"Like Sir Edmund Hillary talking about why you do anything: Because it's there. That's why you climb Everest. It's like a little moment in time, and as fast as it comes into your brain, you just throw it out and discard it. Do it before you discard it, you know?"
"The Korean War was only a few years after World War II. We all went. But you couldn't help but think, Shit. What the hell?"
"That's why I [ran for mayor]. 'Cause I thought, I don't need this. The fact that I didn't need it made me think I could do more. It's the people who need it that I'm suspect of."
"Within a few years, the credit default swap (CDS) became the hot financial instrument, the safest way to parse out risk while maintaining a steady return.
'I've known people who
worked on the Manhattan Project,' says Mark Brickell, who at the time
was a 40-year-old managing director at JPMorgan. 'And for those of us
on that trip, there was the same kind of feeling of being present at
the creation of something incredibly important.'
Don't ask me how a guy who was 40 in 1994 "knew" people on the Manhattan Project, because I have no idea. The point is, everyone in the finance world in the mid-90s saw the proliferation of credit default swaps as a major, game-changing thing.
Now, check out this chart of the Dow Jones Index from 1958 until 2008:
Oh, hello there 1995! And hello there, subsequent explosive growth that was hardly harnessed by the tech bust or 9/11!
“I always think, What if you just took your hand off the wheel, and slowly, over time, it all went away, and your life became about, you know, ‘Is the mail here yet?’ I always think about that.” But this dream of disengagement quickly gave way: in the space of a few minutes, sitting in weak sun on a New Jersey driveway, smoking a cigarette, Baldwin imagined himself as the restaurant critic of the Times; the proprietor of an inn near Syracuse; and the presenter of a classical-music show on public radio. “I could do that,” he said, and he wasn’t exactly joking.
...“To sit there in the studio and just say”—a rich radio voice— “ ‘And now Tchaikovsky’s Symphony No. 6, with Charles Dutoit and the Montreal Symphony Orchestra.’ Click. Hit a button, and then you sit back and listen, and they pay you for that. And I can’t imagine they pay you as much as the movies, but to me it’s getting to that point where there’s just something else I want to do. I don’t know what it is.