These Barack Obama T-shirts are probably the cutest ones to-date. I just ordered some! They are $17 plus $2 shipping, but the price will go up after Barack is sworn in as president on January 20, so get ‘em now before the price goes up and before they run out.
From amazon:
“Out of the thousands of new releases that came into our cubicles this year, we’ve chosen our 100 favorites, from an elegant pop-up alphabet and a deliciously dishy guide to fragance to an enthralling biography of an iconic leader and an encyclopedic history of a sport and the world that plays it. Here they are, so click below.”
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From amazon:
“This cable-television biography about the life of Illinois senator Barack Obama was made before he began campaigning to be the Democratic party’s candidate for the 2008 presidential race. Still, the program suggests Obama has one or another kind of profound, American destiny as a mixed-race activist who never comfortably fit into one or another group, and had to look deep into his own roots to understand his identity. The son of a white American mother and black Kenyan father, Obama was abandoned by the latter when he returned to his native country to work for its improvement. Raised by his mother–whom Obama credits with teaching him many of his values–and his grandmother, Obama lived in Hawaii as a child but moved to Indonesia for a few years when his mom remarried. There, Obama saw cyclical poverty and the underlying factors that perpetuate it before returning to Hawaii. Interviews with childhood friends and his sister describe Obama’s restlessness before attending Harvard law school and propelling himself into a life of public service and community activism. Often accused of lacking enough political experience to qualify him for the White House, Obama comes across in this show as a visionary and experienced consensus-builder who can reach across opposing points of view.” –Tom Keogh
Related: The Audacity of Hope: Thoughts on Reclaiming the American Dream
From smartmoney:
“1. “Our branches are there to sell you, not serve you.”
In the late 1990s bank branches were considered outmoded relics soon to be replaced by ATMs and Internet banking. But just the opposite happened: In 1998 there were 89,000 bank branches in the U.S.; by 2007 there were 97,000. Why? The industry realized consumer banking was profitable and that despite the predictions of Silicon Valley wonks, the main criterion consumers use in choosing a bank is proximity, says SNL Financial analyst Jennifer Payne.
But branches aren’t just about convenience; they’re a bank’s primary sales floor. Brochures for services as varied as retirement accounts and home loans are on display, and everyone from the teller on up is trained to make a sale. That’s because in the current low-interest-rate climate, it’s harder to generate revenue from interest alone. Many players in the industry have been trying to boost fee- and service-based income, so if a teller sees you have a mortgage, he might suggest you meet with a loan officer to discuss a home-equity loan. Says Greg McBride, a senior financial analyst at Bankrate.com, “The more products a customer has with a bank, the more likely he is to stay with that bank.”
2. “Our fees will only go up.”
With the economy slowing and big losses looming in the mortgage market, banks are looking for reliable revenue streams. Hence punitive fees — for overdrawing your account, say, or using a competitor’s ATM — are increasing. The average ATM service charge doubled between 1998 and 2007, and overdraft fees brought in $17.5 billion in revenue in 2006, up from $10.3 billion in 2004, according to the Center for Responsible Lending. Rubecca Hegarty, a married mother of three in Woodridge, Ill., says she often pays upwards of $100 a month in overdraft fees to Chase, since, like most banks, it changes the order of purchases so that large debts get paid first — increasing the likelihood of incurring fees on smaller purchases. JPMorgan Chase says it does this because big payments like a mortgage are more important to consumers, so they get priority.
Revenue from penalties can be addictive for banks, says Harvard Business School Professor Gail McGovern, but “they’re going to face problems from angry customers, which leads to big call-center bills, employee dissatisfaction and turnover.”
3. “We change our interest rates all the time.”
Regardless of what your credit card agreement says, you can never be sure how much interest banks will charge you. For example, nearly all cards have a default rate — as high as 30 percent — which banks apply when you’ve done something wrong, usually after two late payments in 12 months. But some banks have cut that to one, says Curtis Arnold, founder of CardRatings.com.
Banks can also change the terms of your agreement, raising rates when they like (though you can opt out and pay off the balance at the old rate as long as you never use the card again). Bank of America did that recently, upping many cardholders’ rates from 10 or 12 percent to 27 percent or more, even though they’d done nothing wrong. “There’s no clarity on what criteria can lead a bank to raise interest rates,” says Robert Manning, director of the Center for Consumer Financial Services at the Rochester Institute of Technology. “It’s a black box.” A Bank of America spokesperson says the company periodically reviews the credit risk of its accounts and adjusts rates accordingly, adding that in the past year 94 percent have had no increase.
4. “College campuses are a gold mine for us.”
Students are the customers of the future, and banks are increasingly courting them, sometimes right on campus. More than 120 universities have cut deals with banks to issue student-ID cards that are also ATM and check cards. Schools can make millions from these deals, sometimes even taking a small cut of individual purchases.
tudents are also a hot market for credit card issuers; banks will make private deals with alumni associations to get contact info for students, parents and even ticket buyers to university athletic events. Card companies cut deals to set up booths on campus, and Chase even inked a deal with Facebook to display ads and set up a Chase group on its Web site.
The problem? Mounting credit card debt among college kids, for one. “Universities don’t negotiate on behalf of students,” says Manning. “They’re negotiating the best deal for the university.” A spokesperson for the National Association of Independent Colleges and Universities says don’t blame schools — banks would market to students anyway, and universities at least try to get the best rates they can for students.
5. “In debt? The courts won’t help.”
Since the late 1990s banks have been including mandatory arbitration agreements in their contracts for many of their products, including auto loans, checking accounts, home-equity loans and credit cards. Such agreements prohibit you from suing and instead require you to use an arbitrator — someone picked by the arbitration firm named in your credit card contract to hear the dispute and decide the outcome.
While these clauses were originally designed to thwart class-action suits, the banks have also been using them for debt collection, says Paul Bland, anattorney with consumer-advocacy group Public Justice. There are even times when consumers, often victims of identity theft and unaware of the debt, aren’t present when awards are handed down against them.
A recent suit against an arbitration firm brought by the San Francisco city attorney noted that arbitrators ruled in favor of banks in 100 percent of the 18,045 California cases brought against consumers from January 2003 through March 2007. “From the consumer perspective, it’s a nightmare,” says Bland. If a bank brings arbitration against you, hire a lawyer and request a hearing — in person…..” Read the rest
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It’s virtually impossible to approach No Direction Home without a cluster of fixed ideas. Who doesn’t have their own private Dylan? The true excellence of Martin Scorsese’s achievement lies in how his documentary shakes us free of our comfortable assumptions. In the process, it plays out on several levels at once, each taking shape as an unfailingly fascinating narrative. There is, of course, the central story of an individual genius staking out his artistic identity. But along with this Bildungsroman come other threads and contexts: most notably, the role of popular culture in postwar America, art’s self-reliance versus its social responsibilities, and fans’ complicity with the publicity machine in sustaining myths. All of these threads reinforce each other, together weaving the film’s intricate texture.
Scorsese’s 200-plus-minute focus on Dylan’s earliest years allows for a portrayal of unprecedented depth, with multiple angles: a rich composite photo is the result. The main narrative has an epic quality: it moves from Dylan growing up in cold-war Minnesota through Greenwich Village coffeehouses and the Newport Folk Festival, climaxing in the controversial 1966 U.K. tour that crowned a period of unbridled and explosive creativity. In his transition from Robert Allen Zimmerman to Bob Dylan, we observe him concocting his impossible-to-describe, unique combination of the topical with the archaic, like an ancient oracle. Scorsese was able to access previously unseen footage from the Dylan archives, including performances, press conferences, and recording sessions. He also uses interviews with Dylan’s friends, ex-friends, and fellow artists, and, intriguingly, with the notoriously reclusive Dylan himself (who looks back to provide glosses on the early years), fusing what could have turned into a tiresome series of digressions and tangents into a powerful whole as enlightening, eccentric, contradictory, and ultimately irreducible as its subject.
Some of the deeply personal bits remain unrevealed, but Dylan’s preternatural self-assurance acquires a slightly self-deprecating, even comic edge via some of his reflective comments. Alongside the arrogance, we see touching moments of the young artist’s reverence for Woody Guthrie and Johnny Cash. Joan Baez, in a poignant confessional mood, comes off well, and the late Allen Ginsberg is so seraphically charming he almost steals the show a few times. A crucial throughline is Dylan’s hunger for recognition and ability to shape perceptions so that would be singled out as not just another dime-a-dozen folk singer. It’s illuminating–particularly for those familiar with the artist’s latter-day aloofness on stage–to see his reactions to audience booing in the wake of his “betrayal” in this fuller context. No Direction Home also makes clear–in a way that wasn’t possible in D.A. Pennebaker’s iconic Don’t Look Back–how Dylan’s ability to manipulate his persona always, at its core, protects the urge for expression: Dylan’s ultimate mandate, as an artist, is never to be pinned down. As Scorsese masterfully shows, the myth around Dylan only grows bigger the more we discover about him. –Thomas May
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