Written by a quondam amateur boxer and celebrated ring scribe, Damage is a fluid combination of medical history, scientific facts, and personal narratives. Half of the gracefully written text is focused on the connection or, much more commonly, the lack thereof between the medical and boxing communities.
What immediately stands out is Schvey’s utter command of his material. The book will appeal to theatergoers and scholars interested in one of America’s greatest playwrights and his complicated relationship to a city he called home for some two decades, St. Louis.
Military deep-sea divers like to play the world’s fools, even though most are supremely competent and a little piratical. They know what their real work is and find ways to play between bouts of it. This is not “blowing off steam.” It is one answer to the problem of being in the sea and to that of being immersed in any purpose—medicine, management, even writing.
The First Nations taught us the fun of chomping on sweetened tree resin. So what did we do? We replaced it with a synthetic gum made of butyl rubber, paraffin, petroleum wax, polyethylene, polyisobutylene, and polyvinyl acetate. Now, in the first ten years of this millennium, we have manufactured more plastic than we made in the entire twentieth century.
What does it mean to live in a country where anger is entertainment and power, and fights break out on airplanes? Some of this rage is by now a cultural habit; the rest is raw and fresh.
Millan had some of the same challenges as Black actor in dealing with certain types of “minority” roles, but he also had some advantages in getting more roles. Latino actors were often all-purpose “minority” actors, playing East Indians, Native Americans, Spaniards, Mexicans, any of a wide swath of so-called “people of color.”
Western scientists conveniently overlooked emotion for decades, dismissing it as irrational and female, a source of bias and hysteria best avoided altogether. Now they are forced to acknowledge that simply by paying attention to internal sensations, you can head off hysteria, angst, or dejection.
Writing for The Atlantic, game designer and Washington University media prof Ian Bogost calls “metaverse” “a sexy, aspirational name for some kind of virtual or augmented reality play.” Also: “a fantasy of power and control.” Which seems to be the key.
I was so stunned the first time I heard “And the Glory of the Lord” that I thought I would faint. My heart pounded like a runaway train. It was for me at that young age the most beautiful thing I ever heard in my life. And I heard it that day and thought, “If I could be a Christian as beautiful as that music; if I could, as a Christian, help make the world as beautiful as that music, that would be something!”
As all the commentators have noted, "Goldfinger" provided the template for future Bond movies. First, a title song played over the opening credits. Second, a pre-credits action sequence which has become the sine qua non of the Bond movie. Third, "Goldfinger" made technological and mechanical gadgets a permanent aspect of the Bond film effect.