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Feature Winter 2008 Winter 2012 Winter 2013
Throughout my life I’ve spent countless summer weekends at my parents’ cabin in the Uinta Mountains, where in the early days there was no electricity or indoor plumbing and almost every evening was spent playing games around the kitchen table until the generator would run out of gas.
Cameras flashed as reporters jostled for position. This was the biggest story of the year: Kenneth Lay was surrendering to the FBI. Slapped with a slew of charges alleging he falsified statements to hide billions in losses, Lay’s arrest marked the end of Enron’s empire.
Last August I was at a landfill site in So Paulo, Brazil. It had been a dump where people sorted through garbage looking for valuable items so they could put food on their tables.
It doesn’t take much to make you feel blue: gray clouds hanging low in the sky or buzzing fluorescent lights casting a cold, clinical pallor. Often the weeks after Christmas become the start of a bleak and seemingly endless winter. You’re pensive and it’s hard to function at work and at home.
Jeremy Charlesworth could see the skepticism on his client’s face. She didn’t say it, but he knew what she was thinking: You’re wrong.
In my career and my life I have found the key determinants to success include one’s ability to take on a challenge and adapt to change. Change comes in many forms: your responsibilities, your callings, and your addresses. 
Anytime the topic of new product innovation is raised, it’s guaranteed that someone inevitably will bring up . . . Apple’s iPod.
The steel is up, the floors are being poured, and despite several snowstorms, the Tanner Building Addition is on schedule for completion next fall.
On 23 December 1999 there was a poor man in Kansas City looking for some warm winter clothing in a Salvation Army thrift shop. He had seventy-five cents in his pocket. Suddenly someone approached him from behind and said, “Excuse me.”
The tour begins with a Superman print by pop artist Andy Warhol. Next comes a painting by Jasper Johns. Then, a splashy, thirty-eight-foot mural by abstract expressionist Sam Francis.