Theater Camp Quotes

I just feel stupid’ ‘Not stupid,’ George says. ‘A romantic maybe. A dreamer.’ ‘A theater kid,’ Ashley says. ‘But never stupid,’ George finishes.

That was when they noticed that every musician on the stage was wearing mourning black. That was when they shut up. And when the conductor raised his arms, it was not a symphony that filled the cavernous space. It was the Song of Eyllwe. Then the Song of Fenharrow. And Melisande. And Terrasen. Each nation that had people in those labor camps. And finally, not for pomp or triumph, but to mourn what they had become, they played the Song of Adarlan. When the final note finished, the conductor turned to the crowd, the musicians standing with him. As one, they looked to the boxes, to all those jewels bought with the blood of a continent. And without a word, without a bow or another gesture, they walked off the stage. The next morning, by royal decree, the theater was shut down. No one saw those musicians or their conductor again.

Camp sees everything in quotation marks. It's not a lamp, but a "lamp"; not a woman, but a "woman." To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role. It is the farthest extension, in sensibility, of the metaphor of life as theater.

I could see their faces then, and the army became what it really was: forty thousand men—they were young men mostly, lots of them even younger than myself, and I was nineteen just two weeks before—out on their first march in the crazy weather of early April, going from Mississippi into Tennessee where the Union army was camped between two creeks with its back to a river, inviting destruction.

My therapist says that theater is a way for us to play with different identities without losing who we are, to try things on, to let go and not care what people think. And maybe he’s a little right, but he’s also wrong. Because theater is who we are. Those identities aren’t different costumes we try on—they’re different facets of us, different bits of truth. And it takes bravery to show those truths to the outside world.

now that he knows I’m a theater kid, it’s like all I am to him is some nature-averse princess, and I would be an amazing princess, don’t get me wrong—I rock a tiara—but I can do anything he can do and be a princess while doing it.

Empowered by the Enabling Law, Hitler launched a political blitzkrieg, destroying what remained of German democracy. He began by abolishing local assemblies and replacing provincial governors with Nazis. He sent SA thugs to brutalize political opponents and, when necessary, cart them off to newly opened concentration camps. He disposed of the unions by declaring May 1, 1933, a paid national holiday, then occupying union offices throughout the country on May 2. He purged the civil service of disloyal elements and issued a decree banning Jews from the professions. He placed theater, music, and radio productions under the control of Joseph Goebbels and barred unsympathetic journalists from doing their jobs. To ensure order, he consolidated political, intelligence, and police functions in a new organization, the Gestapo.

To be sure, late that afternoon, Union soldiers drifted into the Confederate camp, and soon knots of blue- and gray-clad men dotted the hills around Appomattox Court House; bullets were indeed replaced by backslaps, the rebel yell with a hearty Southern drawl, war fervor with the first hints of war nostalgia, unbridled hatred with nascent relief, and, by the next day, West Point mini-reunions were even breaking out at the McLean farmhouse. But

The difference between the butch and the queen is rooted in the system of male supremacy. Gay male camp is based not simply on the incongruous juxtaposition of femininity and maleness, but also on the reordering of particular power relationships inherent in our society’s version of masculinity and femininity. The most obvious cause for the minimum development of camp among lesbians was that masculinity was not and still isn’t as incongruous as femininity in twentieth century American culture and therefore not as easily used as a basis for humor. Concomitantly although individual women might be able to sexually objectify a man, women has a group did not have the social power to objectify men in general. Therefore, such objectification could never be the basis for a genre of humor with wide appeal. But why didn’t camp develop and thrive within the lesbian community itself? Because the structures of oppression were such that lesbians never really escaped from male supremacy. In lesbians’ actual struggles in the bars or out on the streets, authority was always male. For queens to confront male authority was a confrontation between two men, on some level equals. The queen was playing with male privilege, which was his by birthright. For women to confront male authority is to break all traditional training and roles. Without a solid organization of all women, this requires taking on a male identity, beating men at their own game. Passive resistance or the fist is most appropriate for the situation, though not a very good basis for theater and humor.

No matter how many times you give the orders, you don’t show them that you know damn well what’s going to happen next. Doesn’t matter if these boys are illiterate mudkickers or college boys. They’ll still aim that musket and do their best to kill that scoundrel over there who might be trying to do the same thing back. And afterward, whoever took the better shot goes back to the camps, talks to the new recruits, tells them all about it, and so more illiterates and college boys pick up their muskets, and by damned, they get all excited, and can’t wait to do the same thing. That’s how a war gets fought.

An introversion party is three people sprawled on couches and pillows, reading and occasionally talking. Or a couple cuddling by a fire at camp, savoring the music of crackling wood and crickets. Your introversion party might be a solitary walk where thoughts are exposed to air and become clear. You might find your party in meditation, when time expands and everything seems possible. Your party might come with popcorn as you passionately observe the big screen of the theater or with a steaming cup of Ethiopian blend as you watch people from your table at the coffeehouse, or with a cold beer as you watch the world go by from your porch.

Robert E. Lee had done his duty and, however heartbroken, was prepared to do his duty still. Having devoted himself to winning the war, until the bitter end, he was now beginning the transition to an equally fervent commitment, reuniting the two halves of the divided country. As he slowly rode back to his camp, some fifteen minutes away, advance soldiers began to shout, “General, are we surrendered?” Lee struggled for words to express his sense of despair and came up short; he was speechless. But soon, two solid walls of men began to line the road, and when he came into view, they began to cheer wildly. At the sound and the sight, tears started to roll in the general’s eyes, and his men, too, began to weep.

The plight of Jews in German-occupied Europe, which many people thought was at the heart of the war against the Axis, was not a chief concern of Roosevelt. Henry Feingold's research (The Politics of Rescue) shows that, while the Jews were being put in camps and the process of annihilation was beginning that would end in the horrifying extermination of 6 million Jews and millions of non-Jews, Roosevelt failed to take steps that might have saved thousands of lives. He did not see it as a high priority; he left it to the State Department, and in the State Department anti-Semitism and a cold bureaucracy became obstacles to action. Was the war being fought to establish that Hitler was wrong in his ideas of white Nordic supremacy over "inferior" races? The United States' armed forces were segregated by race. When troops were jammed onto the Queen Mary in early 1945 to go to combat duty in the European theater, the blacks were stowed down in the depths of the ship near the engine room, as far as possible from the fresh air of the deck, in a bizarre reminder of the slave voyages of old. The Red Cross, with government approval, separated the blood donations of black and white. It was, ironically, a black physician named Charles Drew who developed the blood bank system. He was put in charge of the wartime donations, and then fired when he tried to end blood segregation. Despite the urgent need for wartime labor, blacks were still being discriminated against for jobs. A spokesman for a West Coast aviation plant said: "The Negro will be considered only as janitors and in other similar capacities.... Regardless of their training as aircraft workers, we will not employ them." Roosevelt never did anything to enforce the orders of the Fair Employment Practices Commission he had set up.

The bottom drawer. Last chance. Camping equipment. Vuarnet sunglasses, three pairs without cases. She had three, six, ten of everything. Except! Except! And there it was. There it was. The gold. His gold. At the bottom of the bottom drawer, where he should have begun in the first place, in among a jumble of old schoolbooks and more teddy bears, a simple Scotties box, design of white, liliac, and pale green flowers on a lemony-white background "Each box of Scotties offers the softness and strength you want for your family..." You're no fool, D. Handwritten label on the box read, "Recipes." You cunning girl. I love you. Recipes. I'll give you teddy bears up the gazoo! Inside the Scotties box were her recipes - "Deborah's Sponge Cake," "Deborah's Brownies", "Deborah's Chocolate Chip Cookies," "Deborah's Divine Lemon Cake" - neatly written in blue ink in her hand. A fountain pen. The last kid in America to write with a fountain pen. You won't last five minutes in Bahia. A short, very stout woman was standing in the doorway of Deborah's bedroom screaming.

Excuse me,” someone said, interrupting a lively discussion about whom they’d each buy a drink for in the cantina. The whole line looked up. There were two women standing on the sidewalk with bakery boxes. One of them cleared her throat. “We heard that people were camping out for Star Wars . . .” “That’s us!” Troy said, only slightly less enthusiastically than he’d said it yesterday. “Where’s everybody else?” she asked. “Are they around the back? Do you do this in shifts?” “It’s just us,” Elena said. “We’re the Cupcake Gals,” the other woman said. “We thought we’d bring Star Wars cupcakes? For the line?” “Great!” Troy said. The Cupcake Gals held on tight to their boxes. “It’s just . . .” the first woman said, “we were going to take a photo of the whole line, and post it on Instagram . . .” “I can help you there!” Elena said. Those cupcakes were not going to just walk away. Not on Elena’s watch. Elena took a selfie of their line, the Cupcake Gals and a theater employee all holding Star Wars cupcakes—it looked like a snapshot from a crowd— and promised to post it across all her channels. The lighting was perfect. Magic hour, no filter necessary. #CupcakeGals #TheForceACAKEns #SalaciousCrumbs The Gals were completely satisfied and left both boxes of cupcakes. “This is the first time I’ve been happy that there were only three of us,” Elena said, helping herself to a second cupcake. It was frosted to look like Chewbacca. “You saved these cupcakes,” Gabe said. “Those women were going to walk away with them.” “I know,” Elena said. “I could see it in their eyes. I would’ve stopped at nothing to change their minds.” “Thank God they were satisfied by a selfie then,” Gabe said. His cupcake looked like Darth Vader, and his tongue was black. “I’m really good at selfies,” Elena said. “Especially for someone with short arms.” “Great job,” Troy said. “You’ll make someone a great provider someday.” “That day is today,” Elena said, leaning back against the theater wall. “You’re both welcome.” “Errrggh,” Troy said, kicking his feet out. “Cupcake coma.” “How many did you eat?” Gabe asked. “Four,” Troy said. “I took down the Jedi Council. Time for a little midday siesta—the Force asleepens.

Clad in red velvet it came, the very covering my old Master had so loved, the dream king, Marius. It came swaggering and camping through the lighted streets of Paris as though God had made it. But it was a vampire child, the same as I, son of the seventeen hundreds, as they reckoned the time to be then, a blazing, brash, bumbling, laughing and teasing blood drinker in the guise of a young man, come to stomp out whatever sacred fire yet burnt in the cleft scar tissue of my soul and scatter the ashes. It was The Vampire Lestat. It wasn't his fault. Had one of us been able to strike him down one night, break him apart with his own fancy sword and set him ablaze, we might have had a few more decades of our wretched delusions. But nobody could. He was too damned strong for us. Created by a powerful and ancient renegade, a legendary vampire by the name of Magnus, this Lestat, aged twenty in mortal years, an errant and penniless country aristocrat from the wild lands of Auvergne, who had thrown over custom and respectability and any hope of court ambitions, of which he had none anyway since he couldn't even read or write, and was too insulting to wait on any King or Queen, who became a wild blond-haired celebrity of the boulevard gutter theatricals, a lover of men and women, a laughing happy-go-lucky blindly ambitious self-loving genius of sorts, this Lestat, this blue-eyed and infinitely confident Lestat, was orphaned on the very night of his creation by the ancient monster who made him, bequeathed to him a fortune in a secret room in a crumbling medieval tower, and then went into the eternal comfort of the ever devouring flames. This Lestat, knowing nothing of Old Covens and Old Ways, of soot covered gangsters who thrived under cemeteries and believed they had a right to brand him a heretic, a maverick and a bastard of the Dark Blood, went strutting about fashionable Paris, isolated and tormented by his supernatural endowments yet glorying in his new powers, dancing at the Tuileries with the most magnificently clad women, reveling in the joys of the ballet and the high court theater and roaming not only in the Places of Light, as we called them, but meandering mournfully in Notre Dame de Paris itself, right before the High Altar, without the lightning of God striking him where he stood. Armand’s description of Lestat from The Vampire Armand

Robert Askins Brings ‘Hand to God’ to Broadway Chad Batka for The New York Times Robert Askins at the Booth Theater, where his play “Hand to God” opens on Tuesday. By MICHAEL PAULSON The conceit is zany: In a church basement, a group of adolescents gathers (mostly at the insistence of their parents) to make puppets that will spread the Christian message, but one of the puppets turns out to be more demonic than divine. The result — a dark comedy with the can-puppets-really-do-that raunchiness of “Avenue Q” and can-people-really-say-that outrageousness of “The Book of Mormon” — is “Hand to God,” a new play that is among the more improbable entrants in the packed competition for Broadway audiences over the next few weeks. Given the irreverence of some of the material — at one point stuffed animals are mutilated in ways that replicate the torments of Catholic martyrs — it is perhaps not a surprise to discover that the play’s author, Robert Askins, was nicknamed “Dirty Rob” as an undergraduate at Baylor, a Baptist-affiliated university where the sexual explicitness and violence of his early scripts raised eyebrows. But Mr. Askins had also been a lone male soloist in the children’s choir at St. John Lutheran of Cypress, Tex. — a child who discovered early that singing was a way to make the stern church ladies smile. His earliest performances were in a deeply religious world, and his writings since then have been a complex reaction to that upbringing. “It’s kind of frustrating in life to be like, ‘I’m a playwright,’ and watch people’s face fall, because they associate plays with phenomenally dull, didactic, poetic grad-schoolery, where everything takes too long and tediously explores the beauty in ourselves,” he said in a recent interview. “It’s not church, even though it feels like church a lot when we go these days.” The journey to Broadway, where “Hand to God” opens on Tuesday at the Booth Theater, still seems unlikely to Mr. Askins, 34, who works as a bartender in Brooklyn and says he can’t afford to see Broadway shows, despite his newfound prominence. He seems simultaneously enthralled by and contemptuous of contemporary theater, the world in which he has chosen to make his life; during a walk from the Cobble Hill coffee shop where he sometimes writes to the Park Slope restaurant where he tends bar, he quoted Nietzsche and Derrida, described himself as “deeply weird,” and swore like, well, a satanic sock-puppet. “If there were no laughs in the show, I’d think there was something wrong with him,” said the actor Steven Boyer, who won raves in earlier “Hand to God” productions as Jason, a grief-stricken adolescent with a meek demeanor and an angry-puppet pal. “But anybody who is able to write about such serious stuff and be as hilarious as it is, I’m not worried about their mental health.” Mr. Askins’s interest in the performing arts began when he was a boy attending rural Texas churches affiliated with the conservative Lutheran Church-Missouri Synod denomination; he recalls the worshipers as “deeply conservative, old farm folks, stone-faced, pride and suffering, and the only time anybody ever really livened up was when the children’s choir would perform.” “My grandmother had a cross-stitch that said, ‘God respects me when I work, but he loves me when I sing,’ and so I got into that,” he said. “For somebody who enjoys performance, that was the way in.” The church also had a puppet ministry — an effort to teach children about the Bible by use of puppets — and when Mr. Askins’s mother, a nurse, began running the program, he enlisted to help. He would perform shows for other children at preschools and vacation Bible camps. “The shows are wacky, but it was fun,” he said. “They’re badly written attempts to bring children to Jesus.” Not all of his formative encounters with puppets were positive. Particularly scarring: D

It’s depressing at times, but I try to keep a sense of perspective. Sweet F.A. will never be more than a bunch of thugs and vandals, high in nuisance value, but politically irrelevant. I’ve seen them on TV, marching around their “training camps” in designer camouflage, or sitting in lecture theaters, watching recorded speeches by their guru, Jack Kelly, or (oblivious to the irony) messages of “international solidarity” from similar organizations in Europe and North America.

the long roll called William Wofford’s Georgia brigade to fall in for duty. Orders were issued to fill haversacks with snowballs and form line of battle, and behind its color guards the brigade marched two miles to the camp of Joseph Kershaw’s South Carolina brigade. “We were in line of battle on a hill and Kershaw’s formed and come out to fight us,” Georgian Jim Mobley wrote his brother. “The field officers was on their horses and when they come against us, they come with a hollar! and, Benjamin, Great God, I never saw snow balls fly so in my life.” The order to open fire was given at 100 feet. Charge and countercharge were spirited by the Rebel yell. Combat was hand-to-hand, prisoners were taken. “I tell you it beat anything . . . ,” Mobley exclaimed. “There was 4000 men engaged on both sides, and you know it was something!

At one point they passed a newly abandoned Rebel encampment, and Captain Bowers was surprised to see that it looked just like one of their own. “In every respect it was as good a camp as any we have had. . . .” (Rummaging through this campsite, men of the 2nd Maine came upon a packet of photographs of Federal soldiers. Someone recognized a name on one of them as a man in their brigade, and before long Sergeant Walter Carter, 22nd Massachusetts, was handed the pictures he had lost on the Fredericksburg battlefield five months earlier. And scavengers in the 83rd Pennsylvania recovered some of the fancy French knapsacks they had lost at Gaines’s Mill the previous June.)

After completing work in December 1950 on Along the Great Divide, Walter Brennan made the first of several appearances on Family Theater, a radio series conceived by Father Patrick Peyton, who convinced the Mutual Broadcasting Corporation to air 540 half hour dramas from 1947 to 1957. No commercial interruptions followed what was a short sermon to the effect that the family who prays together stays together. On January 24, 1951, in “A Star for Helen,” Brennan played a janitor, Mr. Brannigan, a man of devout faith, who provides comfort and counsel to a young girl, Helen Jackson, coping with her mother’s alcoholism. Not all Family Theater dramas had a religious message. On May 16, he starred in an adaptation of the Bret Harte story, “The Luck of Roaring Camp,” on March 5, 1952, in “The Land of Sunshine,” and on October 8 in “Mail Order Missus.

Indian Bar’s reputation as a notorious bear enclave can be accounted for by the acres of blueberries surrounding the camp. While they draw the bears, the berries also assure backcountry campers that bears will look upon them as nuisances in the berrypatch rather than two hundred pounds of meat on the hoof. That is, if you arrive during berry season. Which I did not. A ranger had issued me a wilderness permit to pitch my tent among the bears outside the designated camp, but by the time I’d bushwhacked to the top of a ridge above the Ohanapecosh River, I’d begun to question the wisdom of my decision. Every tentsize clearing under every tree bore the wilderness equivalent of a coat on a theater seat: bear scat big as cowpies and puddingly fresh.

Frank Fiorini, better known as Frank Sturgis, had an interesting career that started when he quit high school during his senior year to join the United States Marine Corps as an enlisted man. During World War II he served in the Pacific Theater of Operations with Edson’s Raiders, of the First Marine Raiders Battalion under Colonel “Red Mike.” In 1945 at the end of World War II, he received an honorable discharge and the following year joined the Norfolk, Virginia Police Department. Getting involved in an altercation with his sergeant, he resigned and found employment as the manager of the local Havana-Madrid Tavern, known to have had a clientele consisting primarily of Cuban seamen. In 1947 while still working at the tavern, he joined the U.S. Navy’s Flight Program. A year later, he received an honorable discharge and joined the U.S. Army as an Intelligence Officer. Again, in 1949, he received an honorable discharge, this time from the U.S. Army. Then in 1957, he moved to Miami where he met former Cuban President Carlos Prío, following which he joined a Cuban group opposing the Cuban dictator Batista. After this, Frank Sturgis went to Cuba and set up a training camp in the Sierra Maestra Mountains, teaching guerrilla warfare to Castro’s forces. He was appointed a Captain in Castro’s M 26 7 Brigade, and as such, he made use of some CIA connections that he apparently had cultivated, to supply Castro with weapons and ammunition. After they entered Havana as victors of the revolution, Sturgis was appointed to a high security, intelligence position within the reorganized Cuban air force. Strangely, Frank Sturgis returned to the United States after the Cuban Revolution, and mysteriously turned up as one of the Watergate burglars who were caught installing listening devices in the National Democratic Campaign offices. In 1973 Frank A. Sturgis, E. Howard Hunt, Eugenio R. Martínez, G. Gordon Liddy, Virgilio R. “Villo” González, Bernard L. Barker and James W. McCord, Jr. were convicted of conspiracy. While in prison, Sturgis feared for his life if anything he had done, regarding his associations and contacts, became public knowledge. In 1975, Sturgis admitted to being a spy, stating that he was involved in assassinations and plots to overthrow undisclosed foreign governments. However, at the Rockefeller Commission hearings in 1975, their concluding report stated that he was never a part of the CIA…. Go figure! In 1979, Sturgis surfaced in Angola where he trained and helped the rebels fight the Cuban-supported communists. Following this, he went to Honduras to train the Contras in their fight against the communist-supported Sandinista government. He also met with Yasser Arafat in Tunis, following which he was debriefed by the CIA. Furthermore, it is documented that he met and talked to the Venezuelan terrorist Ilich Ramírez Sánchez, or Carlos the Jackal, who is now serving a life sentence for murdering two French counter intelligence agents. On December 4, 1993, Sturgis suddenly died of lung cancer at the Veterans Hospital in Miami, Florida. He was buried in an unmarked grave south of Miami…. Or was he? In this murky underworld, anything is possible.

All right, so . . . she’d expected there to be more people here. The Facebook group she’d found—Camp Star Wars: Omaha!!!—had eighty-five members, not including Elena, who was more of a lurker than a joiner. This was definitely the right theater; the Facebook posts had been very clear. (Maybe it was Troy who posted them.) Elena had planned to continue her more-lurker-than-joiner strategy in the line. She thought she’d show up and then sort of disappear into the crowd until she got her sea legs. Her line legs. It was a pretty good strategy for most social situations: show up, fall back, let somebody else break the ice and take the spotlight. Somebody else always would. Extroverts were nothing if not dependable. But even an expert mid-trovert like Elena couldn’t lie low in a crowd of three. (Though this Gabe kid seemed to be trying.) Elena was going to be here for four days. She was going to have to talk to these people, at least until someone else showed up.

It was the Song of Eyllwe. Then the Song of Fenharrow. And Melisande. And Terrasen. Each nation that had people in those labor camps. And finally, not for pomp or triumph, but to mourn what they had become, they played the Song of Adarlan. When the final note finished, the conductor turned to the crowd, the musicians standing with him. As one, they looked to the boxes, to all those jewels bought with the blood of a continent. And without a word, without a bow or another gesture, they walked off the stage. The next morning, by royal decree, the theater was shut down. No one saw those musicians or their conductor again.

Probably the biggest laugh of all that rainy night was at the expense of Private T.C. Green of the Second Regiment. Before the battle Green had been outspoken in the number of Federals he intended killing, and at day's end went through the camp recounting how many of the enemy he had shot before something went wrong with his gun. When a messmate examined the weapon, he found that the gun had not been fired at all, but was full of unexploded charges. In his excitement Green had gone through the motions of loading and firing, but had omitted some essentials, such as changing caps and pulling the trigger, and hence had done absolutely no harm to the enemy.

The musical and the production embraced cheap bohemianism, and a clever, similarly minded marketing campaign sold cheap tickets to anyone who wanted to camp out on the street outside the run-down Nederlander Theater, which is right up the street from the gritty Port Authority Bus Terminal and was frequently populated by homeless people at the time. An astonishing number of young audience members enthusiastically took up the challenge, often sleeping on the street all night, and often for a remarkable number of repeat visits. According to Elizabeth Wollman, the marketing campaigns for rock musicals often have to be particularly innovative because of the difficulties of selling this kind of musical, and Rent was no exception.8 But the invitation to join the onstage community of Rent—the invitation for the audience to imagine themselves as the offstage counterparts to the characters—was an easy leap. That invitation is built into the story, the lyrics, and the performance style of the songs in the show, which were sung either directly to the audience, at standing microphones set downstage left and right, or into the obvious radio microphones the actors wore on their heads, with the accompaniment of an onstage rock band.

How time, judgment, and criticism fell away in favor of inclusion, which was something theater kids and football teams had in common. The other thing they had in common was the way they shared the burden of anxiety, everyone united, everyone shouldering one another’s responsibilities.

Beaufort poured himself more beer while he thought on this. Of course Todd Beaufort would fall into that camp. Most men who never serve do. Hed always worn blank dog tags, Soine inscrutable statement about his badassedness, and Dan could see the chain now. Even before the wars, he was emulating behavior many civilians would come to follow: wrapping themselves in the theater of war, pretending at honor and sacrifice without actually bothering with either of the two. Flag and bumper sticker patriot without any idea of just how gruesome the business of it could be. How rancid, wet, and sticky it was.

The prize money certainly said something about FIFA’s priorities, though. The same week the 2015 Women’s World Cup kicked off, United Passions debuted in movie theaters. It was a propaganda film that FIFA produced about itself and bankrolled for around $30 million. That’s double the total amount of prize money FIFA made available to all teams participating in the 2015 Women’s World Cup. The film earned less than $1,000 in its debut weekend in North America, for the worst box-office opening in history, and it went down as the lowest-grossing film in U.S. history. Almost all the millions of dollars FIFA poured into making the movie was lost. The film has a 0% rating on the popular movie-review-aggregation website Rotten Tomatoes, and a New York Times review called it “one of the most unwatchable films in recent memory.” And remember the uncomfortable encounter at the team hotel between the Americans and Brazilians after the 2007 Women’s World Cup semifinal? That would never happen in a men’s World Cup. That’s because FIFA assigns different hotels and training facilities to each men’s team, to serve as a base camp throughout the tournament. The women don’t get base camps—they jump from city to city and from hotel to hotel during the World Cup, and they usually end up bumping into their opponents, who are given the same accommodations. American coach Jill Ellis said she almost walked into the German meal room at the World Cup once. “Sometimes you’re in the elevator with your opponent going down to the team buses for a game,” Heather O’Reilly says. “It’s pretty awkward.

1) A “Ladies Who Lunch Party” thrown at the country club. Waiters carried hors d’oeuvres around, kneeling on the ground so that the little girls could reach them. The lunch was nicer than Jane’s wedding shower, possibly nicer than her wedding. 2) A “Movie Premiere Party” where the entire theater was rented out and the kids were allowed as much popcorn and candy as they wanted while watching a double feature of Moana and Monsters, Inc. (Lauren threw up in her bed that night.) 3) A “Camping Party” where each child received a sleeping bag personalized with her name and the backyard was set up with mini pink tents and paper lanterns. Someone was hired to grill the hot dogs and make the s’mores. 4) A “Spa Party” at the Four Seasons downtown where the girls got facials and fluffy pink robes and slippers. (Because what first grader wouldn’t appreciate getting rid of clogged pores?)

Loftus learned for herself how realistic false memories can seem when she had an upsetting experience several years ago. She was shocked when, at a family gathering, an uncle informed her that thirty years earlier, when her mother drowned in a pool, she had been the one who discovered the body. Loftus, who was fourteen when the drowning occurred, always believed that she had never seen her mother's dead body. Indeed, she remembered little about the death itself. She recounts what happened the next in her book 'The Myth of Repressed Memory'. Almost immediately after her uncle's revelation, 'the memories began to drift back, like the crisp, piney smoke from evening camp fires. My mother, dressed in her nightgown, was floating face down. . . . I started screaming. I remembered the police cars, their lights flashing'. A few days later, she writes, 'my brother called to tell me that my uncle had made a mistake. Now he remembered (and other relatives confirmed) that Aunt Pearl had found my mother's body.' This shocked Loftus even more than her uncle's false revelation. If someone so specially trained as she is to recognize fallible memories could suddenly believe her own false memory, just think how readily the average person can be fooled.

There’s more!! In addition to your $400,000/year salary, you also get: • A no-questions-asked $50,000 expense account—in other words, you’re not required to provide receipts to get reimbursed. But if you don’t spend it all, you have to give what’s left back to the Treasury Department every year. • To live rent-free in a nice big house that includes a bowling alley, putting green, jogging track, billiard room, tennis courts, swimming pool, and movie theater (with various contacts in Hollywood providing all first-run movies for free). • Five full-time chefs who are standing by to prepare the food you paid for (see above). A nice, secluded, 180-acre vacation home in Maryland called Camp David that includes numerous cabins for the president and guests, a heated pool, tennis, horseshoes, bowling, a three-hole golf course, an archery range, and a trout stream. • The presidential version of “public” transportation: limos, helicopters, and your own personal jets. • Up to one million dollars you can spend every year for “unanticipated needs,” in case you ever go over budget somewhere else.

escaped from a Russian prison camp?” “Yes. I know cement from this time.” “Then you’re hired.” Chapter Forty The Martels rented a small house in Baker within walking distance of Emil’s work site. Adeline found a job cleaning rooms at the only motel in town for fifty cents an hour. Walt officially changed his formal name from Waldemar to Walter and found work after school at the butcher shop and at the movie theater as a projectionist. Will changed his name from Wilhelm to William and called himself “Bill.” He bagged groceries at the local store and swept the theater floors. They pooled their money, saving until they could afford to buy a small lot across from the high school and pay to have a basement foundation dug and poured. Emil worked at the hospital site and other projects during the day and, with Bill, put down a subfloor on top of the foundation in the evenings. They also installed plumbing, electrical lines, and a woodstove in the basement.

Until… “Sue Gliebe!” a man’s voice called out. “You little titmouse!” Bob Roy was the only man in the world who called her a titmouse. Bob Roy had been the general business manager of the ACLO but lived in New York City. He was a Theater Professional contracted for the season and a homosexual. He had once been an actor on Broadway and he’d done commercials in the 1960s but went into theater management for steady work. Running the Civic Light Opera out west was a summer camp for him—he did it every year—and took his duties a little less seriously than he did laughing and gossiping.

Even before the first Soviet tanks crossed into Afghanistan in 1979, a movement of Islamists had sprung up nationwide in opposition to the Communist state. They were, at first, city-bound intellectuals, university students and professors with limited countryside appeal. But under unrelenting Soviet brutality they began to forge alliances with rural tribal leaders and clerics. The resulting Islamist insurgents—the mujahedeen—became proxies in a Cold War battle, with the Soviet Union on one side and the United States, Pakistan, and Saudi Arabia on the other. As the Soviets propped up the Afghan government, the CIA and other intelligence agencies funneled millions of dollars in aid to the mujahedeen, along with crate after crate of weaponry. In the process, traditional hierarchies came radically undone. When the Communists killed hundreds of tribal leaders and landlords, young men of more humble backgrounds used CIA money and arms to form a new warrior elite in their place. In the West, we would call such men “warlords.” In Afghanistan they are usually labeled “commanders.” Whatever the term, they represented a phenomenon previously unknown in Afghan history. Now, each valley and district had its own mujahedeen commanders, all fighting to free the country from Soviet rule but ultimately subservient to the CIA’s guns and money. The war revolutionized the very core of rural culture. With Afghan schools destroyed, millions of boys were instead educated across the border in Pakistani madrassas, or religious seminaries, where they were fed an extreme, violence-laden version of Islam. Looking to keep the war fueled, Washington—where the prevailing ethos was to bleed the Russians until the last Afghan—financed textbooks for schoolchildren in refugee camps festooned with illustrations of Kalashnikovs, swords, and overturned tanks. One edition declared: Jihad is a kind of war that Muslims fight in the name of God to free Muslims.… If infidels invade, jihad is the obligation of every Muslim. An American text designed to teach children Farsi: Tey [is for] Tofang (rifle); Javed obtains rifles for the mujahedeen Jeem [is for] Jihad; Jihad is an obligation. My mom went to the jihad. The cult of martyrdom, the veneration of jihad, the casting of music and cinema as sinful—once heard only from the pulpits of a few zealots—now became the common vocabulary of resistance nationwide. The US-backed mujahedeen branded those supporting the Communist government, or even simply refusing to pick sides, as “infidels,” and justified the killing of civilians by labeling them apostates. They waged assassination campaigns against professors and civil servants, bombed movie theaters, and kidnapped humanitarian workers. They sabotaged basic infrastructure and even razed schools and clinics. With foreign backing, the Afghan resistance eventually proved too much for the Russians. The last Soviet troops withdrew in 1989, leaving a battered nation, a tottering government that was Communist in name only, and a countryside in the sway of the commanders. For three long years following the withdrawal, the CIA kept the weapons and money flowing to the mujahedeen, while working to block any peace deal between them and the Soviet-funded government. The CIA and Pakistan’s spy agency pushed the rebels to shell Afghan cities still under government control, including a major assault on the eastern city of Jalalabad that flattened whole neighborhoods. As long as Soviet patronage continued though, the government withstood the onslaught. With the collapse of the Soviet Union in late 1991, however, Moscow and Washington agreed to cease all aid to their respective proxies. Within months, the Afghan government crumbled. The question of who would fill the vacuum, who would build a new state, has not been fully resolved to this day.