Tour Status Quotes

Here’s the story of how Pluto lost its planetary status and was demoted to an ice ball in the outer solar system. It’s also about my role in this at the Rose Center for Earth and Space at the American Museum of Natural History.

When someone asks, "What do you do?” don't start with your occupation or family status. Instead, tell them about the "real you" with a spin. You might say, "Back home I'm run a coffee shop, but on this trip, I'm getting in touch with the part of me who wished she'd studied archeology.

Christians are soldiers of Christ on active duty. As citizens of heaven, they long for their homeland and readily acknowledge their status as pilgrims and sojourners in this present world. One day in the future, Jesus will return to withdraw His troops from this temporary tour of duty called “life.” Until that time, the church serves as His outpost on earth. That colony of heaven cannot be defined geographically, but it is no less real. The Lord reigns in the hearts of men and women who have been redeemed by His Son.

In nearly all of the country’s nineteen thousand municipalities,117 declining or stagnant property tax revenues, along with mounting costs, have reached crisis proportions. The opioid crisis, the mass shootings, the rising rates of suicide, especially among middle-aged white males, the morbid obesity, the obsession with gambling, the investment of our emotional and intellectual life in tawdry spectacles, and the allure of magical thinking, from the absurd promises of the Christian right to the belief that reality is never an impediment to our desires, are the pathologies of a diseased culture. They have risen from a decayed world where opportunity, which confers status, self-esteem, and dignity, has dried up for most Americans. They are expressions of morbidity.

Kelly, Buckley, and Jewett were of the mind that Bell Labs would soon become—or was already—the largest and most advanced research organization in the world. As they toured industrial labs in the United States and Europe in the mid-1930s, seeking ideas for their own project, their opinions were reinforced. They wanted the new building to reflect the Labs’ lofty status and academic standing—“surroundings more suggestive of a university than a factory,” in Buckley’s words, but with a slight but significant difference. “No attempt has been made to achieve the character of a university campus with its separate buildings,” Buckley told Jewett. “On the contrary, all buildings have been connected so as to avoid fixed geographical delineation between departments and to encourage free interchange and close contact among them.

Declan had been told a long time ago that he had to know what he wanted, or he'd never get it. Not by his father, because his father would never have delivered such pragmatic advice in such a pragmatic way. No, even if Niall Lynch believed in the sentiment, he would have wrapped it up in a long story filled with metaphor and magic and nonsense riddles. Only years after the storytelling would Declan be sitting somewhere and realize that all along Niall had been trying to teach him to balance his checkbook, or whatever the tale had really been about. Niall could never just say the thing. No, this piece of advice--You have to know what you want, or you'll never get it--was given to Declan by a senator from Nevada he'd met during a DC field trip back in eighth grade. The other children had been bored by the pale stone restraint of the city and the sameness of the law and government offices they toured. Declan, however, had been fascinated. He'd asked the senator what advice he had for those looking to get into politics. "Come from money," the senator had said first, and then when all the eighth graders and their teachers had stared without laughing, he added, "You have to know what you want, or you'll never get it. Make goals." Declan made goals. The goal was DC. The goal was politics. The goal was structure, and more structure, and yet more structure. He took AP classes on political science and policy. When he traveled with his father to black markets, he wrote papers. When he took calls from gangsters and shady antique auction houses, he arranged drop-offs near DC and wrangled meetings with HR people. Aglionby Academy made calls and pulled strings; he got names, numbers, internships. All was going according to plan. His father's will conveniently left him a townhouse adjacent to DC. Declan pressed on. He kept his brothers alive; he graduated; he moved to DC. He made the goal, he went towards the goal. When he took his first lunch meeting with his new boss, he found himself filled with the same anticipation he'd had as an eighth grader. This was the place, he thought, where things happened. Just across the road was the Mexican embassy. Behind him was the IMF. GW Law School was a block away. The White House, the USPS, the Red Cross, all within a stone's throw. This was before he understood there was no making it for him. He came from money, yeah, but the wrong kind of money. Niall Lynch's clout was not relevant in this daylight world; he only had status in the night. And one could not rise above that while remaining invisible to protect one's dangerous brother. On that first day of work, Declan walked into the Renwick Gallery and stood inside an installation that had taken over the second floor around the grand staircase. Tens of thousands of black threads had been installed at points all along the ceiling, tangling around the Villareal LED sculpture that normally lit the room, snarling the railing over the stairs, blocking out the light from the tall arches that bordered the walls, turning the walkways into dark, confusing rabbit tunnels. Museumgoers had to pick their way through with caution lest they be snared and bring the entire world down with them. He had, bizarrely, felt tears burning the corners of his eyes. Before that, he hadn't understood that his goals and what he wanted might not be the same thing. This was where he'd found art.

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You can read Moneyball as a testament to the analytical awakening in American sports, but you can also read it as a celebration of the irreversible integration of finance ideals and sports strategies. You can read it as a manual for integrating the ideological insights of finance capitalism into a front office, but you can also read it as evidence that our culture’s outrageous mania for computation, quantification, and efficiency is now striding alongside our favorite athletes on the playing surfaces of Fenway Park and Madison Square Garden. Make no mistake, this mania has always been there, but in post-Moneyball America, computation, quantification, and efficiency have achieved a superstar status like we’ve never seen before.

A loss of adequate income and social stagnation causes more than financial distress. It severs, as the sociologist Émile Durkheim pointed out in The Division of Labour in Society, the vital social bonds that give us meaning. A decline in status and power, an inability to advance, a lack of education and health care, and a loss of hope are crippling forms of humiliation. This humiliation fuels loneliness, frustration, anger, and feelings of worthlessness. In short, when you are marginalized and rejected by society, life often has little meaning. There arises a yearning among the disempowered to become as omnipotent as the gods. The impossibility of omnipotence leads, as the cultural anthropologist Ernest Becker wrote in The Denial of Death, to its dark alternative—destroying like the gods. In Hitler and the Germans the political philosopher Eric Voegelin dismissed the myth that Hitler—an uneducated mediocrity whose only strengths were oratory and an ability to exploit political opportunities—mesmerized and seduced the German people. The Germans, he wrote, voted for Hitler and the “grotesque, marginal figures”118 surrounding him because he embodied the pathologies of a diseased society, one beset by economic collapse, hopelessness, and violence. Voegelin defined stupidity as a “loss of reality.”119 This loss of reality meant a “stupid” person could not “rightly orient his action in the world, in which he lives.”120 The demagogue, who is always an idiote, is not a freak or a social mutation. The demagogue expresses the society’s zeitgeist.

When capitalism thrives, we are assured, we thrive. The merging of the self with the capitalist collective has robbed us of our agency, creativity, capacity for self-reflection, and moral autonomy. We define our worth not by our independence or our character but by the material standards set by capitalism—personal wealth, brands, status, and career advancement. We are molded into a compliant and repressed collective. This mass conformity is characteristic of totalitarian and authoritarian states. It is the Disneyfication of America, the land of eternally happy thoughts and positive attitudes. And when magical thinking does not work, we are told, and often accept, that we are the problem. We must adjust. We must have more faith. We must be positive. We must envision what we want. We must try harder. The system is never to blame. We failed it. It did not fail us.

When I laid the ground plan of my journey, there were definite questions to which I wanted matching answers. ... I suppose they could all be lumped into the single question: 'What are Americans like today?' In Europe it is a popular sport to describe what Americans are like. Everyone seems to know. And we are equally happy in this game. How many times have I not heard one of my fellow countrymen, after a three-week tour of Europe, describe with certainty the nature of the French, the British, the Italians, the Germans, and above all the Russians? Traveling about, I early learned the difference between an American and the Americans. They are so far apart that they might be opposites. Often when a European has described the Americans with hostility and scorn he has turned to me and said, 'Of course, I don't mean you. I am speaking of those others.' It boils down to this: the Americans, the British are that faceless clot you don't know, but a Frenchman or an Italian is your acquaintance and your friend. He has none of the qualities your ignorance causes you to hate. I had always considered this a kind of semantic deadfall, but moving about in my own country I am not at all sure that is so. Americans as I saw them and talked to them were indeed individuals, each one different from the others, but gradually I began to feel that the Americans exist, that they really do have generalized characteristics regardless of their states, their social and financial status, their education, their religious and political convictions. But if there is indeed an American image built of truth rather than reflecting either hostility or wishful thinking, what is this image? What does it look like? What does it do? If the same song, the same joke, the same style sweeps through all parts of the country at once, it must be that all Americans are alike in something. The fact that the same joke, the same style, has no effect in France or England or Italy makes this contention valid. But the more I inspected this American image, the less sure I became of what it is. It appeared to me increasingly paradoxical, and it has been my experience that when paradox crops up too often for comfort, it means that certain factors are missing in the equation.

Kanye West's influence extends far beyond the confines of music, resonating deeply in the realms of fashion and pop culture. His merchandise, often referred to simply as "Kanye West merch," has become a significant cultural phenomenon, reflecting his unique aesthetic and visionary approach. Kanye's venture into merchandise began with his concert tours, where limited-edition items became coveted symbols of fandom. The 2013 "Yeezus" tour marked a turning point, with merch that blended gothic motifs and bold graphics, creating a distinctive style that would define his future collections. Fans eagerly lined up for hours to grab a piece of Kanye's world, often reselling items at a premium, further cementing the status of his merch as not just apparel, but collector's items. In 2016, the "Life of Pablo" pop-up shops took this to a new level. Located in various global cities, these shops sold minimalist, streetwear-inspired pieces emblazoned with religious and personal iconography. The launch was a testament to Kanye's marketing genius and his ability to create a buzz that transcends traditional retail methods. The immediate sell-out of these items showcased his knack for blending exclusivity with mass appeal.

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In the rein of ignorance, the constant state of war which lasted for twenty years did not stop a certain amount of rationality that allowed this writings. pg200 And young men are accustomed from the first to idleness, effeminacy and frivolity, coming eventually to the business of life with empty heads and hearts crammed with false ideals…less credit and wealth, less dignity and prestige. They display vanity, but legitimate pride never. The men of pleasure are well received in society because they are light-hearted, gay, witty, dissipated, easy-going, amateurs of every pleasure. Pg224 The fair dames of the period resorted to every means to stimulate their sensibilities. They seek excitement in dissecting dead bodies. “The young Contesse de Coigny was so passionately fond of this dreadful study (Anatomy), that she would never start on a journey without taking in the boot of her traveling carriage a corpse to dissect, just as one takes with one a book to read.” – Mme. de Gengis, Mémoires, vol I. This mania for dissection was for some time extremely fashionable with ladies of quality. Pg226 On these ridiculous types was built up the whole school of impotent and despairing lovers, who under a nauseous pretence of being so romantic and interesting, prolonged for half a century longer the silly affectation of sentimental melancholy, in other words, a green-sickness of skepticism complicated with pulmonary consumption! Pg227 A familiar axiom of economic science declares that “every vicious act is followed by diminution of force.” Pg229 The Mousquetaires had began by displaying a most laudable zeal, but it was soon discovered that these gentlemen were better at noise than real work. Pg230 “The deterioration of type among noble families,” says Moreau de Tours, “is noted in numerous writers; Pope remarks to Spencer on the sorry looks of members of the English aristocracy in his day; and in the same way physiologists had even earlier noted the short stature of the Spanish grandees at the court of Philip V.” As for Frenchmen, long before 1789, they were amongst the poorest specimens of humanity, according to the testimony of many witnesses. Pg237 The practices of the man of pleasure, the libertine modes, in full completeness, count at most only some forty years of life, – after which the reign of hypocrisy sets in. Thus ends the Sword. A progress of degradation with glowing phraseology, cajoleries and falsity. They put on exaggerated airs of mock-modesty, and assume a scornful pose before their admirers, all the time longing to be noticed. The old punctilious sense of honor have ceased to exist while finally the practices of the man of pleasure, the libertine modes, in full completeness, count at most only some forty years of life, – after which the reign of hypocrisy sets in.

At Sept-Tours everybody from Gallowglass and the gardener to Victoire and Ysabeau referred to Sarah by her status relative to Emily rather than by her name, when she was not in the room. It was a title of respect as well as a constant reminder of Sarah’s loss.

McCartney II has similarly attained cult status among indie fans and artists who regard it as forward-thinking avant-electronica. But those people didn’t hear McCartney II in the context in which it was released. The album came out four months after McCartney spent nine days in a Japanese jail for possession of 219 grams of weed while on tour with Wings. The band fell apart after the tour was canceled, prompting McCartney to release his solo recordings as McCartney II. It’s not difficult to understand why McCartney was perceived at the time to be sort of dumb and perpetually stoned, and how this perception influenced the opinion that McCartney II was mere folly, rather than visionary genius. I think the truth about McCartney II is somewhere in the middle. I love the album because the songs are good and weird and utterly unlike anything else in McCartney’s catalog. But I also love it because the dumb/stoned aspects of the record are inextricable from the visionary-genius aspects. McCartney II is good because it’s good, and good because it’s bad.

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