Record Producer Quotes

History is a record of "effects" the vast majority of which nobody intended to produce.

All depression has its roots in self-pity, and all self-pity is rooted in people taking themselves too seriously.” At the time Switters had disputed her assertion. Even at seventeen, he was aware that depression could have chemical causes. “The key word here is roots,” Maestra had countered. “The roots of depression. For most people, self-awareness and self-pity blossom simultaneously in early adolescence. It's about that time that we start viewing the world as something other than a whoop-de-doo playground, we start to experience personally how threatening it can be, how cruel and unjust. At the very moment when we become, for the first time, both introspective and socially conscientious, we receive the bad news that the world, by and large, doesn't give a rat's ass. Even an old tomato like me can recall how painful, scary, and disillusioning that realization was. So, there's a tendency, then, to slip into rage and self-pity, which if indulged, can fester into bouts of depression.” “Yeah but Maestra—” “Don't interrupt. Now, unless someone stronger and wiser—a friend, a parent, a novelist, filmmaker, teacher, or musician—can josh us out of it, can elevate us and show us how petty and pompous and monumentally useless it is to take ourselves so seriously, then depression can become a habit, which, in tern, can produce a neurological imprint. Are you with me? Gradually, our brain chemistry becomes conditioned to react to negative stimuli in a particular, predictable way. One thing'll go wrong and it'll automatically switch on its blender and mix us that black cocktail, the ol’ doomsday daiquiri, and before we know it, we’re soused to the gills from the inside out. Once depression has become electrochemically integrated, it can be extremely difficult to philosophically or psychologically override it; by then it's playing by physical rules, a whole different ball game. That's why, Switters my dearest, every time you've shown signs of feeling sorry for yourself, I've played my blues records really loud or read to you from The Horse’s Mouth. And that’s why when you’ve exhibited the slightest tendency toward self-importance, I’ve reminded you that you and me— you and I: excuse me—may be every bit as important as the President or the pope or the biggest prime-time icon in Hollywood, but none of us is much more than a pimple on the ass-end of creation, so let’s not get carried away with ourselves. Preventive medicine, boy. It’s preventive medicine.” “But what about self-esteem?” “Heh! Self-esteem is for sissies. Accept that you’re a pimple and try to keep a lively sense of humor about it. That way lies grace—and maybe even glory.

See, the thing is I didn't think that that song would get much attention because it's such a personal song to me. I just wrote it about my childhood, and I didn't know how that would read on an album. But it's been everybody's favorite song. I didn't tell my mom. It was a total secret. So I wrote it in secret and then decided to record it secretly, so she had no idea that the song was recorded. My producers sent me the track and I synched it up to all my baby videos and I played it for her one Christmas Eve, and she bawled her eyes out. She didn't even think that it was my song. She didn't think there was any way for me to record a song without her knowing.

Critiquing racism is not activism. Changing minds is not activism. An activist produces power and policy change, not mental change. If a person has no record of power or policy change, then that person is not an activist.

Also, when you are young, you think you can predict the likely pains and bleaknesses that age might bring. You imagine yourself being lonely, divorced, widowed; children growing away from you, friends dying. You imagine the loss of status, the loss of desire – and desirability. You may go further and consider your own approaching death, which, despite what company you may muster, can only be faced alone. But all this is looking ahead. What you fail to do is look ahead, and then imagine yourself looking back from the future point. Learning the new emotions that time brings. Discovering, for example, that as the witnesses to your life diminish, there is less corroboration, and therefore less certainty, as to what you are or have been. Even if you have assiduously kept records – in words, sound, pictures – you may find that you have attended to the wrong kind of record-keeping. What was the line Adrian used to quote? 'History is that certainty produced at the point where the imperfections of memory meet the inadequacies of documentation.

Anyone who believes we’re living in a postfeminist age will learn that violence against females—from female infanticide and child marriage to honor killings and sex trafficking—has now produced a world with fewer females than males, a first in recorded history.

But why must everything have a practical application? I'd been such a diligent soldier for years - working, producing, never missing a deadline, taking care of my loved ones, my gums and my credit record, voting, etc. Is this lifetime supposed to be only about duty? In this dark period of loss, did I need any justification for learning Italian other than that it was the only thing I could imagine bringing me any pleasure right now?

Wise men have regarded the earth as a tragedy, a farce, even an illusionist's trick; but all, if they are truly wise, and not merely intellectual rapists, recognize that it is certainly some kind of stage in which we all play roles, most of us being very poorly coached and totally unrehearsed before the curtain rises. Is it too much if I ask, tentatively, that we agree to look upon it as a circus, a touring carnival wandering about the sun for a record season of four billion years and producing new monsters and miracles, hoaxes and bloody mishaps, wonders and blunders, but never quite entertaining the customers well enough to prevent them from leaving, one by one, and returning to their homes for a long and bored winter's sleep under the dust?

George, we're the Red Hot Chili Peppers, we're from Hollywood, California, we're really hard-rocking motherfuckers, and we think you should produce our record.

It is a maxim among these lawyers, that whatever hath been done before may legally be done again: and therefore they take special care to record all the decisions formerly made against common justice and the general reason of mankind. These, under the name of precedents, they produce as authorities, to justify the most iniquitous opinions; and the judges never fail of decreeing accordingly.

There'd be no forgiveness this time. It was one thing to destroy a person, but to destroy their work was a sacrilege Aster couldn't easily forget. All that was left of a person's life was recorded on paper, in annals, in almanacs, in the physical items they produced. To end that was to end their history, their present, their future.

What is human memory?" Manning asked. He gazed at the air as he spoke, as if lecturing an invisible audience - as perhaps he was. "It certainly is not a passive recording mechanism, like a digital disc or a tape. It is more like a story-telling machine. Sensory information is broken down into shards of perception, which are broken down again to be stored as memory fragments. And at night, as the body rests, these fragments are brought out from storage, reassembled and replayed. Each run-through etches them deeper into the brain's neural structure. And each time a memory is rehearsed or recalled it is elaborated. We may add a little, lose a little, tinker with the logic, fill in sections that have faded, perhaps even conflate disparate events. "In extreme cases, we refer to this as confabulation. The brain creates and recreates the past, producing, in the end, a version of events that may bear little resemblance to what actually occurred. To first order, I believe it's true to say that everything I remember is false.

There is no doubt that the United States has much to atone for, both domestically and abroad...To produce this horrible confection at home, start with our genocidal treatment of the Native Americans, add a couple hundred years of slavery, along with our denial of entry to Jewish refugees fleeing the death camps of the Third Reich, stir in our collusion with a long list of modern despots and our subsequent disregard for their appalling human rights records, add our bombing of Cambodia and the Pentagon Papers to taste, and then top with our recent refusals to sign the Kyoto protocol for greenhouse emissions, to support any ban on land mines, and to submit ourselves to the rulings of the International Criminal Court. The result should smell of death, hypocrisy, and fresh brimstone.

Q. But it seems to me there are circumstances that simply induce one to have negative emotions! A. This is one of the worst illusions we have. We think that negative emotions are produced by circumstances, whereas all negative emotions are in us, inside us. This is a very important point. We always think our negative emotions are produced by the fault of other people or by the fault of circumstances. We always think that. Our negative emotions are in ourselves and are produced by ourselves. There is absolutely not a single unavoidable reason why somebody else's action or some circumstance should produce a negative emotion in me. It is only my weakness. No negative emotion can be produced by external causes if we do not want it. We have negative emotions because we permit them, justify them, explain them by external causes, and in this way we do not struggle with them.

They don't believe in anything either. You and your like are trying to make a war with the help of people who just aren't interested." "They don't want communism." "They want enough rice," I said. "They don't want to be shot at. They want one day to be much the same as another. They don't want our white skins around telling them what they want." "If Indochina goes--" "I know that record. Siam goes. Malaya goes. Indonesia goes. What does 'go' mean? If I believed in your God and another life, I'd bet my future harp against your golden crown that in five hundred years there may be no New York or London, but they'll be growing paddy in these fields, they'll be carrying their produce to market on long poles, wearing their pointed hats. The small boys will be sitting on the buffaloes. I like the buffaloes, they don't like our smell, the smell of Europeans.

Like ´Bluebeard´, the fairy tale of ´Snow White´does not record a single, appalling crime, but testifies to a structural and endemic conflict in society that was political and social as well as personal, producing many, many instances of similar violence.

But why must everything always have a practical application? I'd been such a diligent soldier for years - working, producing, never missing a deadline, taking care of my loved ones, my gums and my credit record, voting, etc. Is this lifetime supposed to be only about duty?

There is a whirlwind in southern Morocco, the aajej, against which the fellahin defend themselves with knives. There is the africo, which has at times reached into the city of Rome. The alm, a fall wind out of Yugoslavia. The arifi, also christened aref or rifi, which scorches with numerous tongues. These are permanent winds that live in the present tense. There are other, less constant winds that change direction, that can knock down horse and rider and realign themselves anticlockwise. The bist roz leaps into Afghanistan for 170 days--burying villages. There is the hot, dry ghibli from Tunis, which rolls and rolls and produces a nervous condition. The haboob--a Sudan dust storm that dresses in bright yellow walls a thousand metres high and is followed by rain. The harmattan, which blows and eventually drowns itself into the Atlantic. Imbat, a sea breeze in North Africa. Some winds that just sigh towards the sky. Night dust storms that come with the cold. The khamsin, a dust in Egypt from March to May, named after the Arabic word for 'fifty,' blooming for fifty days--the ninth plague of Egypt. The datoo out of Gibraltar, which carries fragrance. There is also the ------, the secret wind of the desert, whose name was erased by a king after his son died within it. And the nafhat--a blast out of Arabia. The mezzar-ifoullousen--a violent and cold southwesterly known to Berbers as 'that which plucks the fowls.' The beshabar, a black and dry northeasterly out of the Caucasus, 'black wind.' The Samiel from Turkey, 'poison and wind,' used often in battle. As well as the other 'poison winds,' the simoom, of North Africa, and the solano, whose dust plucks off rare petals, causing giddiness. Other, private winds. Travelling along the ground like a flood. Blasting off paint, throwing down telephone poles, transporting stones and statue heads. The harmattan blows across the Sahara filled with red dust, dust as fire, as flour, entering and coagulating in the locks of rifles. Mariners called this red wind the 'sea of darkness.' Red sand fogs out of the Sahara were deposited as far north as Cornwall and Devon, producing showers of mud so great this was also mistaken for blood. 'Blood rains were widely reported in Portugal and Spain in 1901.' There are always millions of tons of dust in the air, just as there are millions of cubes of air in the earth and more living flesh in the soil (worms, beetles, underground creatures) than there is grazing and existing on it. Herodotus records the death of various armies engulfed in the simoom who were never seen again. One nation was 'so enraged by this evil wind that they declared war on it and marched out in full battle array, only to be rapidly and completely interred.

Those who suppose they are producing a materialist theory of knowledge when they make knowledge a passive recording and abandon the “active aspect” of knowledge to idealism, as Marx complains in the theses on Feuerbach, forget that all knowledge, and in particular all knowledge of the social world, is an act of construction implementing schemes of thought and expression, and that between conditions of existence and practices or representations there intervenes the structuring activity of the agents, who, far from reacting mechanically to mechanical stimulations, respond to the invitations or threats of a world whose meaning they have helped to produce.

Just because a man is dressed in a clean white robe does not mean his heart and hands are clean. Any man who neglects his conscience is a dangerous animal. Never judge a man by his image. Images can be bought or produced by any Hollywood producer, marketing team or fleet of stylists. Even kids know how to wear amazing costumes for Halloween. Always judge a man by the coloring of his heart and only his heart. Truth can be found in his record of actions, not intentions.

Both ignorance and the old metaphysics tend to produce these undesirable nervous effects of reversed order and so non-survival evaluation. If we use the nervous ystem in a way which is against its survival structure, we must expect non-survival. Human history is short, but already we have astonishing records of extinction.

It was a complete rejection of genre norms in Korea’s idol industry, where every frame of every video was perfectly produced for public consumption. BTS members were not just idols. They were rappers who released mixtapes and YouTubers who gave tutorials on music production and dance.

All that was left of a person’s life was recorded on paper, in annals, in almanacs, in the physical items they produced. To end that was to end their history, their present, their future.

Common to the many theories about the birth trauma is the assumption that the feelings produced by this event were recorded and reside in some form in the brain. This assumption is supported by the great number of repetitious dreams of the “drainage pipe” variety

William Shakespeare (baptised 26 April 1564 – died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

Imagine a society entirely absorbed in its own historicity. It would be incapable of producing historians. Living entirely under the sign of the future, it would satisfy itself with automatic self-recording processes and auto-inventory machines, postponing indefinitely the task of understanding itself

It is worse, much worse, than you think. The slowness of climate change is a fairy tale, perhaps as pernicious as the one that says it isn’t happening at all, and comes to us bundled with several others in an anthology of comforting delusions: that global warming is an Arctic saga, unfolding remotely; that it is strictly a matter of sea level and coastlines, not an enveloping crisis sparing no place and leaving no life undeformed; that it is a crisis of the “natural” world, not the human one; that those two are distinct, and that we live today somehow outside or beyond or at the very least defended against nature, not inescapably within and literally overwhelmed by it; that wealth can be a shield against the ravages of warming; that the burning of fossil fuels is the price of continued economic growth; that growth, and the technology it produces, will allow us to engineer our way out of environmental disaster; that there is any analogue to the scale or scope of this threat, in the long span of human history, that might give us confidence in staring it down. None of this is true. But let’s begin with the speed of change. The earth has experienced five mass extinctions before the one we are living through now, each so complete a wiping of the fossil record that it functioned as an evolutionary reset, the planet’s phylogenetic tree first expanding, then collapsing, at intervals, like a lung: 86 percent of all species dead, 450 million years ago; 70 million years later, 75 percent; 125 million years later, 96 percent; 50 million years later, 80 percent; 135 million years after that, 75 percent again. Unless you are a teenager, you probably read in your high school textbooks that these extinctions were the result of asteroids. In fact, all but the one that killed the dinosaurs involved climate change produced by greenhouse gas. The most notorious was 250 million years ago; it began when carbon dioxide warmed the planet by five degrees Celsius, accelerated when that warming triggered the release of methane, another greenhouse gas, and ended with all but a sliver of life on Earth dead. We are currently adding carbon to the atmosphere at a considerably faster rate; by most estimates, at least ten times faster. The rate is one hundred times faster than at any point in human history before the beginning of industrialization. And there is already, right now, fully a third more carbon in the atmosphere than at any point in the last 800,000 years—perhaps in as long as 15 million years. There were no humans then. The oceans were more than a hundred feet higher.

I think that any artistic decision that is based on whether or not you are going to make money it is not really an artistic decision. It is a business decision. And there are a lot of things that I can do to earn a living and a lot of things that I have already done to earn a living which produce the amount of capital needed to do this project. I came here to spend money on an English orchestra and record my music, so I can take it home and I can listen to it. And... if somebody else likes that kind of stuff, I will make it available on a record so that they can hear it. That is my part of the public service of spending the money to make this event happen. No foundation grant, no government assistance, no corporation, no comittee. Just a crazy guy who spent the money to hire English musicians to do a concert at the Barbican and make an album for Barking Pumpkin Records.

Great marriages are not produced by people who never hurt each other, only by people who daily choose to keep “no record of wrongs” (1 Corinthians 13:5).

An activist produces power and policy change, not mental change. If a person has no record of power or policy change, then that person is not an activist.

Although I did point out that even the innumerable charms of Delight would be long exhausted by the end of our fortnight, he merely laughed and said I didn't understand the purpose of a honeymoon. And, indeed, he was quite convincing about that; and all I shall record here is that we missed both breakfast and the luncheon buffet at the hotel our first day, and that I came to understand why so many young wives produce children three-quarters of a year after their weddings.

The truth is that sexuality is everywhere: the way a bureaucrat fondles his records, a judge administers justice, a businessman causes money to circulate; the way the bourgeoisie fucks the proletariat; and so on. And there is no need to resort to metaphors, any more than for the libido to go by way of metamorphoses. Hitler got the fascists sexually aroused. Flags, nations, armies, banks get a lot of people aroused. A revolutionary machine is nothing if it does not acquire at least as much force as these coercive machines have for producing breaks and mobilizing flows.

Two-thirds of professionally managed funds are regularly outperformed by a broad capitalization-weighted index fund with equivalent risk, and those that do appear to produce excess returns in one period are not likely to do so in the next. The record of professionals does not suggest that sufficient predictability exists in the stock market to produce exploitable arbitrage opportunities.

Is it possible that the Pentateuch could not have been written by uninspired men? that the assistance of God was necessary to produce these books? Is it possible that Galilei ascertained the mechanical principles of 'Virtual Velocity,' the laws of falling bodies and of all motion; that Copernicus ascertained the true position of the earth and accounted for all celestial phenomena; that Kepler discovered his three laws—discoveries of such importance that the 8th of May, 1618, may be called the birth-day of modern science; that Newton gave to the world the Method of Fluxions, the Theory of Universal Gravitation, and the Decomposition of Light; that Euclid, Cavalieri, Descartes, and Leibniz, almost completed the science of mathematics; that all the discoveries in optics, hydrostatics, pneumatics and chemistry, the experiments, discoveries, and inventions of Galvani, Volta, Franklin and Morse, of Trevithick, Watt and Fulton and of all the pioneers of progress—that all this was accomplished by uninspired men, while the writer of the Pentateuch was directed and inspired by an infinite God? Is it possible that the codes of China, India, Egypt, Greece and Rome were made by man, and that the laws recorded in the Pentateuch were alone given by God? Is it possible that Æschylus and Shakespeare, Burns, and Beranger, Goethe and Schiller, and all the poets of the world, and all their wondrous tragedies and songs are but the work of men, while no intelligence except the infinite God could be the author of the Pentateuch? Is it possible that of all the books that crowd the libraries of the world, the books of science, fiction, history and song, that all save only one, have been produced by man? Is it possible that of all these, the bible only is the work of God?

Excavations at Ai Khanoum on the northern border of modern Afghanistan have produced great quantities of Greek inscriptions and even the remnants of a philosophical treatise originally on papyrus. One of the most interesting is the base of a dedication by one Klearchos, perhaps the known student of Aristotle, that records his bringing to this new Greek city, Alexandria on the Oxus, the traditional maxims from the shrine of Apollo at Delphi concerning the five ages of man: In childhood, seemliness In youth, self-control In middle age, justice In old age, wise council In death, painlessness

Everyone wore masks, and yet this culture of anonymity-through-polyonymy produced more truth than falsehood, because it was creative and cooperative rather than commercial and competitive (about the Internet)

The person in the I’M OK—YOU’RE NOT OK position suffers from stroking deprivation. A stroke is only as good as the stroker. And there are no OK people. Therefore there are no OK strokes. Such a person may develop a retinue of “yes men” who praise and stroke him heavily. Yet he knows they are not authentic strokes because he has had to set them up himself, in the same way he had to produce his own stroking in the first place. The more they praise him the more despicable they become, until he finally rejects them all in favor of a new group of yes men. “Come close so I can let you have it” is an old recording. That’s the way it was in the beginning.

The result is something unique: a group of otherwise independent actors, each acting in pure self-interest, coming together to produce something for the good of all—an immutable record that everyone can trust and that’s not managed by a single, centralized intermediary.

Fitz called after him, "We'll see how far you get without me. Enjoy it Aidan, your nosedive to the discount rack, playing second-rate concert halls, being yesterday's news. That's all this will get you--that and your Catswallow trailer park bride." An old temper surged through Aidan, moving angrily at him. "Aidan, don't!" she shouted. Grabbing a shoulder, Aidan spun him about, landing a solid punch to his jaw, knocking the record-producing mogul onto the pavement. "Get it straight," he said, jerking his lapel. "She's from New Jersey.

It is my opinion that religious experience may be a unique combination of Child (a feeling of intimacy) and Adult (a reflection on ultimacy) with the total exclusion of the Parent. I believe the total exclusion of the Parent is what happens in kenosis, or self-emptying. . . . I believe that what is emptied is the Parent. How can one experience joy, or ecstasy, in the presence of those recordings in the Parent with produced NOT OK originally? How can I feel acceptance in the presence of the earliest felt rejection? It is true that Mother was a participant in intimacy in the beginning, but it was an intimacy which did not last, was conditional, and was "never enough." I believe the Adult's function in the religious experience is to block out the Parent in order that the Natural Child may reawaken to its own worth and beauty as a part of God's creation.

If, from a distance of seven thousand parsecs, the fall of Kalgan to the armies of the Mule had produced reverberations that had excited the curiosity of an old Trader, the apprehension of a dogged captain, and the annoyance of a meticulous mayor – to those on Kalgan itself, it produced nothing and excited no one. It is the invariable lesson to humanity that distance in time, and in space as well, lends focus. It is not recorded, incidentally, that the lesson has ever been permanently learned.

When we strike a balance between the challenge of an activity and our skill at performing it, when the rhythm of the work itself feels in sync with our pulse, when we know that what we're doing matters, we can get totally absorbed in our task. That is happiness. The life coach Martha Beck asks new potential clients, "Is there anything you do regularly that makes you forget what time it is?" That forgetting -- that pure absorption -- is what the psychologist Mihaly Csikzentmihalyi calls "flow" or optimal experience. In an interview with Wired magazine, he described flow as "being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement and thought follows inevitably from the previous one, like playing jazz. Your whole being is involved, and you're using your skills to the utmost." In a typical day that teeters between anxiety and boredom, flow experiences are those flashes of intense living -- bright against the dull. These optimal experiences can happen when we're engaged in work paid and unpaid, in sports, in music, in art. The researchers Maria Allison and Margaret Duncan have studied the role of flow in women's lives and looked at factors that contributed to what they call "antiflow." Antiflow was associated with repetitive household tasks, repetitive tasks at work, unchallenging tasks, and work we see as meaningless. But there's an element of chaos when it comes to flow. Even if we're doing meaningful and challenging work, that sense of total absoprtion can elude us. We might get completely and beautifully lost in something today, and, try as we might to re-create the same conditions tomorrow, our task might jsut feel like, well, work. In A Life of One's Own, Marion Milner described her effort to re-create teh conditions of her own recorded moments of happiness, saying, "Often when I felt certain that I had discovered the little mental act which produced the change I walked on air, exulting that I had found the key to my garden of delight and could slip through the door whenever I wished. But most often when I came again the place seemed different, the door overgrown with thorns and my key stuck in the lock. It was as if the first time I had said 'abracadabra' the door had opened, but the next time I must use a different word. (123-124).

That same brutal principle of unequal distribution applies outside the financial domain— indeed, anywhere that creative production is required. The majority of scientific papers are published by a very small group of scientists. A tiny proportion of musicians produces almost all the recorded commercial music. Just a handful of authors sell all the books. A million and a half separately titled books (!) sell each year in the US. However, only five hundred of these sell more than a hundred thousand copies. 12 Similarly, just four classical composers (Bach, Beethoven, Mozart, and Tchaikovsky) wrote almost all the music played by modern orchestras. Bach, for his part, composed so prolifically that it would take decades of work merely to hand- copy his scores, yet only a small fraction of this prodigious output is commonly performed.

Believing in no ultimate Judge who will separate the sheep from the goats, they take it upon themselves to mete out perfect justice. They believe that every moral grievance must be immediately redressed until we have perfected society. The tens of millions of people starved to death, executed, imprisoned, and aborted under communism testify to the harsh reality of this kind of human judgment. Such utopian visions have no basis for grace or mercy. Despite the well-known track record of horrors produced by this kind of godless mindset, we are seeing it return in the form of a redefined “justice” that goes by the name “social justice.” As we will see, it isn’t just at all.

As one descendant of a black cowboy explained, "We didn't write the books. We didn't produce the movies. So we were politely deleted." There is a conspicuous absence of the black cowboy recorded in the history of the American cattle-ranching industry. The role these men played in the settling of the Old West deserves scholarly attention. As

So when it’s all said and done, the romance, intimacy, and enjoyment of your marriage is greatly dependent upon your mutual commitment to allow no unforgiveness to exist between the two of you. Great marriages are not produced by people who never hurt each other, only by people who daily choose to keep “no record of wrongs” (1 Corinthians 13:5).

All of the likely or possible independent inventions of writing (in Sumer, Mexico, China, and Egypt), and all of the early adaptations of those invented systems (for example, those in Crete, Iran, Turkey, the Indus Valley, and the Maya area), involved socially stratified societies with complex and centralized political institutions, whose necessary relation to food production we shall explore in a later chapter. Early writing served the needs of those political institutions (such as record keeping and royal propaganda), and the users were full-time bureaucrats nourished by stored food surpluses grown by food-producing peasants. Writing was never developed or even adopted by hunter-gatherer societies, because they lacked both the institutional uses of early writing and the social and agricultural mechanisms for generating the food surpluses required to feed scribes.

The heroic and often tragic stories of American whalemen were renowned. They sailed the world’s oceans and brought back tales filled with bravery, perseverance, endurance, and survival. They mutinied, murdered, rioted, deserted, drank, sang, spun yarns, scrimshawed, and recorded their musings and observations in journals and letters. They survived boredom, backbreaking work, tempestuous seas, floggings, pirates, putrid food, and unimaginable cold. Enemies preyed on them in times of war, and competitors envied them in times of peace. Many whalemen died from violent encounters with whales and from terrible miscalculations about the unforgiving nature of nature itself. And through it all, whalemen, those “iron men in wooden boats” created a legacy of dramatic, poignant, and at times horrific stories that can still stir our emotions and animate the most primal part of our imaginations. “To produce a mighty book, you must choose a mighty theme,” proclaimed Herman Melville, and the epic story of whaling is one of the mightiest themes in American history.

Prehistory isn't like a 'veil' or a 'curtain' that 'lifts’ to reveal the pre-set 'stage' of history. Rather, prehistory is an absence of something: an absence of writing. So a better image of the ‘dawn of history’ might be an AM radio in the pre-dawn hours: you recognize wisps of words or music across the dial, inter blending, and noise obscures even the few clear-channel stations. The first ones we find, when we switch on the radio of history about 3200B.C.E., come from Mesopotamia, and those from Egypt soon emerge. Eventually the neighbouring lands produce records, with the effect that the ancient Near East is probably the best documented civilization before the invention of printing.” (Daniels and Bright, page 19)

Uh-oh," Will muttered. "This is going to be ... interesting." It turned out the creative genius behind the movie was Will's dad - the god Apollo, which meant this was not going to be a typical orientation flick. No, as we soon found out, Apollo had written, directed, produced, hosted and starred in ... a variety show. For those of you who don't know what a variety show is, imagine a talent show on steroids, complete with canned laughter, pre-recorded applause, and an extra-large helping of hokeyness. For the next hour, we cringe-watched as Apollo and our demigod predecessors performed in song-and-dance numbers, recited poetry, acted in comedy sketches and harmonized in a musical group called the Lyre Choir. Naturally, Apollo featured prominently in most of the acts. The one of him hula-hooping shirtless while satyrs capered around with long rainbow ribbons on sticks ... you can't unsee that kind of thing.

Anger is an energy. It really bloody is. It’s possibly the most powerful one-liner I’ve ever come up with. When I was writing the Public Image Ltd song ‘Rise’, I didn’t quite realize the emotional impact that it would have on me, or anyone who’s ever heard it since. I wrote it in an almost throwaway fashion, off the top of my head, pretty much when I was about to sing the whole song for the first time, at my then new home in Los Angeles. It’s a tough, spontaneous idea. ‘Rise’ was looking at the context of South Africa under apartheid. I’d be watching these horrendous news reports on CNN, and so lines like ‘They put a hotwire to my head, because of the things I did and said’, are a reference to the torture techniques that the apartheid government was using out there. Insufferable. You’d see these reports on TV and in the papers, and feel that this was a reality that simply couldn’t be changed. So, in the context of ‘Rise’, ‘Anger is an energy’ was an open statement, saying, ‘Don’t view anger negatively, don’t deny it – use it to be creative.’ I combined that with another refrain, ‘May the road rise with you’. When I was growing up, that was a phrase my mum and dad – and half the surrounding neighbourhood, who happened to be Irish also – used to say. ‘May the road rise, and your enemies always be behind you!’ So it’s saying, ‘There’s always hope’, and that you don’t always have to resort to violence to resolve an issue. Anger doesn’t necessarily equate directly to violence. Violence very rarely resolves anything. In South Africa, they eventually found a relatively peaceful way out. Using that supposedly negative energy called anger, it can take just one positive move to change things for the better. When I came to record the song properly, the producer and I were arguing all the time, as we always tend to do, but sometimes the arguing actually helps; it feeds in. When it was released in early 1986, ‘Rise’ then became a total anthem, in a period when the press were saying that I was finished, and there was nowhere left for me to go. Well, there was, and I went there. Anger is an energy. Unstoppable.

Indie; I think the ten-minute song is going to be really good. Jenna: I hope you didn't tell him that. Indie: No, I told him it's unmarketable. Hudson: And what did he say? Indie: He said I sounded like a Suit., specifically like Jenna Holden, and that Jenna Holden was hired to get him Balmain deals and negotiate fat deals with record labels, not produce his next album. He also said he'd once caught you nodding your head at a Maroon 5 song, and the fact that you're not dead to him after that is a miracle in itself, so you should not push your luck. Again, his words, not mine.>/b>

I once was the guest of the week on a British radio show called Desert Island Discs. You have to choose the eight records you would take with you if marooned on a desert island. Among my choices was Mache dich mein Herze rein from Bach’s St Matthew Passion. The interviewer was unable to understand how I could choose religious music without being religious. You might as well say, how can you enjoy Wuthering Heights when you know perfectly well that Cathy and Heathcliff never really existed? But there is an additional point that I might have made, and which needs to be made whenever religion is given credit for, say, the Sistine Chapel or Raphael’s Annunciation. Even great artists have to earn a living, and they will take commissions where they are to be had. I have no reason to doubt that Raphael and Michelangelo were Christians—it was pretty much the only option in their time—but the fact is almost incidental. Its enormous wealth had made the Church the dominant patron of the arts. If history had worked out differently, and Michelangelo had been commissioned to paint a ceiling for a giant Museum of Science, mightn’t he have produced something at least as inspirational as the Sistine Chapel? How sad that we shall never hear Beethoven’s Mesozoic Symphony, or Mozart’s opera The Expanding Universe. And what a shame that we are deprived of Haydn’s Evolution Oratorio—but that does not stop us from enjoying his Creation.

There's a liberal story that limited opportunities, and barriers, lead to employment problems and criminal records, but then there's another story that has to do with norms, behaviors, and oppositional culture. You can't prove the latter statistically, but it still might be true.' Holzer thinks that both arguments contain truth and that one doesn't preclude the other. Fair enough. Suffice it to say, though, that the evidence supporting structural inequality is compelling. In 2001, a researcher sent out black and white job applicants in Milwaukee, randomly assigning them a criminal record. The researcher concluded that a white man with a criminal record had about the same chance of getting a job as a black man without one. Three years later, researchers produced the same results in New York under more rigorous conditions.

as the witnesses to your life diminish, there is less corroboration, and therefore less certainty, as to what you are or have been. Even if you have assiduously kept records—in words, sound, pictures—you may find that you have attended to the wrong kind of record-keeping. What was the line Adrian used to quote? “History is that certainty produced at the point where the imperfections of memory meet the inadequacies of documentation.

And when we say also that the Word, who is the first-birth of God, was produced without sexual union, and that He, Jesus Christ, our Teacher, was crucified and died, and rose again, and ascended into heaven, we propound nothing different from what you believe regarding those whom you esteem sons of Jupiter. For you know how many sons your esteemed writers ascribed to Jupiter: Mercury, the interpreting word and teacher of all; Aesculapius, who, though he was a great physician, was struck by a thunderbolt, and so ascended to heaven; and Bacchus too, after he had been torn limb from limb; and Hercules, when he had committed himself to the flames to escape his toils; and the sons of Leda, and Dioscuri; and Perseus, son of Danae; and Bellerophon, who, though sprung from mortals, rose to heaven on the horse Pegasus. For what shall I say of Ariadne, and those who, like her, have been declared to be set among the stars? And what of the emperors who die among yourselves, whom you deem worthy of deification, and in whose behalf you produce some one who swears he has seen the burning Caesar rise to heaven from the funeral pyre? And what kind of deeds are recorded of each of these reputed sons of Jupiter, it is needless to tell to those who already know. This only shall be said, that they are written for the advantage and encouragement of youthful scholars; for all reckon it an honourable thing to imitate the gods. But far be such a thought concerning the gods from every well-conditioned soul, as to believe that Jupiter himself, the governor and creator of all things, was both a parricide and the son of a parricide, and that being overcome by the love of base and shameful pleasures, he came in to Ganymede and those many women whom he had violated and that his sons did like actions. But, as we said above, wicked devils perpetrated these things. And we have learned that those only are deified who have lived near to God in holiness and virtue; and we believe that those who live wickedly and do not repent are punished in everlasting fire.

Neuroscientist David Comings drew out the larger implications of such hallucinations for the relationship between our rational and spiritual brains: The psychedelic drugs like DMT often produce a sensation of “contact,” of being in the presence of and interaction with a non-human being. Highly intelligent and sophisticated test subjects who knew these feelings were drug-induced nevertheless insisted the contact had really happened. The temporal lobe-limbic system’s emotional tape recorder sometimes cannot distinguish between externally generated real events and internally generated non-real experience thus providing a system in which the rational brain and the spiritual brain are not necessarily in conflict.

For thousands of years, civilization did not lend itself to peaceful equalization. Across a wide range of societies and different levels of development, stability favored economic inequality. This was as true of Pharaonic Egypt as it was of Victorian England, as true of the Roman Empire as of the United States. Violent shocks were of paramount importance in disrupting the established order, in compressing the distribution of income and wealth, in narrowing the gap between rich and poor. Throughout recorded history, the most powerful leveling invariably resulted from the most powerful shocks. Four different kinds of violent ruptures have flattened inequality: mass mobilization warfare, transformative revolution, state failure, and lethal pandemics. I call these the Four Horsemen of Leveling. Just like their biblical counterparts, they went forth to “take peace from the earth” and “kill with sword, and with hunger, and with death, and with the beasts of the earth.” Sometimes acting individually and sometimes in concert with one another, they produced outcomes that to contemporaries often seemed nothing short of apocalyptic. Hundreds of millions perished in their wake. And by the time the dust had settled, the gap between the haves and the have-nots had shrunk, sometimes dramatically.

A neurosurgeon once told me about operating on the brain of a young man with epilepsy. As is customary in this kind of operation, the patient was wide awake, under only local anesthesia, while the surgeon delicately explored his exposed cortex, makingsure that the parts tentatively to be removed were not absolutely vital by stimulating them electrically and asking the patient what he experienced. Some stimulations provoked visual flashes or hand-raisings, others a sort of buzzing sensation, but one spot produced a delighted response from the patient: "It's 'Outta Get Me' by Guns N' Roses. my favorite heavy metal band!" I asked the neurosurgeon If he had asked the patient to sing or hum along with the music, since it would be fascinating to learn how "high fidelity" the provoked memory was, would it be in exactly the same key and tempo as the record? Such a song (unliken"Silent Night") has one canonical version. so we could simply have superimposed a recording of the patients humming with the standard record and compared the results. Unfortunately, even though a tape recorder had been running during the operation, thesurgeon hadn't asked the patient to sing along. ''Why not?" I asked, and he replied: "I hate rock music!' Later in the conversation the neurosurgeon happened to remark that he was going to have to operate again on the same young man. and I expressed the hope that he would just check to see if he could restimulate the rock music, and this time ask the fellow to sing along. "I can't do it." replied the neurosurgeon. "since I cut out that part." "It was part of the epileptic focus?" I asked. "No,'' the surgeon replied, ''I already told you — I hate rock music.

As for the other stories, my position is that I have decided that I should neither affirm nor deny their truth; but I have quoted them along with the others for the very reason that I have read them in authorities from the side of our antagonists. My purpose here is to demonstrate the kind of marvels recorded in profusion in pagan literature and generally believed by our opponents, although no rational explanation is offered, whereas the same people cannot bring themselves to believe us, even though rational grounds are produced, when we say that Almighty God is to perform an act which lies outside their experience and contravenes the evidence of their senses. For

I wish to create a piece of work that produces a permanent mark in the record book of human existence. I also write to insulate myself from leading a meaningless life. Awareness of an inescapable mortality urges me to write at a frantic pace, in a hysterical attempt to assign a purpose to my life by creating something external that endures.

James would only look for music composed and performed by humans. Nowadays people didn’t feel the need to learn to play musical instruments. And why would they, since the sounds they produced could be perfectly generated digitally. Human voices were sample recorded, then modified and remastered by artificial intelligence. Where did our creativity go?

Tech? Bring it on! The more, the better. I have no “ol’ school” pretensions à la analogue vs. digital. If anything, the advances have helped me in terms of the ability to record myself at home in my basement without a producer or studio expenses. Creativity is another discussion: something you have or don’t. Technology can be a tool, or a crutch, or a graveyard…it all depends on you!

Totalitarianism, however, does not so much promise an age of faith as an age of schizophrenia. A society becomes totalitarian when its structure becomes flagrantly artificial: that is, when its ruling class has lost its function but succeeds in clinging to power by force or fraud. Such a society, no matter how long it persists, can never afford to become either tolerant or intellectually stable. It can never permit either the truthful recording of facts, or the emotional sincerity, that literary creation demands. But to be corrupted by totalitarianism one does not have to live in a totalitarian country. The mere prevalence of certain ideas can spread a poison that makes one subject after another impossible for literary purposes. Wherever there is an enforced orthodoxy—or even two orthodoxies, as often happens—good writing stops. This was well illustrated by the Spanish civil war. To many English intellectuals the war was a deeply moving experience, but not an experience about which they could write sincerely. There were only two things that you were allowed to say, and both of them were palpable lies: as a result, the war produced acres of print but almost nothing worth reading.

We produce thirty-year projections of social security deficits and oil prices without realizing that we cannot even predict these for next summer—our cumulative prediction errors for political and economic events are so monstrous that every time I look at the empirical record I have to pinch myself to verify that I am not dreaming. What is surprising is not the magnitude of our forecast errors, but our absence of awareness of it.

Remember, I am not recording the vision of a madman. The sun does not more certainly shine in the heavens, than that which I now affirm is true. Some miracle might have produced it, yet the stages of the discovery were distinct and probable. After days and nights of incredible labour and fatigue, I succeeded in discovering the cause of generation and life; nay, more, I became myself capable of bestowing animation upon lifeless matter.

He sank more and more into apathy; little interested him apart from dolls and other children’s toys. He still spoke occasionally, but mainly to produce stock sentences in the style of a brainwashed schoolboy. Franziska made a record of some of them: ‘I translated much’. ‘I lived in a good place called Naumburg’. ‘I swam in the Saale’. ‘I was very fine because I lived in a fine house’. ‘I love Bismarck’. ‘I don’t like Friedrich Nietzsche’. It would be a mercy to think that he experienced at least a kind of vegetative contentment, but this seems not to have been the case. He suffered from his life-long curse of insomnia, and visitors downstairs were often disturbed by groans and howls coming from the upstairs bedroom. Towards the end of Franziska recorded him uttering ‘More light!’ (Goethe’s dying words) and ‘In short, dead!’ suggesting that that is what he wanted to be.

Single photons are not usually evident, but in the laboratory we can produce a beam of light so faint that it consists of a stream of single photons, which we can detect as individuals just as we can detect individual electrons or buckyballs. And we can repeat Young’s experiment employing a beam sufficiently sparse that the photons reach the barrier one at a time, with a few seconds between each arrival. If we do that, and then add up all the individual impacts recorded by the screen on the far side of the barrier, we find that together they build up the same interference pattern that would be built up if we performed the Davisson-Germer experiment but fired the electrons (or buckyballs) at the screen one at a time. To physicists, that was a startling revelation: If individual particles interfere with themselves, then the wave nature of light is the property not just of a beam or of a large collection of photons but of the individual particles.

Accordingly, since a good nature and the Holy Spirit were joined, he had to become a distinguished poet, and there is no doubt at all that throughout his governorship he produced many other poems and contrived many other artifices of this kind that are not recorded in this book. But from this one example one can judge what kind of prophet he was, a man of the highest talent and spirit. In addition to these gifts, he had practice and experience in many troubles and vexations.

By considering his forebears and contemporaries, Wedgwood was posting the guardrails on his path. In this way, a skilled engineer can be called a kind of “conservative,” not in a political sense but in the broader definition of looking to preserve the functional solutions of the present and past while making cautiously incremental adjustments—just enough to solve their particular problem at hand—that make sure attempted solutions don’t veer into uncharted territory where oversights can have real consequences in the real world. They know that the best results come from making small changes to the state of the art, while a radical engineer risks building a bridge that will collapse. An intuition constructed from records, experience, and institutional knowledge, like rules of thumb, never guarantees success, but it does point the engineer toward the trials and errors that are most likely to produce useful results and deepen the collective well of knowledge.

A number of people at NASA referred to the SpaceX engineers as “the guys in the garage” and were cynical about the start-up’s ability to do much of anything, including building this type of machine. But SpaceX produced the communication computer in record time, and it ended up as the first system of its kind to pass NASA’s protocol tests on the first try. NASA officials were forced to say “cuckoo” over and over again during meetings—a small act of defiance SpaceX had planned all along to torture NASA.

It is impossible now to estimate how much of the intellectual and physical energy of the world was wasted in military preparation and equipment, but it was an enormous proportion. Great Britain spent upon army and navy money and capacity, that directed into the channels of physical culture and education would have made the British the aristocracy of the world. Her rulers could have kept the whole population learning and exercising up to the age of eighteen and made a broad-chested and intelligent man of every Bert Smallways in the islands, had they given the resources they spent in war material to the making of men. Instead of which they waggled flags at him until he was fourteen, incited him to cheer, and then turned him out of school to begin that career of private enterprise we have compactly recorded. France achieved similar imbecilities; Germany was, if possible worse; Russia under the waste and stresses of militarism festered towards bankruptcy and decay. All Europe was producing big guns and countless swarms of little Smallways.

On the contrary, The angels who overturned Sodom, "struck the people of Sodom with blindness or {aorasia}, so that they could not find the door" (Gn. 19:11). [*It is worth noting that these are the only two passages in the Greek version where the word {aorasia} appears. It expresses, in fact, the effect produced on the people of Sodom---namely, dazzling (French version, "eblouissement"), which the Latin "caecitas" (blindness) does not necessarily imply.] The same is recorded of the Syrians whom Eliseus led into Samaria (4 Kings 6:18).

in addition to taking field notes, you should also consider making visual documentation by producing drawings or taking photographs and video recordings. This is also known as ‘visual ethnography’. But remember, images, videos, and even audio recordings and transcripts should not be used instead of detailed field notes; they should complement them. Without the context that is documented in your field notes, recordings on their own will be of little value to you, or to anyone else who will try to make sense of your study (Madden, 2010: 103–109).

February 21 Have You Ever Been Carried Away for Him? She hath wrought a good work on Me. Mark 14:6 If human love does not carry a man beyond himself, it is not love. If love is always discreet, always wise, always sensible and calculating, never carried beyond itself, it is not love at all. It may be affection, it may be warmth of feeling, but it has not the true nature of love in it. Have I ever been carried away to do something for God not because it was my duty, nor because it was useful, nor because there was anything in it at all beyond the fact that I love Him? Have I ever realised that I can bring to God things which are of value to Him, or am I mooning round the magnitude of His Redemption whilst there are any number of things I might be doing? Not Divine, colossal things which could be recorded as marvellous, but ordinary, simple human things which will give evidence to God that I am abandoned to Him? Have I ever produced in the heart of the Lord Jesus what Mary of Bethany produced? There are times when it seems as if God watches to see if we will give Him the abandoned tokens of how genuinely we do love Him. Abandon to God is of more value than personal holiness. Personal holiness focuses the eye on our own whiteness; we are greatly concerned about the way we walk and talk and look, fearful lest we offend Him. Perfect love casts out all that when once we are abandoned to God. We have to get rid of this notion—“Am I of any use?” and make up our minds that we are not, and we may be near the truth. It is never a question of being of use, but of being of value to God Himself. When we are abandoned to God, He works through us all the time.

Orange Book produced after the outbreak of war by the Russian government to justify its actions during the crisis, the editors backdated by three days the Austrian order of general mobilization so as to make the Russian measure appear a mere reaction to developments elsewhere. A telegram dated 29 July from Ambassador Shebeko in Vienna stating that an order of general mobilization was ‘anticipated’ for the following day, was backdated to 28 July and reworded to say ‘The Order for General Mobilization has been signed’ – in fact, the order for Austrian general mobilization would not be issued until 31 July, to go into effect on the following day. The French Yellow Book played even more adventurously with the documentary record, by inserting a fictional communiqué from Paléologue dated 31 July stating that the Russian order had been issued ‘as a result of the general mobilization of Austria’ and of the ‘measures for mobilization taken secretly, but continuously, by Germany for the past six days . . .’ In reality, the Germans had remained, in military terms, an island of relative calm throughout the crisis.

Memory produces hope in the same way that amnesia produces despair,' the theologian Walter Brueggeman noted. It's an extraordinary statement, one that reminds us that though hope is about the future, ground for hope lie in the records and recollections of the past. We can tell of a past that was nothing but defeats and cruelties and injustices, or of a past that was some lovely golden age now irretrievably lost, or we can tell a more complicated and accurate story, one that has room for the best and worst, for atrocities and liberations, for grief and jubiliation.

Don Chrisantos Michael Wanzala "Don CM Wanzala" (born April 13), popularly known as Don Santo (stylized as DON SANTO) is a Kenyan singer, rapper, songwriter, arranger, actor, author, content producer, Photo-Videographer, Creative Director (Blame It On Don), entrepreneur, record executive and Leader of the Klassik Nation and chairman and president of Global Media Ltd, based in Nairobi City in Kenya. ​ The genius of DON SANTO rests in his willingness to break from traditional formula and constantly push the envelope. He flips the method of the moment with undeniable swagger and bold African sensibility. As a songwriter, Santo revisits simple, but profound aspects of the human experience – love, lust, desire, joy, and pain that define classical art and drama. He applies his concept to rich, full vocals that exude his intended effect. It is this uncanny ability to compose classics and deliver electrifying live performances that define everything that is essential DON SANTO. In 2015, Santo won the East Africa Music Awards in the Artist of the year Category while his song "Sina Makosa" won the Song of The year. A believer in GOD, FAMILY & GOOD LIFE (Klassikanity).

But that was where his excitement began to melt into cold anxiety. His dad had been the Gryffindor Seeker, the youngest one in Hogwarts history. The best he, James, could hope for was to match that record. That’s what everyone would expect of him, the first-born son of the famous hero. He remembered the story, told to him dozens of times (although never by his own dad) of how the young Harry Potter had won his first Golden Snitch by virtually jumping off his broom, catching the golden ball in his mouth and nearly swallowing it. The tellers of the tale would always laugh uproariously, delightedly, and if Dad was there, he’d smile sheepishly as they clapped him on the back. When James was four, he found that famed Snitch in a shoe box in the bottom of the dining room hutch. His mum told him it’d been a gift to Dad from the old school headmaster. The tiny wings no longer worked, and the golden ball had a thin coat of dust and tarnish on it, but James was mesmerized by it. It was the first Snitch he had ever seen close up. It seemed both smaller and larger than he’d imagined, and the weight of it in his small hand was surprising. This is the famous Snitch, James thought reverently, the one from the story, the one caught by my dad. He asked his dad if he could keep it, stored in the shoebox when he wasn’t playing with it, in his room. His dad agreed easily, happily, and James moved the shoebox from the bottom of the hutch to a spot under the head of his bed, next to his toy broom. He pretended the dark corner under his headboard was his Quidditch locker. He spent many an hour pretending to zoom and bank over the Quidditch green, chasing the fabled Snitch, in the end, always catching it in a fantastic diving crash, jumping up, producing his dad’s tarnished Snitch for the approval of roaring imaginary crowds.

was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

At the end of Stephen Vincent Benét’s famous short story “The Devil and Daniel Webster,” the Prince of Darkness is forced to promise that he will never again show his face in the state of New Hampshire. It is nowhere recorded that any such promise was made about Massachusetts. The Bay State’s history is rife with documented cases of devil worship, witchcraft, and black magic. The state that is known for producing presidents and scholars is also known for Lizzie Borden, who “took an ax and gave her mother forty whacks/Then when she was good and done/Gave her father forty-one,” and for being the home of Albert DeSalvo, the “Boston Strangler.

Thomas Edison was testing wax and sound. Edison’s phonograph was first developed using a steel needle and tinfoil to capture the audio impressions of his voice. Tin tore easily and produced a muted recording, so Edison turned to beeswax, aware of its ability to capture detailed impressions. He substituted a wax cylinder for the tinfoil and recorded tiny scratches and grooves of sound. Applying the ancient technique of lost wax, he applied a micro-thin layer of gold atop the wax so that heavier layers of metal could then be added to create a mold. When the wax was lost and vinyl was added to the mold, the permanent record of sound was gained. Wax

THE GOAL IS CHRISTLIKENESS, NOT WARFARE There is a time, which we will speak of later in this book, when the Lord will call us to pull down the strongholds of hell over our churches and our communities. There is another time, however, when to engage in much spiritual warfare is actually a distraction from your obedience to God. Jesus defeated Satan in Gethsemane and the cross, not by directly confronting the devil but by fulfilling the destiny to which He had been called at Calvary. The greatest battle that was ever won was accomplished by the apparent death of the victor, without even a word of rebuke to His adversary! The prince of this world was judged and principalities and powers were disarmed not by confrontational warfare but by the surrender of Jesus Christ on the cross. There are occasions when your battle against the devil is actually a digression from the higher purpose God has for you. Intercessors and warfare captains take note: there is a demon whose purpose is to lure one's mind into hell. Its name is "Wrong Focus." If you are continually seeing evil spirits in people or in the material world around you, you may actually be fighting this spirit. The ultimate goal of this demon is to produce mental illness in saints who move in deliverance. Listen very carefully: we are not called to focus on the battle or the devil, except where that battle hinders our immediate transformation into Christ's likeness. Our calling is to focus on Jesus. The work of the devil, however, is to draw our eyes from Jesus. Satan's first weapon always involves luring our eyes from Christ. Turn to Jesus and almost immediately the battle vanishes. I knew a man once who owned a record company. Besides running the operation, he also spent many hours in production listening to the "mother disk," which was the record from which all subsequent records were pressed. Over the years, his ears became adept at catching the "pops and sizzles," the imperfections that had to be eliminated in the master disk. I remarked one day

Dotcom believes one of the reasons he was targeted was his support for Wikileaks founder Julian Assange. He says he was compelled to reach out to the site after US soldier Bradley Manning leaked documents to it. The infamous video recording of the Apache gunship gunning down a group of Iraqis (some of whom, despite widespread belief to the contrary, were later revealed to have been armed), including two Reuters journalists, was the trigger. “Wow, this is really crazy,” Dotcom recalls thinking, watching the black-and-white footage and hearing the operators of the helicopter chat about firing on the group. He made a €20,000 donation to Wikileaks through Megaupload’s UK account. “That was one of the largest donations they got,” he says. According to Dotcom, the US, at the time, was monitoring Wikileaks and trying better to understand its support base. “My name must have popped right up.” The combination of a leaking culture and a website dedicated to producing leaked material would horrify the US government, he says. A willing leaker and a platform on which to do it was “their biggest enemy and their biggest fear . . . If you are in a corrupt government and you know how much fishy stuff is going on in the background, to you, that is the biggest threat — to have a site where people can anonymously submit documents.” Neil MacBride was appointed to the Wikileaks case, meaning Dotcom shares prosecutors with Assange. “I think the Wikileaks connection got me on the radar.” Dotcom believes the US was most scared of the threat of inspiration Wikileaks posed. He also believes it shows just how many secrets the US has hidden from the public and the rest of the world. “That’s why they are going after that so hard. Only a full transparent government will have no corruption and no back door deals or secret organisations or secret agreements. The US is the complete opposite of that. It is really difficult to get any information in the US, so whistleblowing is the one way you can get to information and provide information to the public.

The flat tire that threw Julio into a temporary panic and the divorce that almost killed Jim don’t act directly as physical causes producing a physical effect—as, for instance, one billiard ball hitting another and making it carom in a predictable direction. The outside event appears in consciousness purely as information, without necessarily having a positive or negative value attached to it. It is the self that interprets that raw information in the context of its own interests, and determines whether it is harmful or not. For instance, if Julio had had more money or some credit, his problem would have been perfectly innocuous. If in the past he had invested more psychic energy in making friends on the job, the flat tire would not have created panic, because he could have always asked one of his co-workers to give him a ride for a few days. And if he had had a stronger sense of self-confidence, the temporary setback would not have affected him as much because he would have trusted his ability to overcome it eventually. Similarly, if Jim had been more independent, the divorce would not have affected him as deeply. But at his age his goals must have still been bound up too closely with those of his mother and father, so that the split between them also split his sense of self. Had he had closer friends or a longer record of goals successfully achieved, his self would have had the strength to maintain its integrity. He was lucky that after the breakdown his parents realized the predicament and sought help for themselves and their son, reestablishing a stable enough relationship with Jim to allow him to go on with the task of building a sturdy self. Every piece of information we process gets evaluated for its bearing on the self. Does it threaten our goals, does it support them, or is it neutral? News of the fall of the stock market will upset the banker, but it might reinforce the sense of self of the political activist. A new piece of information will either create disorder in consciousness, by getting us all worked up to face the threat, or it will reinforce our goals, thereby freeing up psychic energy.

When punk and new wave styles exploded in the late ’70s, some established artists were nimble enough to respond to the changes around them. Some grumbled, “What am I supposed to do, forget how to play?”, and continued to ride their dinosaurs into extinction, but others willingly adapted to the streamlining and back-to-basics urges of the times, without giving up all they had learned. Former Genesis singer Peter Gabriel, for example, or former Yes keyboardist Trevor Horn, continued to produce vital, influential music through the ’80s and ’90s. Ian Anderson has continued to lead Jethro Tull out of the ’60s and ’70s and quietly through the decades, making high quality music and finding a large enough audience to continue recording and touring worldwide.

You’ve said, “You can lie or distort the story of the French Revolution as long as you like and nothing will happen. Propose a false theory in chemistry and it will be refuted tomorrow.” How does your approach to the world as a scientist affect and influence the way you approach politics? Nature is tough. You can’t fiddle with Mother Nature, she’s a hard taskmistress. So you’re forced to be honest in the natural sciences. In the soft fields, you’re not forced to be honest. There are standards, of course; on the other hand, they’re very weak. If what you propose is ideologically acceptable, that is, supportive of power systems, you can get away with a huge amount. In fact, the difference between the conditions that are imposed on dissident opinion and on mainstream opinion is radically different. For example, I’ve written about terrorism, and I think you can show without much difficulty that terrorism pretty much corresponds to power. I don’t think that’s very surprising. The more powerful states are involved in more terrorism, by and large. The United States is the most powerful, so it’s involved in massive terrorism, by its own definition of terrorism. Well, if I want to establish that, I’m required to give a huge amount of evidence. I think that’s a good thing. I don’t object to that. I think anyone who makes that claim should be held to very high standards. So, I do extensive documentation, from the internal secret records and historical record and so on. And if you ever find a comma misplaced, somebody ought to criticize you for it. So I think those standards are fine. All right, now, let’s suppose that you play the mainstream game. You can say anything you want because you support power, and nobody expects you to justify anything. For example, in the unimaginable circumstance that I was on, say, Nightline, and I was asked, “Do you think Kadhafi is a terrorist?” I could say, “Yeah, Kadhafi is a terrorist.” I don’t need any evidence. Suppose I said, “George Bush is a terrorist.” Well, then I would be expected to provide evidence—“Why would you say that?” In fact, the structure of the news production system is, you can’t produce evidence. There’s even a name for it—I learned it from the producer of Nightline, Jeff Greenfield. It’s called “concision.” He was asked in an interview somewhere why they didn’t have me on Nightline. First of all, he says, “Well, he talks Turkish, and nobody understands it.” But the other answer was, “He lacks concision.” Which is correct, I agree with him. The kinds of things that I would say on Nightline, you can’t say in one sentence because they depart from standard religion. If you want to repeat the religion, you can get away with it between two commercials. If you want to say something that questions the religion, you’re expected to give evidence, and that you can’t do between two commercials. So therefore you lack concision, so therefore you can’t talk. I think that’s a terrific technique of propaganda. To impose concision is a way of virtually guaranteeing that the party line gets repeated over and over again, and that nothing else is heard.

It was in Cleveland that Magic Slim became the most successful pornographic film producer in America. His training center was a key link in a human trafficking supply chain stretching from the former Soviet Republics in Eastern Europe to the United States. Trafficking accounts for an estimated $32 billion in annual trade with sex slavery and pornographic film production accounting for the greatest percentage. The girls arrived at Slim’s building young and naive, they left older and wiser. This was a classic value chain with each link making a contribution.  Slim’s trainers were the best, and it showed in the final product. Each class of girls was judged on the merits. The fast learners went on to advanced training. They learned proper etiquette, social skills and party games. They learned how to dress, apply makeup and discuss world events.  Best in-class were advertised in international style magazines with code words. These codes were known only to select clients and certain intermediaries approved by Slim. This elaborate distribution system was part of Slim’s business model, his clients paid an annual subscription fee for the on-line dictionary. The code words and descriptions were revised monthly.  An interested client would pay an access fee for further information that included a set of professional  photographs, a video and voice recordings of the model addressing the client by name.  Should the client accept, a detailed travel itinerary was submitted calling for first class travel and accommodation.  Slim required a letter of understanding spelling out terms and conditions and a 50% deposit. He didn’t like contracts, his word was his bond, everyone along the chain knew that. Slim's business was booming.

Did dinosaurs sing? Was there a teeming, singing wilderness with all the species thumping around, tuning up for the next millennia? Of course, dinosaurs sang, I thought. They are the ancestors of the singing birds and cousins to the roaring crocodiles…turns out, no. Turns out the syrinx, the organ that produces birdsong and the larynx, the organ that produces operatic arias, didn’t evolve until after the dinosaur extinction event…Some dinosaurs blew air into their closed mouths and through nasal cavities into resonance chambers, which we see in fossils as bony crests. They made the forest echo with clear, ominous tones, eerily like a cello. I have heard it in recordings scientists made of the sound they produced when they blew air through crests constructed to mimic lambeosaurus’s. Some dinosaurs cooed to their mates like doves…turns out that even if dinosaurs didn’t sing, they danced. There is evidence in vigorous scrape marks found in 100-million year old Colorado sandstone. From the courting behavior of ostriches and grouse, scientists envision the dinosaur males coming together on courting grounds, bobbing and scratching, flaring their brilliant feathers and cooing. Imagine: huge animals, each weighing more than a dozen football teams, shaking the Earth for a chance at love. What the story of the dinosaurs tells me is that if the earth didn’t have music, it would waste no time inventing it. In birds, tantalizing evidence of birdsong is found in 67-million-year old fossils, marking the first know appearance of the syrinx. Now the whole Earth can chime, from deep in the sea to high in the atmosphere with the sounds of snapping shrimp, singing mice, roaring whales, moaning bears, clattering dragonflies, and a fish calling like a foghorn. Who could catalog the astonishing oeuvre of the Earth? And more songs are being created every year.

Sam Moore had scuffled his way into hosting a talent show at a nightclub, the King of Hearts, in his hometown of Miami. Dave Prater was a bread baker. Sam remembers that when Dave signed up for that week’s show, he was wearing his baker’s whites; wherever he walked, he left behind white flour shoe prints. At the auditions, Dave sang a Jackie Wilson song, “Doggin’ Around,” but realized he didn’t know the verses. Sam, whose job depended on selecting acts that would produce a good show, agreed to stay close during the performance and feed him the lines. But that night, Sam’s foot caught the microphone cable, and as the mike began to fall, Dave went down to catch it and Sam went down to catch Dave. Choreographers couldn’t have written it better: They came up together, singing and with the mike in hand. In that little mix-up, an act was born that would last the better part of twenty-two years and would remain forever a part of the public consciousness.

on a daily basis. To create is to bring something into existence that wasn’t there before. It could be a conversation, the solution to a problem, a note to a friend, the rearrangement of furniture in a room, a new route home to avoid a traffic jam. What you make doesn’t have to be witnessed, recorded, sold, or encased in glass for it to be a work of art. Through the ordinary state of being, we’re already creators in the most profound way, creating our experience of reality and composing the world we perceive. In each moment, we are immersed in a field of undifferentiated matter from which our senses gather bits of information. The outside universe we perceive doesn’t exist as such. Through a series of electrical and chemical reactions, we generate a reality internally. We create forests and oceans, warmth and cold. We read words, hear voices, and form interpretations. Then, in an instant, we produce a response. All of this in a world of our own creation.

By nature and by training this woman was all for conservation of life. She had been brought up in rather a strict and narrow school. In her day although no one, certainly no woman, was expected to save humanity, every female was confidently expected to produce it. More than that, she was earnestly enjoined to guard and protect it. So Mary Ball and her successor Mary Washington, early imbibed not only a sense of the woman's responsibility for the family but a sense of her authority over it....At any rate, in this particular crisi she was merely obeying a law of nature as old as womanhood--to protect the creature she had brought into the world. There was no subtlety in her. She could not see the finer shadings of ths situation, the fact that in holding him back from the frontier she might be putting him into even greater peril. Her course was prompted by instinct and impulse, and she never thought of questioning the right or wrong of it. So, armed with the most primitive of all weapons, she faced her son for a hard fight. But she was pitted here against a temendous paradox. With her whole might she was resisting the demands of war, and yet it had been that very strength that had produced the warrior. Her opponent was remarkably like her--in strength of mind and body, in resolution, in force of will. Now, it is one of the ironies of life that sameness creates opposition. In the conflict that day at Mount Vernon, therefore, the contestants were fighting with identical weapons, even though from different spheres... George Washington must have been a very patient man. And if he had patience, that, too, came from her by that same theory of heredity that makes a firstborn son peculiarly like his mother. So this must be written in to her credity when for the third time she has to be recorded as trying to interrupt his destiny. As a last resort he used a weapon that she herself had put into his hand. Madam," he is said to have remarked with respectful finality, "the God to whom you commended me when first I went to war will be my protector stil.

If talking pictures could be said to have a father, it was Lee De Forest, a brilliant but erratic inventor of electrical devices of all types. (He had 216 patents.) In 1907, while searching for ways to boost telephone signals, De Forest invented something called the thermionic triode detector. De Forest’s patent described it as “a System for Amplifying Feeble Electric Currents” and it would play a pivotal role in the development of broadcast radio and much else involving the delivery of sound, but the real developments would come from others. De Forest, unfortunately, was forever distracted by business problems. Several companies he founded went bankrupt, twice he was swindled by his backers, and constantly he was in court fighting over money or patents. For these reasons, he didn’t follow through on his invention. Meanwhile, other hopeful inventors demonstrated various sound-and-image systems—Cinematophone, Cameraphone, Synchroscope—but in every case the only really original thing about them was their name. All produced sounds that were faint or muddy, or required impossibly perfect timing on the part of the projectionist. Getting a projector and sound system to run in perfect tandem was basically impossible. Moving pictures were filmed with hand-cranked cameras, which introduced a slight variability in speed that no sound system could adjust to. Projectionists also commonly repaired damaged film by cutting out a few frames and resplicing what remained, which clearly would throw out any recording. Even perfect film sometimes skipped or momentarily stuttered in the projector. All these things confounded synchronization. De Forest came up with the idea of imprinting the sound directly onto the film. That meant that no matter what happened with the film, sound and image would always be perfectly aligned. Failing to find backers in America, he moved to Berlin in the early 1920s and there developed a system that he called Phonofilm. De Forest made his first Phonofilm movie in 1921 and by 1923 he was back in America giving public demonstrations. He filmed Calvin Coolidge making a speech, Eddie Cantor singing, George Bernard Shaw pontificating, and DeWolf Hopper reciting “Casey at the Bat.” By any measure, these were the first talking pictures. However, no Hollywood studio would invest in them. The sound quality still wasn’t ideal, and the recording system couldn’t quite cope with multiple voices and movement of a type necessary for any meaningful dramatic presentation. One invention De Forest couldn’t make use of was his own triode detector tube, because the patents now resided with Western Electric, a subsidiary of AT&T. Western Electric had been using the triode to develop public address systems for conveying speeches to large crowds or announcements to fans at baseball stadiums and the like. But in the 1920s it occurred to some forgotten engineer at the company that the triode detector could be used to project sound in theaters as well. The upshot was that in 1925 Warner Bros. bought the system from Western Electric and dubbed it Vitaphone. By the time of The Jazz Singer, it had already featured in theatrical presentations several times. Indeed, the Roxy on its opening night in March 1927 played a Vitaphone feature of songs from Carmen sung by Giovanni Martinelli. “His voice burst from the screen with splendid synchronization with the movements of his lips,” marveled the critic Mordaunt Hall in the Times. “It rang through the great theatre as if he had himself been on the stage.

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.

Today there is much talk about democratic ideals in the outside world. But not in Germany! For here in Germany we had more than enough time-fifteen years-to acquaint ourselves with these democratic ideals. And we ourselves had to pick up the legacy left behind by this democracy. Now we are being credited with many a truly astounding war aim, especially by the English. After all, England is quite experienced in issuing proclamations of objectives in warfare as it has waged the greatest number of wars the world over. Truly astounding are the war aims announced to us today. A new Europe will arise. This Europe will be characterized by justice. This justice will render armament obsolete. This will lead to disarmament at last. This disarmament in turn will bring about an economic blossoming. Change and trade will spring up-much trade-free trade. And with the sponsorship of this trade, culture shall once more blossom, and not only culture will benefit, but religion will also prosper. In other words: we are heading towards a golden age! Well, we have heard of this golden age before. Many times precisely the same people attempted to illustrate its virtues to us who are now flooding us with descriptions of its benefits. The records are old ones, played once too often. We can only pity these gentlemen who cannot even come up with a new idea to trap a great people. For all this they had already promised us in 1918. Then, too, England’s objectives in the war were the creation of this “new Europe,” the establishment of a “new justice,” of which the “right to selfdetermination of the peoples” was to form an integral part. Back then already they promised us justice to render obsolete-for all time-the bearing of any sort of weaponry. Back then already they submitted to us a program for disarmament-one for global disarmament. To make this disarmament more evident, it was to be crowned by the establishment of an association of nations bearing no arms. These were to settle their differences in the future-for even back then there was no doubt that differences would still arise-by talking them to death in discussion and debate, just as is the custom in democratic states. There would be no more shooting under any circumstances! In 1918, they declared a blessed and pious age to come! What came to pass in its stead we all lived to see: the old states were destroyed without even as much as asking their citizenry. Historic, ancient structures were severed, not only state bodies but grown economic structures as well, without anything better to take their place. In total disregard of the principle of the right to self-determination of the peoples, the European peoples were hacked to pieces, torn apart. Great states were dissolved. Nations were robbed of their rights, first rendered utterly defenseless and then subjected to a division which left only victors and vanquished in this world. And then there was no more talk of disarmament. To the contrary, armament went on. Nor did any efforts materialize to settle conflicts peacefully. The armed states waged wars just as before. Yet those who had been disarmed were no longer in a position to ward off the aggressions of those well armed. Naturally, this did not herald economic prosperity but, to the contrary, produced a network of lunatic reparations payments which led to increasing destitution for not only the vanquished, but also the so-called victors themselves. The consequences of this economic destitution were felt most acutely by the German Volk. International finance remained brutal and squeezed our Volk ruthlessly. Adolf Hitler – speech in the Sportpalast Berlin, January 30, 1940

THE SK8 MAKER VS. GLOBAL INDUSTRIALIZATION This new era of global industrialization is where my personal analogy with the history of the skateboard maker diverges. It’s no longer cost-effective to run a small skateboard company in the U.S., and the handful of startups that pull it off are few and far between. The mega manufacturers who can churn out millions of decks at low cost and record speed each year in Chinese factories employ proprietary equipment and techniques that you and I can barely imagine. Drills that can cut all eight truck holes in a stack of skateboard decks in a single pull. CNC machinery to create CAD-perfect molds used by giant two-sided hydraulic presses that can press dozens of boards in a few hours. Computer-operated cutting bits that can stamp out a deck to within 1⁄64 in. of its specified shape. And industrial grade machines that apply multicolored heat-transfer graphics in minutes. In a way, this factory automation has propelled skateboarding to become a multinational, multi-billion dollar industry. The best skateboarders require this level of precision in each deck. Otherwise, they could end up on their tails after a failed trick. Or much worse. As the commercial deck relies more and more on a process that is out of reach for mere mortals, there is great value in the handmade and one of a kind. Making things from scratch is a dying art on the brink of extinction. It was pushed to the edge when public schools dismissed woodworking classes and turned the school woodshop into a computer lab. And when you separate society from how things are made—even a skateboard—you lose touch with the labor and the materials and processes that contributed to its existence in the first place. It’s not long before you take for granted the value of an object. The result is a world where cheap labor produces cheap goods consumed by careless customers who don’t even value the things they own.

An Aside   To break with this routine I have written this manuscript in a way that challenges my reader to explore on the edge of language instead of drowning in devices intending to take for granted meanings and draw false assumptions burdened by planted biases. In your face are thrown one lie after another that defy what is actually seen and offer nothing of balance to either perspective or clarity on a daily basis... yet, it seems natural to you. Because there is no power to your sense of expectation. None. You are boxed into what is possible and what is not, even unsure of the shape of the earth. Led into debates over something as idiotic as that while you balk at having neighbors from elsewhere. So enormous is this Universe and yet you would limit its possibility to produce any of the wonders on some tiny grain of sand found on a beach in comparison. From written history anomalies have been spied and reported accomplishing what nothing today can. Trans Lunar Phenomena, recorded hundreds of years with thousands of reports demonstrate intelligent presence on the moon while nothing of this is factored into your narrow credulity. When one emerges who can answer resolution to so many anomaly, predicts events with accuracy, and offers what is needed to help you survive a planet crippled to the point of extinction, you cannot quit your routine of acquired preference for the mundane suited to a boxed-in comfort zone long enough to check him out. The few above this are too few. I feel quite privileged to have found four. Others are awakening yet still not shown to be at a point of no return to stifling group thought. If you are, then show me. Show me you are aware we near the point where nothing is left to lose. Where resolute action need not be possessed of fear. I will say this, unified consciousness would have no trouble with accepting this challenge I throw at your feet, but then conditions so favorable to enslavement here may be your problem and not that solely attributable to split consciousness. I am willing to engage with you to the very end of hope to find out. Wake up to the signs and ramifications of the trends set I have touched upon. Help awaits a world ready to receive it.

A note of caution: epigenetics is also on the verge of transforming into a dangerous idea. Epigenetic modifications of genes can potentially superpose historical and environmental information on cells and genomes—but this capacity is speculative, limited, idiosyncratic, and unpredictable: a parent with an experience of starvation produces children with obesity and overnourishment, while a father with the experience of tuberculosis, say, does not produce a child with an altered response to tuberculosis. Most epigenetic “memories” are the consequence of ancient evolutionary pathways, and cannot be confused with our longing to affix desirable legacies on our children. As with genetics in the early twentieth century, epigenetics is now being used to justify junk science and enforce stifling definitions of normalcy. Diets, exposures, memories, and therapies that purport to alter heredity are eerily reminiscent of Lysenko’s attempt to “reeducate” wheat using shock therapy. Mothers are being asked to minimize anxiety during their pregnancy—lest they taint all their children, and their children, with traumatized mitochondria. Lamarck is being rehabilitated into the new Mendel. These glib notions about epigenetics should invite skepticism. Environmental information can certainly be etched on the genome. But most of these imprints are recorded as “genetic memories” in the cells and genomes of individual organisms—not carried forward across generations. A man who loses a leg in an accident bears the imprint of that accident in his cells, wounds, and scars—but does not bear children with shortened legs. Nor has the uprooted life of my family seem to have burdened me, or my children, with any wrenching sense of estrangement. Despite Menelaus’s admonitions, the blood of our fathers is lost in us—and so, fortunately, are their foibles and sins. It is an arrangement that we should celebrate more than rue. Genomes and epigenomes exist to record and transmit likeness, legacy, memory, and history across cells and generations. Mutations, the reassortment of genes, and the erasure of memories counterbalance these forces, enabling unlikeness, variation, monstrosity, genius, and reinvention—and the refulgent possibility of new beginnings, generation upon generation.

All the substances that are the main drugs of abuse today originate in natural plant products and have been known to human beings for thousands of years. Opium, the basis of heroin, is an extract of the Asian poppy Papaver somniferum. Four thousand years ago, the Sumerians and Egyptians were already familiar with its usefulness in treating pain and diarrhea and also with its powers to affect a person’s psychological state. Cocaine is an extract of the leaves of Erythroxyolon coca, a small tree that thrives on the eastern slopes of the Andes in western South America. Amazon Indians chewed coca long before the Conquest, as an antidote to fatigue and to reduce the need to eat on long, arduous mountain journeys. Coca was also venerated in spiritual practices: Native people called it the Divine Plant of the Incas. In what was probably the first ideological “War on Drugs” in the New World, the Spanish invaders denounced coca’s effects as a “delusion from the devil.” The hemp plant, from which marijuana is derived, first grew on the Indian subcontinent and was christened Cannabis sativa by the Swedish scientist Carl Linnaeus in 1753. It was also known to ancient Persians, Arabs and Chinese, and its earliest recorded pharmaceutical use appears in a Chinese compendium of medicine written nearly three thousand years ago. Stimulants derived from plants were also used by the ancient Chinese, for example in the treatment of nasal and bronchial congestion. Alcohol, produced by fermentation that depends on microscopic fungi, is such an indelible part of human history and joy making that in many traditions it is honoured as a gift from the gods. Contrary to its present reputation, it has also been viewed as a giver of wisdom. The Greek historian Herodotus tells of a tribe in the Near East whose council of elders would never sustain a decision they made when sober unless they also confirmed it under the influence of strong wine. Or, if they came up with something while intoxicated, they would also have to agree with themselves after sobering up. None of these substances could affect us unless they worked on natural processes in the human brain and made use of the brain’s innate chemical apparatus. Drugs influence and alter how we act and feel because they resemble the brain’s own natural chemicals. This likeness allows them to occupy receptor sites on our cells and interact with the brain’s intrinsic messenger systems. But why is the human brain so receptive to drugs of abuse? Nature couldn’t have taken millions of years to develop the incredibly intricate system of brain circuits, neurotransmitters and receptors that become involved in addiction just so people could get “high” to escape their troubles or have a wild time on a Saturday night. These circuits and systems, writes a leading neuroscientist and addiction researcher, Professor Jaak Panksepp, must “serve some critical purpose other than promoting the vigorous intake of highly purified chemical compounds recently developed by humans.” Addiction may not be a natural state, but the brain regions it subverts are part of our central machinery of survival.

We see three men standing around a vat of vinegar. Each has dipped his finger into the vinegar and has tasted it. The expression on each man's face shows his individual reaction. Since the painting is allegorical, we are to understand that these are no ordinary vinegar tasters, but are instead representatives of the "Three Teachings" of China, and that the vinegar they are sampling represents the Essence of Life. The three masters are K'ung Fu-tse (Confucius), Buddha, and Lao-tse, author of the oldest existing book of Taoism. The first has a sour look on his face, the second wears a bitter expression, but the third man is smiling. To Kung Fu-tse (kung FOOdsuh), life seemed rather sour. He believed that the present was out step with the past, and that the government of man on earth was out of harmony with the Way of Heaven, the government of, the universe. Therefore, he emphasized reverence for the Ancestors, as well as for the ancient rituals and ceremonies in which the emperor, as the Son of Heaven, acted as intermediary between limitless heaven and limited earth. Under Confucianism, the use of precisely measured court music, prescribed steps, actions, and phrases all added up to an extremely complex system of rituals, each used for a particular purpose at a particular time. A saying was recorded about K'ung Fu-tse: "If the mat was not straight, the Master would not sit." This ought to give an indication of the extent to which things were carried out under Confucianism. To Buddha, the second figure in the painting, life on earth was bitter, filled with attachments and desires that led to suffering. The world was seen as a setter of traps, a generator of illusions, a revolving wheel of pain for all creatures. In order to find peace, the Buddhist considered it necessary to transcend "the world of dust" and reach Nirvana, literally a state of "no wind." Although the essentially optimistic attitude of the Chinese altered Buddhism considerably after it was brought in from its native India, the devout Buddhist often saw the way to Nirvana interrupted all the same by the bitter wind of everyday existence. To Lao-tse (LAOdsuh), the harmony that naturally existed between heaven and earth from the very beginning could be found by anyone at any time, but not by following the rules of the Confucianists. As he stated in his Tao To Ching (DAO DEH JEENG), the "Tao Virtue Book," earth was in essence a reflection of heaven, run by the same laws - not by the laws of men. These laws affected not only the spinning of distant planets, but the activities of the birds in the forest and the fish in the sea. According to Lao-tse, the more man interfered with the natural balance produced and governed by the universal laws, the further away the harmony retreated into the distance. The more forcing, the more trouble. Whether heavy or fight, wet or dry, fast or slow, everything had its own nature already within it, which could not be violated without causing difficulties. When abstract and arbitrary rules were imposed from the outside, struggle was inevitable. Only then did life become sour. To Lao-tse, the world was not a setter of traps but a teacher of valuable lessons. Its lessons needed to be learned, just as its laws needed to be followed; then all would go well. Rather than turn away from "the world of dust," Lao-tse advised others to "join the dust of the world." What he saw operating behind everything in heaven and earth he called Tao (DAO), "the Way." A basic principle of Lao-tse's teaching was that this Way of the Universe could not be adequately described in words, and that it would be insulting both to its unlimited power and to the intelligent human mind to attempt to do so. Still, its nature could be understood, and those who cared the most about it, and the life from which it was inseparable, understood it best.