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Though there had been some restrictions imposed by Congress, there were ways to skirt the new laws. "We can't allow companies to just keep inverting out of the United States. It's just bad. It's wrong for business. It's wrong for jobs. I'm talking against my business. We made a ton of money."

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Trump returned to printing money. "We'll just borrow," he said, enamored with the idea of heading the federal government, which had the best credit rating in the world, so they could borrow at the lowest interest rate.

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[Gary] Cohn didn't mention a report that had come out during the campaign which said the Trump Organization's business credit score was a 19 out of 100, below the national average by 30 points, and that it could have difficulty borrowing money.

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You just can't print money, Cohn said. "Why not? Why not?"

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Congress had a debt ceiling which set a cap on how much money the federal government could borrow, and it was legally binding. It was clear that Trump did not understand the way the U.S. government debt cycle balance sheet worked.

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Inflation would probably be steady. Automation was coming, Cohn said - artificial intelligence, machine learning, robotics. We'll manage the labor supply more efficiently now than we ever did in the history of mankind. So look, you're in the most precarious time in terms of job losses. We now can create labor with machines.

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"If you're here eight years, you're going to deal with the automation of the automobile and truck. About 25 percent of the U.S. population makes a living driving something. Think about that."

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"What are you talking about?" Trump asked.

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With the self-driving, autonomous vehicle, millions of people are going to have to reenter the workforce in different jobs. That would be a big change and possible large disruption.

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"I want you to come to work for me," Trump said.

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"Doing what?"

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Trump mentioned deputy secretary of defense.

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"First of all, I don't want to be deputy secretary of anything," Cohn said.

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How about director of national intelligence?

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Cohn indicated no. He was not sure what the job did. He later learned it entailed overseeing the CIA and all the other intelligence agencies.

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"You trade commodities," Trump said. "Why don't you think about being secretary of Energy?"

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No interest.

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Trump tried to convince Cohn to become director of the Office of Management and Budget.

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No. Cohn knew it was a horrible job.

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"You know what?" Trump said at the end of what had become an hour-long meeting. "I hired the wrong guy for treasury secretary. You should be treasury secretary. You would be the best treasury secretary."

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Mnuchin, right there, didn't say a thing or show any reaction. "Come back and tell me what you want," Trump said. "You'd be great to have on the team. It'd be fantastic."

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Five minutes later while Cohn was still in the building, he saw a television flash breaking news: President-elect Trump has selected Steve Mnuchin as treasury secretary.

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"That's crazy," Jared said. "Mnuchin just put that out. You freaked him out so badly in the meeting."

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Bob Woodward, "Fear: Trump in the White House" (2018)

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Currently in humans, H5Nl is good at killing, but not at spreading. ?There are three essential conditions necessary to produce a pandemic. First, a new virus must arise from an animal reservoir, such that humans have no natural immunity to it. Second, the. virus must evolve to be capable of killing human beings efficiently. Third, the virus must succeed in jumping efficiently from one human to the next. For the virus, it's one small step to man, but one giant leap to mankind. So far, conditions one and two have been met in spades. Three strikes and we're out. If the virus triggers a human pandemic, it will not be peasant farmers in Vietnam dying after handling dead birds or raw poultry - it will be New Yorkers, Parisians, Londoners, and people in every city, township, and village in the world dying after shaking someone's hand, touching a doorknob, or simply inhaling in the wrong place at the wrong time.

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Mathematical models suggest that it might be possible to snuff out an emerging flu pandemic at the source if caught early enough, but practical considerations may render this an impossibility. Even if we were able to stamp it out, as long as the same underlying conditions remain, the virus would presumably soon pop back up again, just as it has in the past.

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This book explores what those underlying conditions are. The current dialogue surrounding avian influenza speaks of a potential H5Nl pandemic as if it were a natural phenomenon - like hurricanes, earthquakes, or even a "viral asteroid on a collision course with humanlty" - which we couldn't hope to control. The reality, however, is that the next pandemic may be more of an unnatural disaster of our own design.

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Since the mid-1970s, previously unknown diseases have surfaced at a pace unheard of in the annals of medicine - more than 30 new diseases in 30 years, most of them newly discovered viruses. The concept of "emerging infectious diseases" used to be a mere curiosity in the field of medicine; now it's an entire discipline. Where are these diseases coming from?

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According to the Smithsonian, there have been three great disease transitions in human history. The first era of human disease began thousands of years ago with the acquisition of diseases from domesticated animals, such as tuberculosis, measles, the common cold - and influenza. The second era came with the Industrial Revolution of the 18th and 19th centuries, resulting in an epidemic of the so-called "diseases of civilization," such as cancer, heart disease, stroke, and diabetes. We are now entering the third age of human disease, which started around 30 years ago - described by medical historians as the age of "the emerging plagues." Never in medical history have so many new diseases appeared in so short a time. An increasingly broad consensus of infectious disease specialists has concluded that nearly all of the ever more frequent emergent disease episodes in the United States and elsewhere over the past few years have, in fact, come to us from animals. Their bugs are worse than their bite.

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In poultry, bird flu has gone from an exceedingly rare disease to one that crops up every year. The number of serious outbreaks in the first few years of the 21st century has already exceeded the total number of outbreaks recorded for the entire 20th century. Bird flu seems to be undergoing evolution in fast-forward.

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The increase in chicken outbreaks has gone hand-in-hand with increased transmission to humans. A decade ago, human infection with bird flu was essentially unheard of. Since H5N1 emerged in 1997. though, chicken viruses H9N2 infected children in China in 1999 and 2003, H7N2 infected residents of New York and Virginia in 2002 and 2003, H7N7 infected people in the Netherlands in 2003, and H7N3 infected poultry workers in Canada in 2004 and a British farmer in 2006. The bird flu virus in the Dutch outbreak infected more than a thousand people. What has changed in recent years that could account for this disturbing trend? Influenza is "transmitted so effectively," reads one virology textbook, "that it exhausts the supply of susceptible hosts."

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As soon as the dying stopped, the forgetting began. As Arno Karlen wrote in Man and Microbes, "Many Americans know more about mediaeval plague than about the greatest mass death in their grandparents' lives."? Commentators view the pandemic as so traumatic that it had to be forced out of our collective memory and history. "I think it's probably because it was so awful while it was happening, so frightening," one epidemiologist speculates, "that people just got rid of the memory."

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For many, however, the virus lived on. As if the pandemic weren't tragic enough, in the decade that followed, a million people came down with a serious Parkinson's-like disease termed "encephalitis lethargica," the subject of the book and movie Awakenings.? Some researchers now consider this epidemic of neurological disease to be "almost certainly" a direct consequence of viral damage to the brains of survivors. The latest research goes a step further to suggest the pandemic had ripples throughout the century, showing that those in utero at the height of the pandemic in the most affected areas seemed to have stunted lifespans and lifelong physical disability.

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"This is a detective story. Here was a mass murderer that was around 80 years ago and who's never been brought to justice. And what we're trying to do is find the murderer." - Jeffery Taubenberger, molecular pathologist and arche-virologist.

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Where did this disease come from? Popular explanations at the time included a covert German biological weapon, the foul atmosphere conjured by the war's rotting corpses and mustard gas, or "spiritual malaise due to the sins of war and materialism." This was before the influenza virus was discovered, we must remember, and is consistent with other familiar etymological examples - malaria was contracted from mal and aria ("bad air") or such quaintly preserved terms as catching "a cold" and being "under the weather." The committee set up by the American Public Health Association to investigate the 1918 outbreak could only speak of a "disease of extreme communicability." Though the "prevailing disease is generally known as influenza," they couldn't even be certain that this was the same disease that had been previously thought of as such As the Journal of the American Medical Association observed in October 1918, "The 'influence' in influenza is still veiled in mystery."

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In the decade following 1918, thousands of books and papers were written on influenza in a frenzied attempt to characterize the pathogen. One of the most famous medical papers of all time, Alexander Fleming's "On the Antibacterial Actions of Cultures of Penicillium," reported an attempt to isolate the bug that caused influenza. The full title was "On the Antibacterial Actions of Cultures of Penicillium, with Special Reference to Their Use in the Isolation of B. Influenzae." Fleming was hoping he could use penicillin to kill off all the contaminant bystander bacteria on the culture plate so he could isolate the bug that caused influenza. The possibility of treating humans with penicillin was mentioned only in passing at the end of the paper.

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The cause of human influenza was not found until 1933, when a British research team finally isolated and identified the viral culprit. What they discovered, though, was a virus that caused the typical seasonal flu. Scientists still didn't understand where the flu virus of 1918 came from or why it was so deadly. It would be more than a haif-century before molecular biological techniques would be developed and refined enough to begin to answer these questions; but by then where would researchers find 1918 tissue samples to study the virus?

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The U.S. Armed Forces Institute of Pathology originated almost 150 years ago. It came into being during the Civil War, created by an executive order from Abraham Lincoln to the Army Surgeon General to study diseases in the battlefield. It houses literally tens of millions of pieces of preserved human tissue, the largest collection of its kind in the world. This is where civilian pathologist Jeffery Taubenberger first went to look for tissue samples in the mid '90s. If he could find enough fragments of the virus he felt he might be able to decipher the genetic code and perhaps even resurrect the 1918 virus for study, the viral equivalent of bringing dinosaurs back to life in Jurassic Park.

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He found remnants of two soldiers who succumbed to the 1918 flu on the same day in September - a 21-year-old private who died in South Carolina and a 30-year-old private who died in upstate New York. Tiny cubes of lung tissue preserved in wax were all that remained. Taubenberger's team shaved off microscopic sections and started hunting for the virus using the latest advances in modern molecular biology that he himself had helped devise. They found the virus, but only in tiny bits and pieces.

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The influenza virus has eight gene segments, a genetic code less than 14,000 letters long (the human genome, in contrast, has several billion). The longest strands of RNA (the virus's genetic material) that Taubenberger could find in the soldiers' tissue were only about 130 letters long. He needed more tissue.

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The 1918 pandemic littered the Earth with millions of corpses. How hard could it be to find more samples? Unfortunately, refrigeration was essentially nonexistent in 1918, and common tissue preservatives like formaldehyde tended to destroy any trace of RNA. He needed tissue samples frozen in time. Expeditions were sent north, searching for corpses frozen under the Arctic ice.

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Scientists needed to find corpses buried below the permafrost layer, the permanently frozen layer of subsoil beneath the topsoil, which itself may thaw in the summer. ?Many teams over the years tried and failed. U.S. Army researchers excavated a mass grave near Nome, Alaska, for example, only to find skeletons. ?"Lots of those people are buried in permafrost," explained Professor Ji~hn Oxford, co-author of two standard virology texts, "but many of them were eaten by the huskies after they died. Or," he added, "before they died."

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On a remote Norwegian Island, Kirsty Duncan, a medical geographer from Canada, led the highest profile expedition in 1998, dragging 12 tons of equipment and a blue-ribbon academic team to the gravesite of seven coal miners who had succumbed to the 1918 flu. ?Years of planning and research combined with surveys using ground-penetrating radar had led the team to believe that the bodies of the seven miners had been buried deep in the eternal permafrost. ?Hunched over the unearthed coffins in biosecure space suits! the team soon realized their search was in vain. ?The miners' naked bodies, wrapped only in newspaper, lay in shallow graves above the permafrost. Subjected to thawing and refreezing over the decades, the tissue was useless.

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Nearly 50 years earlier, scientists from the University of Iowa, including a graduate student recently arrived from Sweden named Johan Hultin, had made a similar trek to Alaska with similarly disappointing results. ?In the fall of 1918, the postal carrier delivered the mail - and the flu - via dogsled to a missionary station in Brevig, Alaska. Within five days, 72 of the 80 or so missionaries lay dead. With help from a nearby Army base, the remaining eight buried the dead in a mass grave. Governor Thomas A. Riggs spent Alaska into bankruptcy caring for the orphaned children at Brevig and across the state. "I could not stand by and see our people dying like flies."

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Learning of Taubenberger's need for better tissue samples, Johan Hultin returned to Brevig a few weeks before his 73rd birthday.? Hultin has been described as "the Indiana Jones of the scientific set." In contrast to Duncan's team, which spent six months just searching for the most experienced gravediggers, Hultin struck out alone. ?Hultin was "there with a pickaxe," one colleague relates. "He dug a pit through solid ice in three days. This guy is unbelievable. It was just fantastic."

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Among the many skeletons lay a young woman whose obesity insulated her internal organs. "She was lying on her back, and on her left and right were skeletons, yet she was amazingly well preserved. I sat on an upside-down pail, amid the icy pond water and the muck and fragrance of the grave," Hultin told an interviewer, "and I thought, 'Here's where the virus will be found and shed light on the flu of 1918." He named her Lucy. A few days later, Taubenberger received a plain brown box in the mail containing both of Lucy's lungs.? As Hultin had predicted, hidden inside was the key to unlock the mystery.

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Many had assumed that the 1918 virus came from pigs. Although the human influenza virus wasn't even discovered until 1933, as early as 1919 an inspector with the U.S. Bureau of Animal Industry was publishing research that suggested a role for farm animals in the pandemic. Inspector I.S. Koen of Fort Dodge, Iowa wrote: ?"The similarity of the epidemic among people and the epidemic among pigs was so close, the reports so frequent, that an outbreak in the family would be followed immediately by an outbreak among the hogs, and vice versa, as to present a most striking coincidence if not suggesting a close relation between the two conditions. It looked like "flu," and until proven it was not "flu," I shall stand by that diagnosis."

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According to the editor of the medical journal Virology, Koen's views were decidedly unpopular, especially among pig farmers who feared that customers "would be put off from eating pork if such an association was made." ?It was never clear, though, whether the pigs were the culprits or the victims. Did we infect the pigs or did they infect us?

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With the entire genome of the 1918 virus in hand thanks to Hultin's expedition, Taubenberger was finally able to definitively answer the Holy Grail question posed by virologists the world over throughout the century: Where did the 1918 virus come from? The answer, published in October 2005, is that humanity's greatest killer appeared to come from avian influenza - bird flu.

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Evidence now suggests that ALL pandemic influenza viruses - in fact all human and mammalian flu viruses in general - owe their origins to avian influenza. Back in 1918, schoolchildren jumped rope to a morbid little rhyme: "I had a little bird,/Its name was Enza/I opened the window/And In-flu-enza."!" The children of 1918 may have been more prescient than anyone dared imagine.

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The word "epidemic" comes from the Greek epi, meaning "upon," and demos, meaning "people." The word "pandemic" comes from the Greek word pandemos, meaning "upon all the people." Most outbreaks of disease are geographically confined, just like most disasters in general. Wars, famines, earthquakes, and acts of terror, for example, tend to be localized both in time and space. We look on in horror, but may not be affected ourselves. Pandemics are different. Pandemics are world-wide epidemics. They happen everywhere at once, coast to coast, and can drag on for more than a year. "With Hurricane Katrina, people opened their homes, sent checks and people found safe havens," writes a global economic strategist at a leading investment firm, but with a pandemic, "there is nowhere to turn, no safe place to evacuate."

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The word "influenza" derives from the Italian influentia, meaning "influence," reflecting a medieval belief that astrological forces were behind the annual flu season. In 1918, though, the Germans called it Blitzkatarrh. To the Siamese, it was Kai Wat Yai, The Great Cold Fever, In Hungary, it was The Black Whip. In Cuba and the Philippines, it was Trancazo, meaning "a blow from a heavy stick." In the United States, it was the Spanish Lady, or, because of the way many died, the Purple Death.

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Michael Greger "Bird Flu: A Virus of Our Own Hatching" (2006)

The cast, on the other hand, was in a shambles - actors sick, dancers injured, everyone in a state of advanced exhaustion. But from their point of view, Robbins was faring even worse: he was "having a hard time," in Kazan's generous phrase; Pendleton deemed him "in a torment"; Bodin thought he was "unraveling." Harnick cracked a joke in a discussion about a song revision, and when Robbins glared at him and snapped, "I want that lyric as soon as you can get it," Harnick remembered Sondra Lee's advice: "With the tone of his voice and the look in his eye, I thought: 'Okay. This is the time. Stay out of his way.' "

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That wasn't really an option, though. Rehearsals resumed in a hotel ballroom within hours of the troupe's arrival in Washington, while the scenery was being put in at the National Theater, and production meetings continued every night. In the absence of the Chava sequence, Robbins was still struggling to find a big production number for the second act - he thought the audience wanted one. When he renewed the notion of a company song about Anatevka, Bock and Harnick came face-to-face with their "bete noire number 2." In the first, light and humorous version, spurred by the arrival of a letter from New York, the villagers asked, "Is it really such a paradise, America? / Nothing but unhappy people go there / People who hunger for letters from where? / Anatevka, Anatevka." For bringing the action to a halt, this song was abandoned after a few performances at the Fisher.

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But Robbins clung to his desire for an act 2 wallop. Though Fiddler was successfully defying many of the conventions of a midcentury book musical - no overture, no flirty chorus girls, no reprises, no simple plot line, no happy denouement - Robbins wasn't letting go of a presumed need for a big number to start off the second half with a surge of energy and to win the sort of ovation that "Tradition," "Tevye's Dream," and "L'Chaim" were drawing in act 1. At the nightly meetings, he pushed for an occasion to put in something splashy. He liked Stein's suggestion that a refugee from another town passes through Anatevka and, on his way out, disparages the town as a "mudhole," prompting the locals to defend their home in a tuneful boast charming for its modesty. Bock and Harnick responded with a zesty song called "A Little Bit of This," which began with Golde intoning, "What does he mean, a mudhole?" and soon had Tevye chiming in: "Let him go to Minsk or Moscow or Pinsk / Let him go to America. / What does he think he'll find? / Everything is here! / Maybe not a lot / But every little thing a man could need or want we've got." They wrote two more introductory options, all three of them leading to a chorus in which the people catalog their worldly possessions: "A little bit of meat / A little bit of fish / A pot and a pan and a glass and a dish / A little bit of wood / A little bit of twine / A slice of bread and a drop of wine / All very small, small indeed / But in Anatevka, all we need." The song expressed a romantic ideal of the shtetl that Maurice Samuel and Abraham Joshua Heschel had made popular more than a decade before: that what the people lacked in material wealth they made up for in spiritual riches and communal cohesion. Though the number went through several transmutations before being fixed as the mournful hymn preceding the expelled Jews' exit, this sentiment remained at its core: both a compliment to contemporary audiences for how far they had climbed from their humble origins and a reminder of all they may have sacrificed for their achievement.

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Through the three weeks in Washington, Robbins feverishly built and rehearsed the number, bringing nearly the entire company onstage for the sort of high-energy spectacle audiences would have expected from the choreographer of West Side Story. A villager singing about a pot begins to bang on it with a ladle, another thumps a spoon against a pan, a third plinks a cup with a fork. One by one, then in twos and threes, the villagers join in the merry rhythm making with various household utensils. Some hit a table, others stomp the floor in the syncopated beat that builds and builds, until the orchestra comes in with a jaunty melody and the whole town gets caught up in this celebration of simple means. Meanwhile, the individual townspeople - the performers making use of the biographies Robbins had required them to write - present themselves in dance. The fishmonger and hatmaker hawk their wares; the street sweeper twirls in off-center turns with his broom (a bit of choreography made possible by the skills of the man in the role, the dancer Sammy Bayes). The women in the corps, having had their opportunity to dance taken away when the Chava ballet was cut, now weave through the action in a pretty, simple-looking sequence built of complicated steps. Robbins insisted that the troupe retain their bearing as villagers. "Give me klutzy!" he admonished the men. The dancing accelerated into exuberant patterns-and performers, giving him plenty of klutzy, barreled into one another during rehearsals. One of them, John C. Attle, was knocked out in a collision one day. That hardly deterred Robbins. He worked the scene every day for a week.

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Alisa Solomon "Wonder of Wonders" (2013)

A jug of wine, a loaf of bread and thou

Omar Khayyam - 'Rubaiyat'

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I've been asked by the vicar to give some advice about young men about to be married.

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Now in 1848 Punch's advice to young men about to be married was "don't."

I don't agree with this. I think young men should get married.

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If I had to choose one piece of advice, gentlemen, I would say this, that when you get married you'll find that women have an eccentric attitude towards personal hygiene.? Women expect one to bathe more than once a month.

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Now this I totally and absolutely disagree with. I think it's unhealthy and dangerous.?

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The history of baths is rather interesting. Well, it's not very interesting. I won't go into a lot of historical detail and bore you. I don't know.? I might as well

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Baths really came from the Persians like a lot of things.? Like polo and cats and markets and carpets.? The Persians invented mixed bathing.? They had men and women in the same bath.

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The next you hear of it, it cropped up in Greece with Archimedes. ?Archimedes was in the habit filling his bath right up to the rim and then leaping in.? And this slopped all over the bathroom which eventually let him to measure the amount of water which slopped over which he discovered equalled his own weight, so his discovered this principle that a body displaces its own weight in water.? And also it made the towels so wet that when he chucked it on the bath-rail it pulled the nails out in the bathroom floors, so he invented the screw.

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Bathing really started in England in Cornwall and there they used to bathe in the spring. Now we bathe or women would have you bathe every night.?? And this can be very dangerous.

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Your skin, gentlemen, before you get married, is like a Fair Isle sweater which covers you in its entirety. ?It has essential oils in it.? It's like a sort of knitted garment keeping your bones from sticking out.? And it's sort of edged around with lips to stop your mouth from fraying.? It's got some embroidery on top where your hair is.? But essentially it's a living breathing thing full of oil.

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Now if you rub over this rancid oil and acid boiled up into a cake, you destroy all these waxes and oils.? And just like a Fair Isle thing and the air can get in and your ribs will rust.?

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What you need to do is this, gentlemen, once a month, when your wife is out, strip naked.? Stand in the bath and dab yourself lightly with rain water.? It's pure water.? Just stick a jug under drain pipe of the gutter? and keep it ready. Dap yourself lightly over your salient features with a little bit of cotton wool moistened with rain water. Now nything like sort of mud or axle grease that you've got onto, you scrub vigorously with a DRY loofah.? Not damp but dry.? That will get off all the rough stuff.

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Just to tone up your whole system and get all the sort of dirty marks off, rub yourself with a circular motion with half a stale loaf.? Bread is terribly good for absorbing grease and you can use it for rubbing out pencil.? Rub yourself ALL over and this will dry off the rain water and will tone up your whole system.

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So what I'm saying, gentleman, my one piece of advice I can give to you about to be married is don't go in for this AWFUL pagan bath rubbish. Let's go back to Persia and go back to the words of that marvelous old woman who made the outsized tents, Old Ma Cohen, what you need, all nature needs to see a perfect clean and fragrant body is a jug of rain, a loofah, bread - and thou.

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--Frank Muir,? "The My Word Stories" (1977)

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Frank Muir 573b

Richard Pryor on Jesus:

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Man, I know Jesus. Shit, he lived over there in the projects. Nigger ain't shit. I knew the boy's mama personally. That's right - Mary. The girl with big titties. Pretty black girl, man. Had personality all over her face. Well, that's right. I knew her. I'm the one responsible for that girl. She wasn't no virgin either, 'cause I know a couple of niggers eased up there and got some.

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I remember when her son Jesus was born 'cause her husband Joe damn near killed her. 'Cause she told him God made the baby. He beat her with a pool stick. Said, "Bitch, you gonna tell me who the daddy of this baby is." Damn near broke that bitch's neck. She fessed up-found out it was Jimmy Walker. ...

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Shit, I been around. I ain't no fool, I study peoples. I know where peoples comin' from. Shit, I'm a people-ologist.

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Scott Saul "Becoming Richard Pryor" (2014)

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He was frustrated by the amateur code which mandated that college athletes should play for no pay. Coach Bill Sprackling, who held a full-time job at the Collier Wire Company in Providence, later recalled that numerous stories circulated that Pollard would attempt to solicit funds from downtown businessmen who were enthusiastic about Brown football. Just before a Saturday game, the stories went, Pollard would explain that he was financially strapped, and that if he did not get his bills paid he would not be able to play in the upcoming game. The former Brown assistant coach maintained that Pollard "was quite successful in this." Although there is no solid evidence to support Sprackling's account, it is consistent with Pollard's business dealings in later years. His son recalled him as an "operator," who always had several financial deals going to support himself and his family,"

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Brown opened its 1916 football season on September 30 with a game against Rhode Island State at Andrews Field. The Rhode Island Rams were clearly overmatched, but made a stronger showing than in previous years. Brown rolled up three touchdowns by the early part of the third period and went on to an 18-0 victory. That Brown missed three extra points in the game was not unusual for a team of that era. In 1916, points after touchdown either had to be kicked from placement or drop-kicked from a position perpendicular to the point where the ball crossed the goal line for the touchdown. In many cases, the kicker was forced to attempt the conversion from an acute angle. The alternative for the scoring team was to punt the ball out of its end zone to the kicker, who then attempted a kick in the face of the on-charging defensive team. Thus, the success of a conversion after touchdown most often depended on where the ball crossed the goal line on the scoring play."

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Pollard had an outstanding game against Rhode Island, but like most of the regulars sat out the fourth quarter. The Brown Daily Herald designated Pollard and halfback Jimmy Jemail, who scored two touchdowns, the stars of the game. The highlight of the game for Brown was the outstanding play of about a half-dozen freshmen who played most of the second half. The play of fullback Walter de Vitalis, who scored one touchdown, and Dune Annan, a future professional player who replaced Purdy at quarterback in the fourth period, indicated that Brown had more depth than in 1915.

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On the Brown campus, Pollard was also a celebrity, but he was careful to share credit for his good fortune with his teammates and the university. As Pollard later explained, "I felt very highly honored and only wanted to keep my feet on the ground because I felt that our whole team had played a very important part in my having received this great honor and I did not want to do anything which might reflect on Brown University or any of the players." While Pollard was genuinely grateful to his teammates and school, he also knew that the racial code of the day demanded that he, a young black man, be properly modest and humble in accepting this honor. Yet, he would have a difficult time keeping his feet on the ground. His brash, assertive personality took over. He later admitted that "I was young and foolish and crazy. I was Fritz Pollard, All-America, and my head was getting a little bit big then,"

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One day in mid-January 1917, President Faunce summoned Pollard to his office and introduced him to a dignified looking gentleman whom Faunce identified as John D. Rockefeller, Jr. Faunce asked whether Fritz knew who Mr. Rockefeller was, and Pollard replied that he did not. Rockefeller, an 1897 Brown graduate and former manager of the school's football team, asked Pollard a number of questions, and then he was excused. The next day Faunce visited Pollard's Hope College room and explained that Rockefeller thought Fritz's room was too cramped, with all the pressing equipment and the clothes hanging everywhere. Rockefeller, the president explained, had made arrangements for Pollard to have another separate room for his living quarters and new pressing equipment, all at Rockefeller's expense. Evidence suggests that Rockefeller later had the files destroyed which related to his subsidy of Pollard; at the time, Pollard recalled Faunce telling him that "from now on you won't have any financial worries,"

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Apparently Faunce saw no inconsistency with the arrangement despite his earlier statement at the Harvard football rally that "if a man wants to get paid for playing football Brown University is no place for him." Rockefeller's visit to campus came within a week of a National Collegiate Athletic Association meeting at which the University of Chicago football coach and athletic director A. Alonzo Stagg introduced a resolution calling for a survey of intercollegiate athletics "with particular reference to their moral influence." Stagg maintained that "a college was responsible for the actions of its athletes, and that when they practice the dishonesty that is known to be the case in many instances, the fault is that of the college." Certainly Pollard had no qualms about Rockefeller's generosity; he purchased the latest pressing equipment in downtown Providence, selected a second, more spacious room in Hope College for his living quarters, and forwarded the bills to Faunce's office."

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During the spring semester, Pollard engaged in a large number of campus and off-campus activities which consumed a good deal of his time. In the winter, for example, he cultivated his lifelong interest in music by playing the slide trombone in both the Brown Band and Orchestra. Late in March, Pollard performed in a musical number in a popular student-produced theatrical farce along with Ink Williams, who did a clog dance with quarterback Jimmy Murphy. The inclusion of the two African-American students indicated that they were being accorded a greater degree of acceptance by the white student body. Pollard was also a member of the varsity indoor and outdoor track teams, and quickly established himself as one of the premier hurdlers and sprinters in New England. Beyond this, he played in the student-organized interclass basketball league. Brown did not field an intercollegiate basketball team in the prewar era

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John Carroll "Fritz Pollard" (1992)

In August 2010, six years before taking over Donald Trump's winning presidential campaign, Steve Bannon, then 57 and a producer of right-wing political films, answered his phone. "What are you doing tomorrow?" asked David Bossie, a longtime House Republican investigator and conservative activist who had chased Bill and Hillary Clinton scandals for almost two decades.

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"Dude," Bannon replied, "I'm cutting these fucking films I'm making for you."

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The 2010 midterm congressional elections were coming up. It was the height of the Tea Party movement and Republicans were showing momentum.

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"Dave, we're literally dropping two more films. I'm editing. I'm working 20 hours a day" at Citizens United, the conservative political action committee Bossie headed, to churn out his anti-Clinton films.

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"Can you come with me up to New York?"

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"For what?"

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"To see Donald Trump," Bossie said.

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"What about?"

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"He's thinking of running for president," Bossie said. "Of what country?" Bannon asked.

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No, seriously, Bossie insisted. He had been meeting and working with Trump for months. Trump had asked for a meeting.

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"I don't have time to jerk off, dude," Bannon said. "Donald Trump's never running for president. Forget it. Against Obama? Forget it. 1 don't have time for fucking nonsense."

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"Don't you want to meet him?"

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"No, 1 have no interest in meeting him." Trump had once given Bannon a 30-minute interview for his Sunday-afternoon radio show, called The Victory Sessions, which Bannon had run out of Los Angeles and billed as "the thinking man's radio show."

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"This guy's not serious," Bannon said.

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"I think he is serious," Bossie said. Trump was a TV celebrity and had a famous show, The Apprentice, that was number one on NBC some weeks. "There's no downside for us to go and meet with him."

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Bannon finally agreed to go to New York City to Trump Tower.

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They rode up to the 26th floor conference room. Trump greeted them warmly, and Bossie said he had a detailed presentation. It was a tutorial.

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The first part, he said, lays out how to run in a Republican primary and win. The second part explains how to run for president of the United States against Barack Obama. He described standard polling strategies and discussed process and issues: Bossie was a traditional, limited-government conservative and had been caught by surprise by the Tea Party movement.

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It was an important moment in American politics, Bossie said, and Tea Party populism was sweeping the country. The little guy was getting his voice. Populism was a grassroots movement to disrupt the political status quo in favor of everyday people.

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"I'm a business guy," Trump reminded them. "I'm not a professional ladder-climber in politics."

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"If you're going to run for president," Bossie said, "you have to know lots of little things and lots of big things." The little things were filing deadlines, the state rules for primaries - minutiae. "You have to know the policy side, and how to win delegates." But first, he said, "you need to understand the conservative movement."

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Trump nodded.

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"You've got some problems on issues," Bossie said.

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"I don't have any problems on issues," Trump said. "What are you talking about?"

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"First off, there's never been a guy win a Republican primary that's not pro-life," Bossie said. "And unfortunately, you're very pro-choice."

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"What does that mean?"

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"You have a record of giving to the abortion guys, the pro-choice candidates. You've made statements. You've got to be pro-life, against abortion."

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"I'm against abortion," Trump said. "I'm pro-life."

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"Well, you've got a track record."

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"That can be fixed," Trump said. "You just tell me how to fix that. I'm - what do you call it? Pro-life. I'm pro-life, I'm telling you."

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Bannon was impressed with the showmanship, and increasingly so as Trump talked. Trump was engaged and quick. He was in great physical shape. His presence was bigger than the man, and took over the room, a command presence. He had something. He was also like a guy in a bar talking to the TV. Street-smart, from Queens. In Bannon's evaluation, Trump was Archie Bunker, but a really focused Archie Bunker.

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"The second big thing," Bossie said, "is your voting record." "What do you mean, my voting record?"

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"About how often you vote."

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"What are you talking about?"

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"Well," Bossie said, "this is a Republican primary."

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"I vote every time," Trump said confidently. "I've voted every time since I was 18,20 years old."

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"That's actually not correct. You know there's a public record of your vote." Bossie, the congressional investigator, had a stack of records.

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"They don't know how I vote."

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"No, no, no, not how you vote. How often you vote."

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Bannon realized that Trump did not know the most rudimentary business of politics.

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"I voted every time," Trump insisted.

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"Actually you've never voted in a primary except once in your entire life," Bossie said, citing the record.

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"That's a fucking lie," Trump said. "That's a total lie. Every time I get to vote, I voted."

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"You only voted in one primary," Bossie said. "It was like in 1988 or something, in the Republican primary."

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"You're right," Trump said, pivoting 180 degrees, not missing a beat. "That was for Rudy." Giuliani ran for mayor in a primary in 1989. "Is that in there?"

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"Yes."

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"I'll get over that," Trump said.

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"Maybe none of these things matter," Bossie said, "but maybe they do. If you're going to move forward, you have to be methodical."

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Bannon was up next. He turned to what was driving the Tea Party, which didn't like the elites. Populism was for the common man, knowing the system is rigged. It was against crony capitalism and insider deals which were bleeding the workers.

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"I love that. That's what I am,", Trump said, "a popularist." He mangled the word.

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"No, no," Bannon said. "It's populist."

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"Yeah, yeah," Trump insisted. "A popularist."

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Bannon gave up. At first he thought Trump did not understand the word. But perhaps Trump meant it in his own way - being popular with the people. Bannon knew popularist was an earlier British form of the word "populist" for the nonintellectual general public.

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An hour into the meeting, Bossie said, "We have another big issue." "What's that?" Trump asked, seeming a little more wary.

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"Well," he said, "80 percent of the donations that you've given have been to Democrats." To Bossie that was Trump's biggest political liability, though he didn't say so.

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"That's bullshit!"

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"There's public records," Bossie said.

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"There's records of that!" Trump said in utter astonishment. "Every donation you've ever given." Public disclosure of all political giving was standard.

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"I'm always even," Trump said. He divided his donations to candidates from both parties, he said.

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"You actually give quite a bit. But it's 80 percent Democratic. Chicago, Atlantic City ... "

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"I've got to do that," Trump said. "All these fucking Democrats run all the cities. You've got to build hotels. You've got to grease them. Those are people who came to me."

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"Listen," Bannon said, "here's what Dave's trying to say. Running as a Tea Party guy, the problem is that's what they are complaining about. That it's guys like you that have inside deals."

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"I'll get over that," Trump said. "It's all rigged. It's a rigged system. These guys have been shaking me down for years. I don't want to give. They all walk in. If you don't write a check ... "

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There was a pol in Queens, Trump said, "an old guy with a baseball bat. You go in there and you've got to give him something - normally in cash. If you don't give him anything, nothing gets done. Nothing gets built. But if you take it in there and you leave him an envelope, it happens. That's just the way it is. But I can fix that."

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Bossie said he had a road map. "It's the conservative movement. Tea Party comes and goes. Populism comes and goes. The conservative movement has been a bedrock since Goldwater."

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Second, he said, I would recommend you run as if you are running for governor in three states - Iowa, New Hampshire and South Carolina. They were the first three caucus or primary states. "Run and sound local, like you want to be their governor." A lot of candidates made the huge mistake of trying to run in 27 states. "Run three governor's races, and you'll have a really good shot. Focus on three. Do well in three. And the others will come."

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"I can be the nominee," Trump said. "I can beat these guys. I don't care who they are. I got this. I can take care of these other things."

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Each position could be revisited, renegotiated.

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"I'm pro-life," Trump said. "I'm going to start."

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"Here's what you're going to need to do," Bossie said. "You're going to need to write between $250,000 and $500,000 worth of individual checks to congressmen and senators. They'll all come up here. Look them in the eye, shake their hand. You're going to give them a check. Because we need some markers. You've got to do one-on-ones so these guys know. Because later on, that'll be at least an entry point that you're building relationships."

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Bossie continued, "Saying, this check is for you. For $2,400" - the maximum amount. "It's got to be individual checks, hard money, to their campaign so they know it's coming from you personally. Republicans now know that you're going to be serious about this."

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All the money, Bossie said, was central to the art of presidential politics. "Later that's going to pay huge dividends." Give to Republican candidates in a handful of battleground states like Ohio, Pennsylvania, Virginia and Florida.

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In addition, Bossie said, "You're going to have to do a policy book. You ought to do a book about what you think about America and these policies."

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Bannon gave an extended brief on China and its successful efforts to take jobs and money from the United States. He was obsessed with the threat.

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"What do you think?" Bossie later asked Bannon.

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"I'm pretty impressed with the guy," Bannon said. As for running for president, "Zero chance. First off, those two action items. The fucker will not write one check. He's not a guy who writes checks. He signs the back of checks" when they come in as payments to him. "It was good you said that because he'll never write a check."

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"What about the policy book?"

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"He'll never do a policy book. Give me a fucking break. First off, nobody will buy it. It was a waste of time except for the fact that it was insanely entertaining."

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Bossie said he was trying to prepare Trump if he ever did decide to run. Trump had a unique asset: He was totally removed from the political process.

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As they walked on, Bossie found himself going through a mental exercise, one that six years later most Americans would go through. He'll never run. He'll never file. He'll never announce. He'll never file his financial disclosure statement. Right? He'll never do any of those things. He'll never win.

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"You think he's going to run?" Bossie finally asked Bannon. "Not a chance. Zero chance," Bannon repeated. "Less than zero. Look at the fucking life he's got, dude. Come on. He's not going to do this. Get his face ripped off."

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Bob Woodward, "Fear: Trump in the White House" (2018)

Coming events cast their shadows before

(proverb)

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That phrase, word for word, exactly as you heard it, without one syllable altered or twisted, that phrase was the scathing retort I made, at the age of seventeen, to Trent Nugent, who was the artistic director, juvenile lead, and theater blessee of the Willstone Thespians.

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Now I must explain that I had joined the Willstone Thespians for only one reason. Because, at the age of seventeen I had extremely sticking-out ears. I mean extremely. With my flat cap on, the silhouette of my head resembled nothing so much as a Austin Seven with the two side doors open. Which of course made me extremely diffident with girls.?

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And that is actually is what made me join the Willstone Thespians. Because among young men of that day there was a very widely held theory that the best possble way to get girls flocking to you was to be the star in an amateur dramatic society. And of all our local amateur dramatic societies the thespians attracted by far the largest female following.

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This wasn't so much because of the quality of their plays or the standard of their acting.? It was due practically completely that the bloke who printed their posters was a little on the short-sighted side.

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This was demonstrated by the enormous crowds that rushed to see their production of Patrick Hamilton's play Rope and it was a similar error which brought the house-full notices out for Ivor Novello's Careless Rapture.

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But as I say, when I joined them for their winter season my purpose was quite cold-blooded: to work my way up through the company 'till I could take the starring role in The Desert Song.

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I went along at the beginning of the season and presented myself to Trent Nugent. Now there was an insufferable character.? Trent was actually, in the society, more or less all-powerful. ?And accordingly it was to him that I explained that I wanted to end the season as the Red Shadow but until then I was perfectly willing to work my way up to it.

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"All right, very well," he said, ?"In our first production, we'll just give you a walk-on part."?

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Now that expression a walk-on part I took to be the customary theatrical jargon 'till I saw what the first production was: The Bridge of San Luis Rey. And I was to be the bridge.?

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There was apparently some altercation with the scenary builders which meant that I spent the major part of Thornton Wilder's great work stretched out between two paper-mache rocks with hand-rails attached either side of me being walked on.

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Nevertheless I did feel that I'd served the necessary apprenticeship, so when we finally came to the first read-through of The Desert Song I thrust myself in front of the company and without prompting I recited the whole of the Red Shadow part, chucked in a snatch of One Alone to Call My Own, to say nothing of two choruses of the Rift Song.

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When the rest of the cast broke into spontaneous applause I could tell that Trent Nugent was really impressed. He said, "That was very good.? Very good. I think" And he handed me a script. ?"I think you've earned this."

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And when I looked down at the part circled for me my gorge leapt. I was Third Sand Dune.

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I said, "Wait a minute.? What about the Red Shadow?"

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He said, "I'm terribly sorry. but that's quite out of the question.? You see I was cast for that before the season even opened."

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That was where I made that aforementioned retort.

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"In that case," I said, "This amateur dramatic society shouldn't call themselves the Willstone Thespians.? They should call themselves The Coming Events."

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He said, "Why?"

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I said, "Because," without altering or twisting a syllable, "It's Coming Events cast their shadows before."

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Dennis Norden 573a

Around this time, Richard fell into his first performance as a comic. In his memory, his first stage was the brothel's backyard in the mid-1940s; his first prop, a pile of dog poop. He was wearing a spiffy cowboy outfit his grandfather had given him and was sitting on the edge of a brick railing, looking for all the world like a miniature version of his heroes John Wayne or Lash LaRue. Then he threw himself on purpose off the railing, and his family broke out in laughter. A few more falls, and the laughter didn't stop. The comedian-in-the-making conceded that his routine was over and ran to his grandmother, but along the way, he slipped on the pile of dog poop. Again, roars of laughter. Eager to please, he did what any attention-craving child would have done: he repeated his pratfall, dog poop and all. "That was my first comedy routine," he said. "And I've just been slipping in shit ever since." If comedy was partly the art of self-humiliation, early on Pryor realized he had a knack for it.

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Scott Saul "Becoming Richard Pryor" (2014)