Purely in terms of income, according to tax returns filed in 2009, if your adjusted gross income is higher than $343,927, you’re in the 1%. Just for contrast, if you make more than $32,396, you’re in the top 50%.
Something else to consider, when looking at these income numbers: This is not income from work. The vast majority of people in the 1% are making money from investments. A breakdown of demographics in the top 1% shows that in the lower half of this group, you do find some members of the professional class, usually there with substantial help from family wealth and social advantages. Most of those people, though, are associated with the financial industry. The numbers get even more stark the higher you go.
Yet Horowitz recognizes, too, the threat of the overly humanized view of the dog. She loves dogs in general—and her own mongrel hound, Finnegan, in particular—but throughout the book are rueful hints, perhaps partly inadvertent, that what the science shows is that the entire dog-man relation is essentially a scam, run by the dogs.
Certainly, the qualities inherent in breeds—nobility, haughtiness, solidity, even the smiling happiness of the Havanese—are tricks of our mind, where we project primate expressions of inner mood into canine masks…. And the virtues we credit them with—whether the big ones of bravery, loyalty, and love or the smaller ones of happiness, honesty, and guilt—are just as illusory.
“We often interact with professionals who exercise their judgment with evident confidence, sometimes priding themselves on the power of their intuition. In a world rife with illusions of validity and skill, can we trust them? How do we distinguish the justified confidence of experts from the sincere overconfidence of professionals who do not know they are out of their depth? We can believe an expert who admits uncertainty but cannot take expressions of high confidence at face value. As I first learned on the obstacle field, people come up with coherent stories and confident predictions even when they know little or nothing. Overconfidence arises because people are often blind to their own blindness.”—Don’t Blink! The Hazards of Confidence
“The proper selection of guests is the first essential in all entertaining, and the hostess who has a talent for assembling the right people has a great asset. Taste in house furnishings or in clothes or in selecting a cook, is as nothing compared to taste in people! Some people have this “sense”—others haven’t. The first are the great hosts and hostesses; the others are the mediocre or the failures.”—Emily Post on formal dinners (1922)
It was liberating to hear someone take on those traditional expressions of masculinity, because I hated the ways I was expected to act as a man. I hated the toughness and numbness that was expected from men, because I wanted to be able to express my emotions without fear of ridicule. I hated the predatory way that men acted towards women, because I wanted to be free to have meaningful relationships with women.
Likewise, I hated the homophobia, because I wanted to have meaningful relationships with the men in my life. I see men around me all the time who refuse to show any signs of vulnerability for fear of appearing feminine, and they tend to cut themselves off emotionally from the world. It’s fucking sad. I see men all the time who only view their relationships in terms of conquest, and I can’t think of one of them who has a healthy emotional life. Breaking down ideas around male superiority and masculinity is absolutely in mens’ best interests.
Last night a friend asked about breaking into film vs. breaking into publishing. Publishing, he thought, was more white shoe, more closed. I wasn’t sure. It was true that there was more agreement on whether a movie worked than a book, and if you could make a movie that worked you were already ahead, even if it wasn’t perfect. And if your book wasn’t someone’s version of perfect, even in a broken, imperfect way, then you didn’t have much to offer.
But it takes money to make a movie. Glass ceilings are made of money. People don’t give money easily to first time directors. You have to have connections, or bring something else to the table, like a famous actor. You certainly need more than pluck and a good script. And I still believe that a really good book can always find a publisher. It might take longer than it should, and you might not get any money for the book, but a transcendent text will find its way in the world. Films are filled with permissions, first because you need the permission of people with money, and then because they’re so collaborative, which is what makes them so wonderful and so full of hazards. A book is an author alone in a room multiplied by a passage of time. A book isn’t set on permission, a book is grounded on faith.
“Bromance narratives, though, show that people are aware of asexual partnerships, even if they don’t quite know what they are, or what word to use to describe them. These relationships go deeper than simple friendship, as viewers and readers and listeners know and are acutely aware. Sadly, the development of a sexual relationship is often framed as the end of a bromance, which sets up an adversarial and unfortunate situation. It also implies that such relationships are transitory waiting periods, that people only experience rich, full lives in sexual partnerships and that the bromance is only a temporary stopgap instead of a relationship in its own right.”—Ah, What a Fine Bromance! The Hidden Asexual Narratives in Pop Culture
“No one rehearses in his bedroom unknown until he’s twenty. You evolve in front of and with the audience. The concept of emerging fully-formed, the major label/Top Forty way, makes no sense, it would be like being ready for the MCAT after graduating high school. Kids today know you’ve got to jump through hoops to get where you want to go. Just because idiots parade on reality TV don’t think this is the way most young people are today. No, they believe in hard work, degrees, resume-building…they’re doing their own personal artist development, if you want them to take you into their bosom you’ve got to be on the same path, lightning bolt fame is to be made fun of, that’s what all these reality and Top Forty stars just don’t get, they’re not heroes, they’re zeros.”—Lefsetz Letter: Pomplamoose At The Troubadour
“A major shift occurred in my writing. My girlfriend went traveling and I sent her letters poste restante as she wandered Europe. They weren’t so much letters as diaries, some 40 pages long, written by hand. It was an audience of one but she was the only person I wanted to impress. The letters were free in a way my other writings weren’t. They came easily. If I was paying attention I would have seen an important lesson about changing style and voice and letting my imagination run wild.”—Stephen Elliot, “Why I Write” (2009)
“And since we are, as a generation, more addicted to positive reinforcement than any before us, and because we have learned firsthand the futility of finding that affirmation through our employers, we have returned to our stuff-making ways, via pursuits easily mocked: the modern-day pickling, the obsessive Etsying, the flower-arranging classes, the knitting resurgence, the Kickstarter funds for art projects of no potential commercial value.”—The Kids Are Actually Sort of Alright
“Writing about later travelogues, Paul Theroux hones in on individuality, and in it he identifies much of what makes the travel narrative valuable. “The writers of this time,” he says, referring to the supposed high water mark of travel writing in the 1930s, “sought to prove their own singularity by placing themselves in stark relief against a landscape that was primitive, or dangerous, or laughable, but in any case emphatically foreign.”—On the Travelogue
“Let’s try something bold. Let’s start from the assumption that games are an important form of contemporary art. What kind of art are they? Most often, critics discuss games as a narrative art, as interactive cinema or participatory storytelling. Perhaps, we should consider another starting point, viewing games as a spatial art with its roots in architecture, landscape painting, sculpture, gardening, or amusement park design.”—"The Art of Contested Spaces," Kurt Squire and Henry Jenkins
“I really wanted to represent—and dramatize—that these people have these private selves they’re trying to define. If you listen to someone talking about their sexual experiences, you get a key to understanding who they are as a person. The way Russell describes his relationships in that journal provides so much insight. You get a sense of what he wants and how he feels about both a relationship and other people. It’s important to think about that.”—The Rumpus Interview with Andrew Haigh (director of Weekend)
“To this day, I’m not sure that I am in possession of substantially greater self-knowledge than someone who has never been inside a therapist’s office. What I do know, aside from the fact that the unconscious plays strange tricks and that the past stalks the present in ways we can’t begin to imagine, is a certain language, a certain style of thinking that, in its capacity for reframing your life story, becomes — how should I put this? — addictive.”—My Life in Therapy (2010)
“Adults continued to be those who took over the primary tasks of the economy and culture. For women, the central task usually involved the day-to-day rearing of the next generation; for men, it involved protecting and providing for their wives and children. If you followed the script, you became an adult, a temporary custodian of the social order until your own old age and demise.”—Where Have the Good Men Gone? - WSJ.com
“Is the entirety of the human experience being reduced to what happens on a computer screen? Do we live real life just so we can upload pictures and videos for others to enjoy?”—Reelviews: The Anti-Social Network
‘They want you to shut up,’ I explained. ‘That’s the point of a rape threat. They want to silence you. They want you to shrink down very small inside a box where you think they can’t find you.’
And it works. I see it happening all the time; blogs go dark, or disappear entirely, or stop covering certain subjects. People hop pseudonyms and addresses, trusting that regular readers can find and follow them, trying to stay one step ahead. Very few people openly discuss it because they feel like it’s feeding the trolls, giving them the attention they want.
“With a good script, a good director can produce a masterpiece. With the same script, a mediocre director can produce a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. The script must be something that has the power to do this.”—Akira Kurosawa
“That same summer, Jonathan Franzen, also 28, was living in Jackson Heights, Queens, and feeling “totally, totally isolated.” The neighborhood was an immigrant jumble, and Franzen was a solemn, intellectual guy from St. Louis without much occasion to leave the house. He had gotten some attention and money for his debut novel, The Twenty-Seventh City, but the axis of the planet had not obediently shifted. He was frustrated with living in “shared monastic seclusion” with his then-wife, he says, when he got a fan letter from a writer he knew of but had never read. David Foster Wallace, then 26, was having dire troubles of his own and wrote to praise what Franzen had done in a “freaking first novel.” It was the first time Franzen had ever heard from a peer, he says. “And I was desperate for friends.”—Just Kids: Franzen, DFW, Eugenides…
“J. M. Barrie’s Neverland, like Lewis Carroll’s Wonderland before it, delivers on the luminous promise of magic, with fairy dust and rainbow water, in a world ablaze with color and expressive energy. Yet the authors of “Peter Pan” and “Alice’s Adventures in Wonderland” also understood that “what if?” had a dark side: the Queen of Hearts ritually demands nearly everyone’s head and Captain Hook repeatedly brandishes his trademark weapon, while a clock ticking inside a crocodile reminds us that time is running out.”—No More Adventures in Wonderland