth is never satisfied with their income,” he wrote (5:10). “Everyone’s toil is for their mouth,” he added, “yet their appetite is never satisfied” (6:7). But the Bible also shows where real satisfaction is found, in what Ecclesiastes calls “the conclusion of the matter.” Fulfillment comes to those who “fear God and keep his commandments” (12:13).

And each day you’re getting better,” he adds. “Have you noticed that?” I let go of my shoulder and stand up straighter. He’s right. At some point in my career, I’d stopped thinking that way. I let myself focus entirely on stats and records. But that had never been the real goal. I shake my head, recalibrating, stunned for a moment at just how easy it had been for me to forget the most basic ideals I grew up with. People act like you can never forget your own name, but if you’re not paying attention, you can veer so incredibly far away from everything you know about yourself to the point where you stop recognizing what they call you. “Every day,” I say, “I’m playing better than the day before.” My father nods. “So do not live in the future, cariño. Don’t play the first match in Melbourne months before you’ve gotten there. We don’t know what kind of player you’ll be that day.

My interest in comics was scribbled over with a revived, energized passion for clothes, records, and music. I'd wandered in late to the punk party in 1978, when it was already over and the Sex Pistols were history. I'd kept my distance during the first flush of the new paradigm, when the walls of the sixth-form common room shed their suburban-surreal Roger Dean Yes album covers and grew a fresh new skin of Sex Pistols pictures, Blondie pinups, Buzzcocks collages, Clash radical chic. As a committed outsider, I refused to jump on the bandwagon of this new musical fad, which I'd written off as some kind of Nazi thing after seeing a photograph of Sid Vicious sporting a swastika armband. I hated the boys who'd cut their long hair and binned their crappy prog albums in an attempt to join in. I hated pretty much everybody without discrimination, in one way or another, and punk rockers were just something else to add to the shit list. But as we all know, it's zealots who make the best converts. One Thursday night, I was sprawled on the settee with Top of the Pops on the telly when Poly Styrene and her band X-Ray Spex turned up to play their latest single: an exhilarating sherbet storm of raw punk psychedelia entitled "The Day the World Turned Day-Glo" By the time the last incandescent chorus played out, I was a punk. I had always been a punk. I would always be a punk. Punk brought it all together in one place for me: Michael Moorcock's Jerry Cornelius novels were punk. Peter Barnes's The Ruling Class, Dennis Potter, and The Prisoner were punk too. A Clockwork Orange was punk. Lindsay Anderson's If ... was punk. Monty Python was punk. Photographer Bob Carlos Clarke's fetish girls were punk. Comics were punk. Even Richmal Crompton's William books were punk. In fact, as it turned out, pretty much everything I liked was punk. The world started to make sense for the first time since Mosspark Primary. New and glorious constellations aligned in my inner firmament. I felt born again. The do-your-own-thing ethos had returned with a spit and a sneer in all those amateurish records I bought and treasured-even though I had no record player. Singles by bands who could often barely play or sing but still wrote beautiful, furious songs and poured all their young hearts, experiences, and inspirations onto records they paid for with their dole money. If these glorious fuckups could do it, so could a fuckup like me. When Jilted John, the alter ego of actor and comedian Graham Fellows, made an appearance on Top of the Pops singing about bus stops, failed romance, and sexual identity crisis, I was enthralled by his shameless amateurism, his reduction of pop music's great themes to playground name calling, his deconstruction of the macho rock voice into the effeminate whimper of a softie from Sheffield. This music reflected my experience of teenage life as a series of brutal setbacks and disappointments that could in the end be redeemed into art and music with humor, intelligence, and a modicum of talent. This, for me, was the real punk, the genuine anticool, and I felt empowered. The losers, the rejected, and the formerly voiceless were being offered an opportunity to show what they could do to enliven a stagnant culture. History was on our side, and I had nothing to lose. I was eighteen and still hadn't kissed a girl, but perhaps I had potential. I knew I had a lot to say, and punk threw me the lifeline of a creed and a vocabulary-a soundtrack to my mission as a comic artist, a rough validation. Ugly kids, shy kids, weird kids: It was okay to be different. In fact, it was mandatory.

I’ve increased the fastest serve recorded in tennis. Tennis is a quicker game now, since I served at 132 miles per hour. Now almost every player on the WTA is serving faster than we all were even ten years ago. My forehand averages 81 miles per hour. You can’t come close to me on that either. So pay me a little respect, Soto. I’ve won the US Open more than any woman in tennis history, including you. My forehand and backhand groundstrokes have more spin than any other female player ever—last year I topped two thousand revolutions per minute. I am currently the highest-paid female athlete in the world. For someone like me, do you understand what that means? And I’ve spent the most weeks at number one—which is currently three hundred and seventeen. You only have three hundred and—” “Nine,” I say. “Right.” “So you just go around memorizing your stats?” I say, even though I know I’m being a hypocrite.

Bell resisted selling Texas Instruments a license. “This business is not for you,” the firm was told. “We don’t think you can do it.”38 In the spring of 1952, Haggerty was finally able to convince Bell Labs to let Texas Instruments buy a license to manufacture transistors. He also hired away Gordon Teal, a chemical researcher who worked on one of Bell Labs’ long corridors near the semiconductor team. Teal was an expert at manipulating germanium, but by the time he joined Texas Instruments he had shifted his interest to silicon, a more plentiful element that could perform better at high temperatures. By May 1954 he was able to fabricate a silicon transistor that used the n-p-n junction architecture developed by Shockley. Speaking at a conference that month, near the end of reading a thirty-one-page paper that almost put listeners to sleep, Teal shocked the audience by declaring, “Contrary to what my colleagues have told you about the bleak prospects for silicon transistors, I happen to have a few of them here in my pocket.” He proceeded to dunk a germanium transistor connected to a record player into a beaker of hot oil, causing it to die, and then did the same with one of his silicon transistors, during which Artie Shaw’s “Summit Ridge Drive” continued to blare undiminished. “Before the session ended,” Teal later said, “the astounded audience was scrambling for copies of the talk, which we just happened to bring along.”39 Innovation happens in stages. In the case of the transistor, first there was the invention, led by Shockley, Bardeen, and Brattain. Next came the production, led by engineers such as Teal. Finally, and equally important, there were the entrepreneurs who figured out how to conjure up new markets. Teal’s plucky boss Pat Haggerty was a colorful case study of this third step in the innovation process.

I might beat her today. If that ball is in and she misses it, I can beat her today. But that will not change the fact that she is incomparable. And she will win another Slam in ’96. And then probably another, if she goes easier on her ankle. And what am I going to do? Keep coming back to try to take it from her? Keep holding on for dear life to what I should have let go of long ago? Is that what I want my life to be? Trying to deny what Nicki Chan is? Where is the beauty in that? My shot arches toward her, over the net. Nicki’s running deep. The ball goes past her. She’s not going to get it. I can feel myself winning this thing and then letting go of it all. Letting her take the rest from here on out. I am ready for that. I am ready to give it to her. To let her have it. Finally. But as I watch, the ball lands one centimeter past the baseline. The linesman calls it out. I can’t quite believe what I’m seeing. Nicki screams into the sky, both arms outstretched. The crowd is up on their feet, cheering. I just lost the tiebreak. I just lost the match. I can barely catch my breath. I don’t slam down my racket. I don’t scream. I don’t bury my face in my hands. I just look at Bowe. Nicki Chan has won the US Open. I lost. The match and my record, twice in one year. I wait for the skies to open up and shame to rain down on me. I wait for my belly to split in half. For the grief to overtake me. But…it doesn’t come. Bowe is smiling. And Gwen has her arms out, waiting to give me a hug. Ali is clapping wildly, even though I lost. And the thing I don’t understand is that I still feel that hum. That hum in my bones. That sense of weightlessness and groundedness. That sense that the day is mine. That I can do anything. Nicki Chan looks at me. And I smile at her. I am no longer the greatest tennis player in the world. For the first time in my life, I can be…something else.

The iPod, like the Walkman cassette player before it,C allows us to listen to our music wherever we want. Previously, recording technology had unlinked music from the concert hall, the café, and the saloon, but now music can always be carried with us. Michael Bull, who has written frequently about the impact of the Walkman and the iPod, points out that we often use these devices to “aestheticize urban space.”4 We carry our own soundtrack with us wherever we go, and the world around us is overlaid with our music. Our whole life becomes a movie, and we can alter the score for it over and over again: one minute it’s a tragedy and the next it’s an action film. Energetic, dreamy, or ominous and dark: everyone has their own private movie going on in their heads, and no two are the same. That said, the twentieth-century philosopher Theodor Adorno, ever the complainer, called this situation “accompanied solitude,” a situation where we might be alone, but we have the

But that’s where the bad news comes in. Our global civilization came at a huge cost. We needed a whole bunch of energy to build it, and we got that energy by burning fossil fuels, which came from dead plants and animals buried deep in the ground. We used up most of this fuel before you got here, and now it’s pretty much all gone. This means that we no longer have enough energy to keep our civilization running like it was before. So we’ve had to cut back. Big-time. We call this the Global Energy Crisis, and it’s been going on for a while now. “Also, it turns out that burning all of those fossil fuels had some nasty side effects, like raising the temperature of our planet and screwing up the environment. So now the polar ice caps are melting, sea levels are rising, and the weather is all messed up. Plants and animals are dying off in record numbers, and lots of people are starving and homeless. And we’re still fighting wars with each other, mostly over the few resources we have left.

Matthew watched my eyes, as if he knew exactly what was going on in my muddled thoughts. I’d believed she would be better off going with Domīnija before I’d lost everything. Now I knew . . . if I truly loved my girl, I’d let her go. She would never be Evangeline Deveaux. We’d never see the bayou come back to life. It wouldn’t always be Evie and Jack. My eyes blurred, but nothing was wrong with my vision. I loved that fille more than my own life; this just proved it. “I’m not goan to kill you right now, no,” I told Matthew, my voice thick. “But only ’cause you’re goan to swear never to tell her I survived.” I swallowed. “As far as Evie’s concerned, I’m buried under that rock.” Coo-yôn nodded, then reached into his pack, pulling out . . . that cell phone and the tape player! Evie’s pictures, her voice. How’d he get those . . . ? Didn’t matter. The kid was giving me another crutch, right when I needed it most. God, peekôn. Noble, for the record, cuts like a blade to the heart. . . .

But I feel the exact opposite. I feel like it’s taken decades to get here. “You told me I was supposed to be the greatest player in the history of tennis. You said it since the day I was born! You told me it was all I was ever meant to be! And then one day I wasn’t anymore. You weren’t even sure that I could beat her!” I say. “Are we talking about Stepanova?” he says. “I asked you if you thought I could get the number one ranking over her, and you said, ‘I don’t know.’ ” “And you’ve never forgiven me for it,” he says. “I’m paying that price even today.” “You should pay it for the rest of your life!” I say. “For making me believe in myself like that and then pulling the rug out from under me. For giving up on me when things were at their hardest. I never gave up on this. Ever. And you did!” “Carrie, you asked me if I thought you could take number one from Paulina. And I said I didn’t know. Because I didn’t. I don’t know what the future holds. And I can’t promise the world is going to always turn out the way you want it to. “I owed you that honesty, I thought. So you could assess better—how to grow, how to widen your perspective. It felt like it was time for that. But you didn’t want to do that then, and you don’t want to do that now. “I’ve messed up a lot as your father, and I take responsibility for that. But this one, I’m sorry, only you can solve it. You have to make peace with not being a perfect player,” he said. “That is giving up. I won’t do it,” I said. My father shakes his head. “You have to find a way to be right with who you actually are, to face what life is really like. I expected you to figure that out by now. But you haven’t. And if you don’t, I can’t see how you ever get past this…this moment. You have accomplished so much, but you are instead so focused on keeping it, rather than going out and finding something else in the world.” He walks toward the door. “Everything we achieve is ephemeral. We have it, and then the next second it’s gone. You had that record, and you may lose that record. Or you may defend it now and lose it in two years all over again. I wish you’d accept that.” I shake my head and try to look at him. “I can’t.” “Well,” he says. “It kills me that I cannot fix that for you, hija. But I can’t. Nobody else can.” And then, as if the door were the lightest thing in the world, he opens it and walks right through, leaving me there alone.

inbox. It was from Ogden Morrow. The subject line read “We Can Dance If We Want To.” There was no text in the body of the e-mail. Just a file attachment—an invitation to one of the most exclusive gatherings in the OASIS: Ogden Morrow’s birthday party. In the real world, Morrow almost never made public appearances, and in the OASIS, he came out of hiding only once a year, to host this event. The invitation featured a photo of Morrow’s world-famous avatar, the Great and Powerful Og. The gray-bearded wizard was hunched over an elaborate DJ mixing board, one headphone pressed to his ear, biting his lower lip in auditory ecstasy as his fingers scratched ancient vinyl on a set of silver turntables. His record crate bore a DON’T PANIC sticker and an anti-Sixer logo—a yellow number six with a red circle-and-slash over it. The text at the bottom read Ogden Morrow’s ’80s Dance Party in celebration of his 73rd birthday! Tonight—10pm OST at the Distracted Globe ADMIT ONE I was flabbergasted. Ogden Morrow had actually taken the time to invite me to his birthday party. It felt like the greatest honor I’d ever received. I called Art3mis, and she confirmed that she’d received the same e-mail. She said she couldn’t pass up an invitation from Og himself

Translating how that latter fact came to life in the studio, engineer Chuck Zwicky explained from his own observations during the recording of the album that “the way that Prince’s music comes together has everything to do with how he views the individual instruments, and for example, when he’s sitting down at the drums, he’s derivatively thinking about Dave Gerbaldi, the drummer from Tower of Power, and that’s a real fascile and funky drummer; and when he plays keyboards, he’s thinking about James Brown’s horn player, on one aspect; and when he’s playing guitar, other elements creep in, because he loves Carlos Santana, and Jimi Hendrix, and this other guitar player named Bill Nelson, a rock guitar player from the 70s. And so these aspects all come together to make this unique sound that is Prince, and it’s not rock, it’s not funk, it’s not jazz, it’s not blues—it’s just his own kind of music. I remember there was one particular moment when he started playing this keyboard line, and I’m thinking ‘He can’t play that, that’s Gary Newman.’ And at that moment, he stops the tape, and turns and looks at me and asks ‘Do you like Gary Newman?’ And I said ‘You know, the album Replica never left my turntable in Jr. High School after my sister bought it for me. I listened to it until it wore out.’ And he said ‘There are people still trying to figure out what a genius he is.

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

Peugeot belongs to a particular genre of legal fictions called ‘limited liability companies’. The idea behind such companies is among humanity’s most ingenious inventions. Homo sapiens lived for untold millennia without them. During most of recorded history property could be owned only by flesh-and-blood humans, the kind that stood on two legs and had big brains. If in thirteenth-century France Jean set up a wagon-manufacturing workshop, he himself was the business. If a wagon he’d made broke down a week after purchase, the disgruntled buyer would have sued Jean personally. If Jean had borrowed 1,000 gold coins to set up his workshop and the business failed, he would have had to repay the loan by selling his private property – his house, his cow, his land. He might even have had to sell his children into servitude. If he couldn’t cover the debt, he could be thrown in prison by the state or enslaved by his creditors. He was fully liable, without limit, for all obligations incurred by his workshop. If you had lived back then, you would probably have thought twice before you opened an enterprise of your own. And indeed this legal situation discouraged entrepreneurship. People were afraid to start new businesses and take economic risks. It hardly seemed worth taking the chance that their families could end up utterly destitute. This is why people began collectively to imagine the existence of limited liability companies. Such companies were legally independent of the people who set them up, or invested money in them, or managed them. Over the last few centuries such companies have become the main players in the economic arena, and we have grown so used to them that we forget they exist only in our imagination.

Nicki laughs. “This matters to me, Carrie. Putting my whole soul into this game matters to me. These tournaments matter. I’ve dedicated my life to this.” “Well, so have I,” I say. “And you had your chance to shine––you were given that opportunity.” “I took it,” I say. “It wasn’t given to me. Nobody wanted me to be the face of women’s tennis. They still don’t. I had to demand it. Just like I am doing now. So if you want it, you’re going to have to take it from me.” “No,” Nicki says. “That’s what you don’t seem to get. I have taken it from you. I have the record. And if you want it, you’re going to have to take it from me.” I stare at her, and she continues. “I am the best player women’s tennis has seen,” she says. “And I deserve to be recognized for it.” “You are recognized for it,” I say. “Constantly.” Nicki shakes her head. “No, by you. By the person I’ve respected my entire life. The woman I’ve looked up to.” There is no smile on her face anymore. Not even the hint of one. I look over at the TV. It’s playing sports commentary with the sound off. The closed captioning says they are talking about Nicki and me right now. “I see it,” I say, finally looking at her. “Me hating it is me seeing it.” Nicki sighs. “Okay, Soto. I guess I can’t squeeze blood from a stone.” “Look, what do you want from me?” Nicki looks me in the eye. “Don’t worry about what I say,” I tell her. “Pay attention to what I do. I’m back, aren’t I? I’m playing here today. That’s how good you are.” The trainer is done. I stand up. I walk past Nicki and put my hand on her shoulder. “Good luck,” I say. “I’m rooting for you up until the last second when I play you.” Nicki smiles. “You should be so lucky.” I put my hand out for her to shake. And she takes it.

Fifteen years had passed since I first learned to improvise by copying George Shearing records. From the beginning, the goal was to move beyond imitation and find my own voice, and I felt that that was finally happening. Miles had been the guiding light to my growth, encouraging all of us in the band to develop our own styles of playing, and during my five and a half years in the quintet I did start to develop my own sound. But it wasn’t until I got out on my own that I felt I could really explore it. Now that I had my own sextet, I started thinking analytically about what actually goes on within a jazz group. At every moment onstage players are making choices, and each choice affects every other member of the group. So each player has to be prepared to change directions at any given moment—just as Miles did when I played that “wrong” chord onstage a few years earlier. Everybody in a jazz ensemble has learned the basic framework of harmony and scales and how they fit. They know the basic song structure of having the rhythm section—piano, bass, and drums—playing together while the horns carry the melody. But apart from those basics, jazz is incredibly broad. There are really uncountable ways of playing it. For the pianist alone there are so many choices to make: what pitch, how many notes, whether to play a chord or a line. I have ten fingers, and they’re in motion almost all the time, so all of those decisions must happen in an instant. I’m reacting to what the rest of the band is playing, but if I’m only reacting, then I’m not really making a choice; I’m just getting hit and being pushed along. Acting is making a choice, so all the players must be ready to act as well as react. The players have to be talented enough, and confident enough, to do both. I had watched Miles surround himself with amazing musicians and then give them the freedom to act.

You’re probably wondering what happened before you got here. An awful lot of stuff, actually. Once we evolved into humans, things got pretty interesting. We figured out how to grow food and domesticate animals so we didn’t have to spend all of our time hunting. Our tribes got much bigger, and we spread across the entire planet like an unstoppable virus. Then, after fighting a bunch of wars with each other over land, resources, and our made-up gods, we eventually got all of our tribes organized into a ‘global civilization.’ But, honestly, it wasn’t all that organized, or civilized, and we continued to fight a lot of wars with each other. But we also figured out how to do science, which helped us develop technology. For a bunch of hairless apes, we’ve actually managed to invent some pretty incredible things. Computers. Medicine. Lasers. Microwave ovens. Artificial hearts. Atomic bombs. We even sent a few guys to the moon and brought them back. We also created a global communications network that lets us all talk to each other, all around the world, all the time. Pretty impressive, right? “But that’s where the bad news comes in. Our global civilization came at a huge cost. We needed a whole bunch of energy to build it, and we got that energy by burning fossil fuels, which came from dead plants and animals buried deep in the ground. We used up most of this fuel before you got here, and now it’s pretty much all gone. This means that we no longer have enough energy to keep our civilization running like it was before. So we’ve had to cut back. Big-time. We call this the Global Energy Crisis, and it’s been going on for a while now. “Also, it turns out that burning all of those fossil fuels had some nasty side effects, like raising the temperature of our planet and screwing up the environment. So now the polar ice caps are melting, sea levels are rising, and the weather is all messed up. Plants and animals are dying off in record numbers, and lots of people are starving and homeless. And we’re still fighting wars with each other, mostly over the few resources we have left. “Basically, kid, what this all means is that life is a lot tougher than it used to be, in the Good Old Days, back before you were born. Things used to be awesome, but now they’re kinda terrifying. To be honest, the future doesn’t look too bright. You were born at a pretty crappy time in history. And it looks like things are only gonna get worse from here on out. Human civilization is in ‘decline.’ Some people even say it’s ‘collapsing.’ “You’re probably wondering what’s going to happen to you. That’s easy. The same thing is going to happen to you that has happened to every other human being who has ever lived. You’re going to die. We all die. That’s just how it is.

A word of explanation about how the information in this book was obtained, evaluated and used. This book is designed to present, as best my reporting could determine, what really happened. The core of this book comes from the written record—National Security Council meeting notes, personal notes, memos, chronologies, letters, PowerPoint slides, e-mails, reports, government cables, calendars, transcripts, diaries and maps. Information in the book was supplied by more than 100 people involved in the Afghanistan War and national security during the first 18 months of President Barack Obama’s administration. Interviews were conducted on “background,” meaning the information could be used but the sources would not be identified by name. Many sources were interviewed five or more times. Most allowed me to record the interviews, which were then transcribed. For several sources, the combined interview transcripts run more than 300 pages. I have attempted to preserve the language of the main characters and sources as much as possible, using their words even when they are not directly quoted, reflecting the flavor of their speech and attitudes. Many key White House aides were interviewed in-depth. They shared meeting notes, important documents, recollections of what happened before, during and after meetings, and assisted extensively with their interpretations. Senior and well-placed military, intelligence and diplomatic officials also provided detailed recollections, read from notes or assisted with documents. Since the reporting was done over 18 months, many interviews were conducted within days or even hours after critical discussions. This often provided a fresher and less-calculated account. Dialogue comes mostly from the written record, but also from participants, usually more than one. Any attribution of thoughts, conclusions or feelings to a person was obtained directly from that person, from notes or from a colleague whom the person told. Occasionally, a source said mid-conversation that something was “off-the-record,” meaning it could not be used unless the information was obtained elsewhere. In many cases, I was able to get the information elsewhere so that it could be included in this book. Some people think they can lock up and prevent publication of information by declaring it “off-the-record” or that they don’t want to see it in the book. But inside any White House, nearly everyone’s business and attitudes become known to others. And in the course of multiple, extensive interviews with firsthand sources about key decision points in the war, the role of the players became clear. Given the diversity of sources, stakes and the lives involved, there is no way I could write a sterilized or laundered version of this story. I interviewed President Obama on-the-record in the Oval Office for one hour and 15 minutes on Saturday, July 10, 2

American DEWAR FAMILY Cameron Dewar Ursula “Beep” Dewar, his sister Woody Dewar, his father Bella Dewar, his mother PESHKOV-JAKES FAMILY George Jakes Jacky Jakes, his mother Greg Peshkov, his father Lev Peshkov, his grandfather Marga, his grandmother MARQUAND FAMILY Verena Marquand Percy Marquand, her father Babe Lee, her mother CIA Florence Geary Tony Savino Tim Tedder, semiretired Keith Dorset OTHERS Maria Summers Joseph Hugo, FBI Larry Mawhinney, Pentagon Nelly Fordham, old flame of Greg Peshkov Dennis Wilson, aide to Bobby Kennedy Skip Dickerson, aide to Lyndon Johnson Leopold “Lee” Montgomery, reporter Herb Gould, television journalist on This Day Suzy Cannon, gossip reporter Frank Lindeman, television network owner REAL HISTORICAL CHARACTERS John F. Kennedy, thirty-fifth U.S. president Jackie, his wife Bobby Kennedy, his brother Dave Powers, assistant to President Kennedy Pierre Salinger, President Kennedy’s press officer Rev. Dr. Martin Luther King Jr., president of the Southern Christian Leadership Conference Lyndon B. Johnson, thirty-sixth U.S. president Richard Nixon, thirty-seventh U.S. president Jimmy Carter, thirty-ninth U.S. president Ronald Reagan, fortieth U.S. president George H. W. Bush, forty-first U.S. president British LECKWITH-WILLIAMS FAMILY Dave Williams Evie Williams, his sister Daisy Williams, his mother Lloyd Williams, M.P., his father Eth Leckwith, Dave’s grandmother MURRAY FAMILY Jasper Murray Anna Murray, his sister Eva Murray, his mother MUSICIANS IN THE GUARDSMEN AND PLUM NELLIE Lenny, Dave Williams’s cousin Lew, drummer Buzz, bass player Geoffrey, lead guitarist OTHERS Earl Fitzherbert, called Fitz Sam Cakebread, friend of Jasper Murray Byron Chesterfield (real name Brian Chesnowitz), music agent Hank Remington (real name Harry Riley), pop star Eric Chapman, record company executive German FRANCK FAMILY Rebecca Hoffmann Carla Franck, Rebecca’s adoptive mother Werner Franck, Rebecca’s adoptive father Walli Franck, son of Carla Lili Franck, daughter of Werner and Carla Maud von Ulrich, née Fitzherbert, Carla’s mother Hans Hoffmann, Rebecca’s husband OTHERS Bernd Held, schoolteacher Karolin Koontz, folksinger Odo Vossler, clergyman REAL HISTORICAL PEOPLE Walter Ulbricht, first secretary of the Socialist Unity Party (Communist) Erich Honecker, Ulbricht’s successor Egon Krenz, successor to Honecker Polish Stanislaw “Staz” Pawlak, army officer Lidka, girlfriend of Cam Dewar Danuta Gorski, Solidarity activist REAL HISTORICAL PEOPLE Anna Walentynowicz, crane driver Lech Wałesa, leader of the trade union Solidarity General Jaruzelski, prime minister Russian DVORKIN-PESHKOV FAMILY Tanya Dvorkin, journalist Dimka Dvorkin, Kremlin aide, Tanya’s twin brother Anya Dvorkin, their mother Grigori Peshkov, their grandfather Katerina Peshkov, their grandmother Vladimir, always called Volodya, their uncle Zoya, Volodya’s wife Nina, Dimka’s girlfriend OTHERS Daniil Antonov, features editor at TASS Pyotr Opotkin, features editor in chief Vasili Yenkov, dissident Natalya Smotrov, official in the Foreign Ministry