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James Rosenquist

Pop Art Master

James Rosenquist: Sometimes a title might occur to me. And a title will just stick out in my mind. And then I will think in terms, everything I think of I will think in terms of that title. For instance, I did a painting called Four New Clear Women. It meant, if women became powerful, and they are, like women who own large stock in the stock market, or become president like Golda Meir or Margaret Thatcher or Indira Gandhi, will they be "New Clear Women" or "Nuclear Women?" Will they blow us up, or are they smart? Something like that. So, then I met -- there was this actress named Liv Ullmann, and she started painting. And she said, "Oh, what are you going to do next?" And I said, "I'm going to do The Persistence of Electrical Nymphs in Space." And she said, "Oh, what's that about?" and I said, "Well, that's the sound of all the souls after the earth blows up." And she says, "Oh, yeah." That was very she probably talked with Ingmar Bergman about that. But that was great. So those are titles that I would think about, before I would start working. Then, to think about how young people want to live in the future, too, is another interesting thing. People are animals, and still have all the vestigial I mean still have all the vestiges. I mean they have claws, fangs, ears, noses, just like animals you see running around here. And then you go to New York, I see beautiful girls that have claws, fangs, noses, everything. And I see they are very sophisticated, and they smell nice, but they are still animals. So I wonder, how will a young person like to live, in a really high-tech environment, like say in a rocket ship, or in an apartment, or a business place like that, or would they prefer to live a pastoral life, like little lambs in a meadow? Would they like that? So I think that's curious, what the future generations will select as an environment.
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James Rosenquist

Pop Art Master

My first inspirations, first starting, was that I thought I could devise a new space, from painting outdoor billboards in Times Square. And that was, as a kid I was subject to Rinso White commercials, early television commercials, our commercial society, which was quite unlike Russia, for instance. And I thought -- my job was to paint big pictures of movie stars, and to paint objects to sell, and if I could paint them really well, the company would sell them, and if I didn't, I'd get fired. I had to paint beer to look beautiful. I had to paint beautiful beer, beautiful shirts, beautiful everything. So a salesman would come in and say, "That beer's got too much hops in it. Tell that kid to change it. Gotta change it." So that only meant me making a slightly different color yellow, and repainting the whole damn thing slightly. So I'd take that beer with too much hops in it, that color, which was only yellow, I'd take that home with me. And I'd take Franco-American spaghetti orange, I'd take that home. Which was like red dye number 2 and yellow. I'd take that home and I'd make abstract paintings out of these. And then I thought, "Hey, I'll use imagery, magnified imagery that spilled out of the picture plane, and I'd set it up so the closest thing you would see would be recognized last, because it would be too personal, and it would irritate people. So that's how my so-called "Pop Art" paintings started. And I really used generic things, unlike say, Andy Warhol who used Campbell's Soup. I painted spaghetti, I painted soup, I painted hot dogs, jeans, I painted cars, all kinds of things, really generically. I didn't care about the labels.
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Pete Rozelle

Pro Football Hall of Fame

Pete Rozelle: It was sort of starting to become the "in" sport. We were fortunate to take advantage of it, because in the early '60s, we were the first sport to set up our own merchandising promotion company, NFL Properties, and our own film company, NFL Films. They had their own offices in New Jersey, and they filmed every game, and used those for shows, and sent them overseas for showings overseas, and did a great deal to popularize the National Football League.
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Bill Russell

Cornerstone of the Boston Celtics' Dynasty

Bill Russell: My coach and I -- I call Red Auerbach "my coach" -- his background was math. We used to talk all the time about the game and life and things, but mostly equations. When you think about the game of basketball, it's played in a cube. There are boundaries: floor and ceiling, left, right, back and forth. And the other confinement is time. So what you do within those boundaries with the allotted amount of time is where the game is. And first of all, I never approached the game with a preconceived notion. Now there may be some things I learned, but I wouldn't take anybody's word for it. They'd say, "He's gonna do this." I could not take anybody's word for that, because first of all in that level there are no "one size fits all" and there's no silver bullet. And so in college I was -- mostly I was self taught, basically. One time I was playing a game against Stanford and one of their guards stole the ball and started down to shoot a lay-up. And I was the only one who could catch him. I was the only one in the building that knew that! So I was behind him, and after I was sure that I could catch him -- he's going down the right side -- I took a giant step to the left, and then continued. And the reason I took it to the left, if I went right behind him and blocked the shot I'd probably hit him and that's a foul and there's no accomplishment. But if I took a step to the left when I got to him, there was an angle, so I had a choice to either go in front or behind. And I got there, I knocked the ball into the backboard and then he got the rebound and went back the other way. And I got to know him after we got to playing, and he said he never figured out where I came from, but it was actually quite routine.
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