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I wrote ‘Turn Your Radio On’ in 1937, and it was published in 1938. At this time radio was relatively new to the rural people, especially gospel music programs. I had become alert to the necessity of creating song titles, themes, and plots, and frequently people would call me and say, ‘Turn your radio on, Albert, they’re singing one of your songs on such-and-such a station.’ It finally dawned on me to use their quote, ‘Turn your radio on,’ as a theme for a religious originated song, and this was the beginning of ‘Turn Your Radio On’ as we know it.
I got into comics about the same time as music. By 12 years old, I had discovered my dad’s killer comic book collection filled with Silver Age books from his youth…early Spider-Man, Thor, Fantastic Four, The Hulk, Detective Comics, Action Comics, you name it. Seeing those old books got me interested in new comics, so my friends and I would hit the local comic shop every Saturday to pick up the cool titles of my generation.
The mandate entails a generous synthesis of civil, political, economic, social and cultural rights. The title requires the expert to be truly independent, keep an open mind, conduct his/her research objectively and without ideological prejudices, listen to all sides of an argument and seek the opinion of all stakeholders. The essence of an independent expert is not merely his/her expertise – which must be considered a given – but the faculty of thinking outside the box, while rigorously respecting the terms of reference laid down in the resolution establishing the mandate, and observing the code of conduct of rapporteurs.
The origin of all civil government, justly established, must be a voluntary compact, between the rulers and the ruled; and must be liable to such limitations, as are necessary for the security of the absolute rights of the latter; for what original title can any man or set of men have, to govern others, except their own consent?
It is necessary a writing critic should understand how to write. And though every writer is not bound to show himself in the capacity of critic, every writing critic is bound to show himself capable of being a writer; for if he be apparently impotent in this latter kind, he is to be denied all title or character in the other.
It’s not that difficult to play well and win titles in a team like Barcelona, but it’s in the national side where you see a player’s true class. That was the case with figures like Pele, Diego Maradona and Zinedine Zidane. With Spain, Iniesta has shown that he is among the best players of all time and that’s why I rate him higher than Messi or Ronaldo. Even though the latter two have incredible scoring records for their clubs, they still haven’t won anything with Argentina or Portugal respectively.
… A CLOCKWORK ORANGE- and I said: ‘That’s a fair gloopy title. Who ever heard of a clockwork orange?’ Then I read a malenky bit out loud in a sort of very high type preaching goloss: ‘- The attempt to impose upon a man, a creature of growth and capable of sweetness, to ooze juicily at the last round the bearded lips of God, to attempt to impose, I say, laws and conditions appropriate to a mechanical creation, against this I raise my swordpen-
Because I love narrative but am more lyrically inclined, I’ve learned that if I freight titles with narrative information (the who, what, when, where, why of the poem), I can get to my main interest, which is the language, and where it wants to take me. If I can establish the poem’s occasion in the title, then so much the better for my freedom to associate.
I’ve come to embrace the notion that I haven’t done enough in my life. I’ve come to confirm that one’s title, even a title like president of the United States, says very little about how well one’s life has been led. No matter how much you’ve done or how successful you’ve been, there’s always more to do, always more to learn, and always more to achieve.
I don’t think it’s illegal. I don’t think it’s against the rules. It’s as dangerous for me to have a toothpick in your mouth as it is to have a 200-pound man punch me in the face hard or try to kick me in the face. I’m more worried about that, to be honest. I don’t have any superstitions. I won world titles with a toothpick. I defended it without a toothpick. It all depends. Sometimes I do it, sometimes I don’t. It’s a bad habit. I know I shouldn’t do it, but it’s fine.
The more I move among workers and factories and other plants, the stronger I become convinced that it is advisable to have as [a company] president a practical man, preferably one who has risen from the very bottom of the ladder. Workmen, I find, have far more respect for such men than for collar-and-cuff executives knowing little or nothing about the different kinds of work which have to be done by the workers. Wherever circumstances call for placing a financier or lawyer or a papa’s son at the head of a large organization, he should be made chairman or some other title, but not president.
To tell the truth, in Pacific 231 I was on the trail of a very abstract and quite ideal concept, by giving the impression of a mathematical acceleration of rhythm, while the movement itself slowed . I first called this piece Mouvement symphonique. On reflection I found that a bit colorless. Suddenly, a rather romantic image crossed my mind, and when the work was finished, I wrote the title Pacific 231, which indicates a locomotive for heavy loads and high speeds (a type unfortunately disappeared, alas, and sacrificed to electric traction).