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otto frank

Dec. 18th, 2008 | 12:19 pm

Jacob Friedman

Otto "Pim" Heinrich Frank was born on 12 May 1889 into an assimilated German-Jeiwsh banking family in Frankfurt am Main. His father, Adolf Klaus Frank, was ancestrally Prussian, but his family had moved to Germany during the Napoleonic wars, in which his grandfather was a commanding officer during Prussia’s inclusion in the German Confederation. Otto was raised as a German, and felt that his family was primarily German, before Jewish. His mother, Temma Margot Bismarck, taught the young Otto to play the cello, and as a student, he excellened in mathematics and history.

            During WWI, he served on the Imperial Army on the western front. During the war, he felt strongly nationalist, and commanded so well in the trenches, he was appointed to lietenant in 1915. He was unsure of his leadership qualities, but proved himself by loving and respecting his unit. During one French attack, Otto’s trench was blasted by a mortar. A young 19-year-old soldier was hit in the head by shrapnel. Because of the rabble, he couldn’t viably save the man and continue to fight, and he died from bloodloss. Although he was not always traumatized by death, this boy stuck with him subconsciously until the end of the war, and continued through his whole life.

When he returned, he attempted to continue school, but his father and he agreed that he should join the workforce as soon as possible, because the Treaty of Versailles had greatly deteriorated Germany’s economy. After an apprenticeship at a Savings and Loan bank in Frankfurt, he aspired to run a small business and begin his family before turmoil broke again in Germany. He was subject to an arranged marriage between the Hollander family of Auchen, who his father’s bank did business with , he married Edith Holländer on 12 May 1925 in Frankfurt-am-Main, and their first daughter, Margot, was born on 16 February 1926. Margot was attached to her mother, but Otto was basically a kind, curteous father. Edith and he agreed to not have a second child until they were financially sound, so Anne Frank was born on 12 June 1929. He enjoyed his relationship with his family, but at times was overwhelmed by responsibility.

His business was called Opekta, a distrubitor of processed pectin, which became increasingly common in modern preservatives and food in ration books. The Opekta company was based in Cologne Erich Elias, his brother in law, who he had been in business with before, loaned him money to do this, as did a cousin, Armand.  He had briefly managed a large rival firm, Pomosin, which traded pectin to factories from the Dutch town of Utrecht, one of which employed Albert Dussel, but decided that retail trade would be more lucrative in the consumer-based Dutch market than wholesale. His franchise for the Amsterdam branch of Opekta was established in September 1933. He employed Miep Gies in the PR and advertising department, Herman van Dann as an herb specialist, and Victor Kraler as the interim deputy of Opekta during his hiding., Germany when Frank was appointed to aid their expansion into The Netherlands. Frank had considered moving there after the election of Adolf Hitler as chancelor, so he accepted the post and moved alone to Amsterdam to find accommodation for his family and premises for the company.

As Nazism rose as a common party in Germany, anti-Jewish decrees encouraged attacks on Jewish individuals and families. He was given a copy of Mein Kampf by a friend and urged to read it for perspective. Immediately, Frank decided to evacuate his family to the less volatile Western Europe. During the summer of 1933, he moved his family to Aachen, where his wife's mother resided, in preparation for a subsequent and final move to Amsterdam in the Netherlands. In 1938 and in 1941 he attempted to obtain visas for his family to emigrate to the United States or Cuba. He was granted a single visa for himself to Cuba on December 1, 1941, wether he received it or not, ten days later, when Nazi Germany and Fascist Italy declared war on the United States, the visa was cancelled by Havana.

He began to prepare their save haven in a secret annex of the Opekta building. Kraler, Gies, and he spent weeks preparing, but were forced into hiding early. In response to a call-up notice sent to Margot in July 1942, Frank took his family into hiding in the upper rear rooms of the Opekta premises on the Prinsengracht. After Margot and Anne returned from Jewish Secondary school, Otto and Edith attempted to explain the situation as rationally and adultly as possible. The Van Danns were informed and were to arrive after them. The Franks disheveled their house and left a misleading note that they would be leaving for Zurich. After they had packed, they rushed throught he streets, but when the Green Police began scouring at dusk, the took a more convuluted path to Opekta. When they arrived at the office, he warned Edith to keep the children briefly downstairs until they heard talking in the annex.


Erich Elias, his brother in law, who he had been in business with before, loaned him money to do this, as did a cousin, Armand.

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May. 19th, 2008 | 06:50 am

In Plato’s “Allegory of a Cave,” he describes the way that human perception and our own concept of reality truly imprison us. In the film “Paperclips” a group of school children escape from the very “cave” explained thousands of years prior.
    “The Allegory of a Cave” is deftly titled so as it is a well laid symbolic representation of the consciousness of man. In the cave, the “light” is meant to represent truth or any sort of understanding higher than that experienced by the prisoners, who are subsequently mankind. The main influence on the students of Whitwell Middle School in Whitwell, Tennessee and their imprisonment and ignorance was their ignorance and alienation from a broader social climate. However their ignorance was not a complete fault. Their teacher and principal expressed in depth the homogenous make-up of the town. Aside from a few, almost the entirety of the town was white, lower middle class, and Christian. Growing up and being educated in a town limited to a sole demographic kept the students in full innocence. Although with the paperclip project they lost their innocence, they grew exponentially as people and broke the shackles of ignorance.

Although a life-changing process, the students welcomed their ascent with relatively opened arms. The project of course stemmed from their initial incomprehension of the magnitude holocaust. Due to their “ignorance”, there was little aversion towards collecting paperclips and thinking so abstractly about an event. However, as the project progressed and the children grew, they simultaneously recognized that they were experiencing an ascent. A young girl during the process of collecting the paperclips articulated her astonishment that there were children who, due tot the travesties of the holocaust might have grown up never knowing their grandparents. This truth that she encountered was a ray of light that contributed to her gradual and dynamic ascent from the shackles of ignorance and innocence to maturity and understanding.

In Plato’s excerpt from The Republic, he muses that one who has attained the light would not “heartily desire rather to be a serf of some landless man on earth and to endure anything in the world, rather than to opine as they did and live in that way.” The students who adapted to the emotional change of comprehending the holocaust would apply this quote to the fact that although some people feel it is comforting to live under ignorance and oppression thereof, in their case, it would be impossible to go back. The knowledge that they attained during their experience became a part of them, a part of their consciousness, and a part of their perception and interaction with anything in the world.

As a Jewish youth and someone who has previously both seen this movie and read this parable, I can only say that my visceral reaction to the subsequent viewings and readings proved the power of both works. Throughout my life, I have been raised to understand the holocaust. I’ve met many survivors, heard their stories, and been to events commemorating the holocaust. However, symbols and allegory have their place in the world because of their ability to recreate feelings aroused by the original concept. So to see these children, thought by many to be “dumb little redneck kids” cultivating the same growth and adaptation to truth in one two or three year experience that I’ve been attempting my whole life and continue to do, I am enlightened with hope. The destruction of stereotypes that shackles the children is a beacon of light and means to me that no matter what level of consciousness someone has been imbued with, the truth can always prevail. “Paperclips” as well as “Allegory of a Cave” are finely representative of the strength of the human will, the versatility of compassion, and the human quest for knowledge and truth.

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this is all that live journal is to me anymore

Apr. 29th, 2008 | 06:52 am

Jacob Friedman
Period C
The Things They Carried: A War Story?
The logos of this statement resonates with the knowledge that it is contained in Tim O’Brien’s own “fictional” war story. A passionate message to humanity, O’Brien implores that The Things The Carried, a collection of Vietnam War vignettes, be classified as fiction. The only reason for this request is that they are not true retellings or first hand accounts, however based loosely on imagine experience. If the book were written by an author who had not actually experienced the war, it would undoubtedly be appropriately constituted as historical fiction. However, the fact that O’Brien was immersed in the war he paints, either witnessing or feeling these devastating events and emotions, more accurately makes the work a dissection of the nature of war and the people involved, and most importantly, based firmly in reality.
    In the short segment, “How to Tell a True War Story”, O’Brien states that this story is true. Whether he means the story is completely factually sound or alternately that this type of story had happened numerous times during his stay in Vietnam is neither known nor, frankly, does it matter. According to O’Brien’s definition, either way it is a true war story.
When Curt Lemon died of misusing a smoke grenade with his friend, Rat Kiley, Rat sorrowfully writes to his deceased friend’s sister, recanting the fine quality of her brother’s soldiership. There is irony present due to the fact that although this death can be seen as an example of the horror of war, Curt was not actually in combat during his death. It is almost absurd that he died playing with his own grenades with a friend. However, when the reader thinks about how war placed the soldiers in this terrible situation, it is possible to forgive them. “It’s about sorrow.  It’s about sisters who never write back and people who never listen” (91). Directly correlating to the quote in question, one of the most profound parts about this particular short is that the sister never responds to Rat’s letters. Later, O’Brien explains how in some war stories (most notably his own) the most emotionally draining parts are true, but the details are not. However, if the moral is not lost, the story remains true, at least in relation to human compassion.
In “The Things They Carried,” O’Brien offers not only the title of the book, but the most compelling ideal about Vietnam. Jimmy Cross’ love for Martha might not be completely pure. The fact that she most likely does not love him back might cheapen the way we view his love. But in truth, Cross keeps all of her letters merely for hope. The thought of a woman and her love offer a glimmer of hope into his chaotic, war-torn psyche. “It’s about love and memory” (91). During the rough an unforgiving times of war, every soldier must constantly have something that reminds them of the more favorable times in their life. Being a soldier during the Vietnam War is the most mentally rigorous task that most of the men, such as Henry Dobbins, have ever encountered. Hence, Dobbins wears his girlfriend’s pantyhose around his neck for good luck. Although seemingly absurd, this keeps him connected to his true life.
These glimpses into the complex mind of a soldier and the helplessness that plagues them makes this story a true war story. In war, identity and innocence are lost while innocent people suffer. However, the facts regarding this need not be exact for the story to be true. The Things They Carried may not be factually accurate, but it is a first-hand account of the experience of war. Therefore, it is a true war story.

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Nov. 27th, 2007 | 06:58 am

Jacob Friedman
Period F
Protest Music’s Effect On American Society

“If your time to you is worth savin’, then you better start swimmin’ or you’ll sink like a stone; for the times they are a-changin'” (Dylan 81).  These lyrics, written by the seminal folk singer Bob Dylan, rang true through the country’s youth as protest music’s presence would definitively change American culture and society.  The political climate of the 20th century, a shaky, dynamic conglomeration of events and people, set a fertile stage for the popularization of protest music in the 1960’s.  Although American protest music does not have a large or expansive history, it has made a social and cultural impact by being effective in reaching a large audience.  It has become a part of our culture, as well as protest in general.

In order to properly evaluate protest music’s impact, it is necessary to introduce the blues.  The blues began in the 19th century in the cotton fields of the south.  The simple, powerful songs, also know as spirituals, were a means of expression for African-American slaves, singing to ease the pain of their unfortunate lives.  It was a form of catharsis that could be shared commonly between slaves as certain songs were more memorable and were sung repetitively.  These songs dealt mostly with some form of salvation by God that would rid them of their hardships.  Contempt for the slave-owners was an obvious propellant of the songs’ performance.  Spirituals developed into a standard song for known as “The Blues.” The blues was the first form of musical protest apparent in America.  Although it was refined to slaves for decades, the Emancipation issued in 1863 saw more African-Americans living in metropolitan areas as opposed to rural lands.  After the turn of the century, African-Americans, still without rights, had brought the blues into America’s pop culture.  Although only performed by black people for years, white and black people alike feverishly attended performances of the blues in halls, bars, or nightclubs.  Interestingly though, this popular music still retained the same respect for the pain and suffering of it’s performers ancestors. 

Cultural progression gave America folk-blues, blues played acoustically, which spoke solely of the hardships experienced by African-Americans since the beginning of their relationship with free America.  Although vastly more controversial and topical, the front-runners of folk-blues such as Leadbelly, Mississippi John Hurt, and Lightnin’ Hopkins, and countless others remained popular in America, although not entirely in the limelight.  The reason for their fame is that they tackled more issues than racism.  The songs dealt with problems that affected all of America, injustices, prison, government, and during the 30’s, the depression. 

“From the south land and the drought land,
Come the wife and kids and me,
And this old world is a hard world
For a dust bowl refugee.” (Guthrie)
                                -Woody Guthrie

Protest and folk music were set to burst as a contemporary of Leadbelly’s, Woody Guthrie entered the scene.  Guthrie traveled across America, a balladeer for the common man, singing folk standards and originals that rang true as criticisms of American society and culture at that point, which was withered by the Dust Bowl and Depression. Guthrie perfected the “talking blues,” a form of folk song where simple chords are played behind the singer telling a story usually dealing metaphorically with hardships felt by victims of the dustbowl or economic struggle in general. Guthrie was an anti-hero. His conscience was not blemished, he was a womanizer and outlaw, but the truth and humanity behind his words reached out for a nation torn by class.

“The Almanacs vigorously championed their win-the-war, no-strike message… Who were they? What was their role in a world at war? Who would lead them-if anyone could lead so disparate a group? What songs should be sung; should the hoots continue?” Cohen 33).

    After Guthrie’s prolific peripatetic promenade peaked during the depression, he traveled to New York City in the 40’s, performing constantly ad, more importantly, creating the Almanac Singers with Pete Seeger. The Almanac Singers were incredibly important less in their musical or immediate influence, but in the precedents they set in bringing protest music to New York. Their music was not at all anti-American. They sang about winning the war and not striking. But this was characteristic of their time. Mostly radicals, not folk singers, proposed the opposition to WWII. However, the folk music they brought made a strange home in New York’s Greenwich Village.

    Greenwich Village in the 1950’s was the center of America’s art and music scene. Political radicals, folk singers, poets, sculptors, and thousands of people seeking any haven for abstract thinking settled in Greenwich Village. Arguably the most important of these pilgrims was Bob Dylan, born Robert Zimmerman, who came from Hibbing, Minnesota became a front-runner in the folk scene, outspokenly and completely influenced by Woody Guthrie. Upon his move to New York, the folk music scene was not overbearingly warm to his presence; he was seen as a “pest,” a starry-eyed kid who didn’t take anything too seriously (Lankford 114). Subsequently, as the result of a good review of a concert in which he played, Dylan was signed by popular music producer John Hammond to record an album for Columbia records. Despite his unconventional voice and appearance, Hammond saw something that would make him money (Scorsese). Despite his first album being a fiscal failure, Dylan was now fully established in the folk scene.

    In 1959, the first annual Newport Folk Festival was held, a folk concert held in Newport, Rhode Island. It was based around performances by popular singings suck as Pete Seeger; his band The Weavers; and the trio Peter, Paul, & Mary. (Woody Guthrie, the archetypical folk singer was at that point hospitalized in an asylum in New Jersey) (Dylan 162). Also featured was folk singer Joan Baez, another child of the Greenwich Village music scene, of a greater popularity than Dylan. Bob Dylan made his first appearance in 1963 and performed songs that spoke of a world-weary view on the social and political climate of America. His set included “Talkin’ World War III Blues.”

Some time ago a crazy dream came to me,
I dreamt I was walkin' into World War Three,
I went to the doctor the very next day
To see what kinda words he could say.
He said it was a bad dream.
I wouldn't worry 'bout it none, though,
They were my own dreams and they're only in my head.

Down at the corner by a hot-dog stand
I seen a man, I said, "Howdy friend,
I guess there's just us two."
He screamed a bit and away he flew.
Thought I was a Communist.

Well, I spied a girl and before she could leave,
"Let's go and play Adam and Eve."
I took her by the hand and my heart it was thumpin'
When she said, "Hey man, you crazy or sumpin',
You see what happened last time they started."

Well, I seen a Cadillac window uptown
And there was nobody aroun',
I got into the driver's seat
And I drove 42nd Street in my Cadillac.
Good car to drive after a war. (Dylan 86)

    The song is performed in the style of Guthrie’s “Talkin’ Blues.” Although it is humorously performed (as can be seen in these select verses), Dylan’s song is a balance of serious commentary and wit. He sarcastically jabs the Red Scare, fear of nuclear fallout, and capitalist consumerism among other things. The presentation of such blatant criticism of America was not unheard of, although it was uncommon. Folk singers before him had used old folk tales and songs as an allegory for the current state of American, society. However cryptic, Dylan’s lyrics struck its listeners with truths that felt entirely fresh.

    Until the point where Dylan emerged as a pop artist, rebellion in America’s youth was rarely if ever political or social in the sense of vast injustice or moral decay. World War II was feebly, if at all, opposed because it's concept was a just fight against the Nazi regime. Although bittersweet because it is war, WWII brought America out of the depression by jumpstarting the economy and employing thousands of people to help with the war effort. Elvis Presley, insanely popular among teens, was the antithesis of Bob Dylan. He sang songs of love, but his persona and personal views riled American teens to go to war, to support the troops, and in some cases, blind patriotism. Bob Dylan, a poet who completely spoke his mind, opposed war and felt contempt for current political leaders.
The difference between Dylan and previous folk singers was his pop appeal. Teens could identify with his shallower songs dealing with romance, but were also greatly affected by his songs that appeared topical as the heart and gist of them applied to the situation in which American society was.

“How many roads must a man walk down
Before you call him a man?
Yes, 'n' how many seas must a white dove sail
Before she sleeps in the sand?
Yes, 'n' how many times must the cannon balls fly
Before they're forever banned?
The answer, my friend, is blowin' in the wind,
The answer is blowin' in the wind.” (Dylan 37)

Most important in the analysis of protest music’s influence is Dylan’s song “Blowin’ In The Wind.” Although this is no way his greatest song or most topically charged, the reception celebrated by this song greatly demonstrates the American youth’s dynamic shift from apathetic and sycophantic to politically conscious and aware. Under the management of Albert Grossman, “Blowing In The Wind” covered by a slue of pop singers and groups of the time, not normally viewed as “protest singers” in any way. Stevie Wonder’s cover became a top 10 hit in 1966. Similar artists to cover the song brought opposition to war to the mainstream, accessible by teenagers.

The Vietnam conflict was made officially dubbed a war in 1965, although the conflict had involved America since 1959. The United States, in support of The Republic of Vietnam, became took interest in Vietnam’s affairs and aided South Vietnam in combat against North Vietnam, or The Democratic Republic of Vietnam. The American involvement in Vietnam physically commenced in 1961 with The Strategic Hamlet Program; a collaboration between U.S. advisors and South Vietnam, which relocated pillaged villages into well-controlled camps. However, the true mark that the occupation was a war were the executions of Operation Flaming Dart and Operation Rolling Thunder; bombing missions and parts of a staged escalation of the war. From that point the war would last 10 years.

The Vietnam War, for America, was the first war opposed almost as much as it was supported. Whereas during World War II nationalism aroused fervor among the youth, encouraging them to fight, the Vietnam War was the first war where the people who would normally willingly participate in the fight were protesting. Greatly responsible, of course, was protest music. Due to the popular image and songs of Bob Dylan, Joan Baez, and other folk singers, the very idea of protest was culturally accepted. These formerly “radical” musicians had effectively reached a vast and significant cross-section of American youth. During the entire span of the war, youth protests involving thousands of people at a time emerged to voice the concerns of the Vietnam War’s opponents.

The difference between these protesters of the past and Vietnam protesters was that these included everyday teenagers and young adults. Protest was no longer for “communists” as was insinuated by the Un-American Activities Committee. There were many contributing factors  in changing America’s view during the Vietnam War. America’s cultural and societal mores and standards went through a dynamic change during the 20th century, and protest music was an incredibly significant factor. By successfully encouraging America’s youth to be socially and politically aware and expanding the abstract idea of protest into the mainstream and public with an accessible medium, protest music had a substantial effect on America as a society and culture.

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Nov. 7th, 2007 | 12:35 pm

Living in Waterford is an experience studded with arrogance and entitlement. However built on good intentions, a convenient suburb of a booming town, New London, Waterford, specifically its youth culture, have become precocious and conceited.

In this picture, the scene depicted is a girl’s sweet-sixteen party. Beginning simply with this, the idea of a sweet sixteen party is pretentious and somewhat idiotic. The age of sixteen at this point in American history is almost completely unimportant. Although driving permits are permitted to 16-year-olds, many feel no need to get these as they are comfortably driven by others with no responsibility. Therefore, having a lavish party at a hotel for such an insignificant age is self-indulgent; it is a foolish expense of your parents’ money and such parties are usually feeble attempts to augment the focus on you on your birthday.

The main table in the picture is occupied by kids. These kids are obviously at a party where the focus should be on the birthday girl as they celebrate her. However, at such events, kids in Waterford inevitably opt to focus the attention on themselves. Girls wear loud, shiny dresses that nearly reveal their breasts and come up sometimes past the mid-thigh. This, specifically, is a big problem in Waterford schools. Girls are reprimanded for wearing risqué shirts and skirts yet continue to don them regardless of weather or comfort. Ironically, this stems from both arrogance and lack of self-esteem. The female culture of Waterford is based intensely on competition; fights involving females are infinitely more common than with males. Many fights are over men, each girl believing them to be better-looking or a better choice of girlfriend/sexual partner. Girls smile and embrace each other while knowingly jealous of nearly any aspect of their friends’ existence.

The men at the table are a study within themselves. At the crest of the table relative to the picture is a 16-year-old in a boisterous red jacket. Obviously he urged himself to “dress to impress,” and to isolate himself from his peers. In the front is a boy nonchalantly glancing at the camera, in a pinstripe suit, as if he wasn’t aware a picture was being taken; an arrogant move. Another wear a bright white jacket, a recall to Miami’s cocaine dealers of the 80’s, with an introspective expression that tells him that he outdid his dining partners. Other than pretentious attire, they all wear sunglasses inside, as well as at night. When questioned by his pet tiger about his sunglasses, Calvin of Calvin & Hobbes responded, “When you’re cool, the sun always shines.”

This mentality is common in all of Waterford. In churches and synagogues, adults attempt to out dress their neighbors for an air of superiority. Students walk through the halls yelling excerpts from a self-crafted lexicon based on an arrogant phrase, “Slout,” meaning “I doubt it.”

This attitude has proven violent as well. In the 80’s, the rivalry between the East Lyme and Waterford football teams grew so inflated that it resulted in a huge fight involving chains, bats, and knives.

Waterford, a beautiful coastal town, between Boston and New York, has proven to spoil its inhabitants, and raise children believing themselves to be invincible who want all to know that.

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kooky kurrency

Oct. 24th, 2007 | 09:55 pm
location: my room
mood: exanimateexanimate
music: neil young's On The Beach

todya, i found one polynesian franc while sorting my coins. i thought, "ooh, to whom could i tell this?!" then it hit me that there is no one that i could tell that would have the slightest bit of interest.

and that's pretty much where i am right now, life-wise.

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more things posted because aol doesn't work at school

Oct. 24th, 2007 | 01:38 pm

Jacob Friedman
Period F
AP US History

Birth of the Republic

With centuries in the making, America is arguably the first know nation founded upon the basic principles of liberty and equality.  Though many empires and civilizations in the past have experienced bouts of democracy, republicanism, and equality, none were formed with these specific virtues in mind. In, The Birth of the Republic, Edmund S. Morgan fleshes an outline of a critical period in our current nation’s history: the end of the beginning; where America was truly born, from 1763-1789. 


            Although in some ways Gatsby is self-reliant, he doesn’t not fit Emerson’s criteria for the “self-reliant man.” Gatsby’s story is a rags-to-riches one. He started as a middle class citizen and built himself to be a part of the Nouveau Riche society. However, he took his start from Cody, who taught him the ways of the culture in which he wanted to be a part.

            As an adult, he is aided by servants and butlers, for trivial things such as cleaning, driving or making drinks. Because the presence of hired help is common and (to him) necessary to be in the upper class, his wealth directly negates his self-reliance.

            Socially, he relies on grand parties filled with random guests in an attempt to seem overcome with popularity. Emerson stresses in his essay the virtues of solitude and that the companionship of others is not necessary to be a complete person. Although Gatsby is filled with good intentions, he is confused by wealth and his priorities lie in the illusion of friendship.

            Emerson directly insults, in Self-Reliance, those city people, or even commuters that feel as if commerce is the key to happiness and who believe that financial failure is on par with death. Gatsby, living in an affluent, city-driven suburb of the city, falls into this category. Living in the go-go-go pace of the twenties, he made his wealth participating in dubiously legal financial investments such as boot-legging whiskey. Also, he, to cover up his sour financial pursuits, told all that he knew that he made his money in bonds and investments, something “worthy” of his address.

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this is for history so i can acces it at school

Oct. 23rd, 2007 | 06:58 am

Jacob Friedman
Period F
AP US History

Birth of the Republic

With centuries in the making, America is arguably the first know nation founded upon the basic principles of liberty and equality.  Though many empires and civilizations in the past have experienced bouts of democracy, republicanism, and equality, none were formed with these specific virtues in mind. In, The Birth of the Republic, Edmund S. Morgan fleshes an outline of a critical period in our current nation’s history: the end of the beginning; where America was truly born, from 1763-1789.

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Oct. 22nd, 2007 | 04:39 pm
music: The Pearl

today there are mexicans on my roof making it red. they're making ridiculous pounding noises and ripping nails out. my dog maya was having a fit so i put big headphones on her and played Harold Budd and Brian Eno's The Pearl. she went right to sleep and from what i gather dream of ethereal seascapes and the moon.

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(no subject)

Oct. 17th, 2007 | 12:16 pm
location: gomorrah
music: doom

i'm puttin all the starsky and hutches in motherfuckin crutches. 

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