New Legitimacy: Organized crime was soon to have a formidable adversary in its bid to control Las Vegascorporate cash. Though Las Vegas had developed a powerful local economy, few major outside investments were made in the city, due primarily to mob infiltration and its inherent ties to illegal activities. That would change dramatically with the 1966 arrival of billionaire Howard Hughes. A legitimate businessman, Hughes was nonetheless eccentric and dramatic, a style suited to the Las Vegas ethos. True to the myth, the reclusive Hughes immediately cloistered himself in the Desert Inn's penthouse. Several weeks later he was askedthen orderedto vacate the room to make room for high rollers, whereupon he promptly bought the property and fired the management. Thus began Hughes' legendary three-year, $300-million Las Vegas buying spree. When it was over, Hughes owned six casinos, an airport, and an airline, along with numerous plots of land stretching from the Strip to the mountains. Hughes' actions would have beneficial repercussions, both immediate and lasting. Because of the new legitimacy Las Vegas acquired from Hughes' investments, established companies such as Hilton Hotels bought into the gaming business, and their influence helped draw a line in the desert sand between legitimate operations and mob casinos, where illegal skimming of profits was rampant. That, combined with the formation of the Nevada Gaming Control Board, would signal the beginning of the end for heavy mob influence in the city. Las Vegas with a Vision As corporations moved in and the mob was slowly pushed out, a new Las Vegas emerged. The legitimization of gambling led to its increased legalization across the US. What was once a sure thing became much more competitive. Casino operators had to reassess the nature of their business. The first to really do so was Steve Wynn, a Las Vegas resident and owner of the Golden Nugget. In the mid-1980s, Wynn began plans to reinvigorate Las Vegas with a new resort. He bought several Strip propertiesthe Silver Slipper and Castaways among themand demolished them to make way for a new kind of resortMirage which became an instant success.

Question: "What was the first property that the Mirage owner owned in Vegas?"

Answer: "An airport"

Response: no

When American 11 struck the World Trade Center at 8:46, no one in the White House or traveling with the President knew that it had been hijacked. While that information circulated within the FAA, we found no evidence that the hijacking was reported to any other agency in Washington before 8:46. Most federal agencies learned about the crash in New York from CNN. Within the FAA, the administrator, Jane Garvey, and her acting deputy, Monte Belger, had not been told of a confirmed hijacking before they learned from television that a plane had crashed. Others in the agency were aware of it, as we explained earlier in this chapter. Inside the National Military Command Center, the deputy director of operations and his assistant began notifying senior Pentagon officials of the incident. At about 9:00, the senior NMCC operations officer reached out to the FAA operations center for information. Although the NMCC was advised of the hijacking of American 11, the scrambling of jets was not discussed. In Sarasota, Florida, the presidential motorcade was arriving at the Emma E. Booker Elementary School, where President Bush was to read to a class and talk about education. White House Chief of Staff Andrew Card told us he was standing with the President outside the classroom when Senior Advisor to the President Karl Rove first informed them that a small, twin-engine plane had crashed into the World Trade Center. The President's reaction was that the incident must have been caused by pilot error. At 8:55, before entering the classroom, the President spoke to National Security Advisor Condoleezza Rice, who was at the White House. She recalled first telling the President it was a twin-engine aircraft-and then a commercial aircraft-that had struck the World Trade Center, adding "that's all we know right now, Mr. President." At the White House, Vice President Dick Cheney had just sat down for a meeting when his assistant told him to turn on his television because a plane had struck the NorthTower of the World Trade Center. The Vice President was wondering "How the hell could a plane hit the World Trade Center" when he saw the second aircraft strike the South Tower. Elsewhere in the White House, a series of 9:00 meetings was about to begin. In the absence of information that the crash was anything other than an accident, the White House staff monitored the news as they went ahead with their regular schedules.

Question: "Where were the President and Vice President when the aircraft hit the Twin Towers on 9/11?"

Answer: "At the FAA operations center"

Response: no

Appended to the last book, however, is a self-contained essay on aesthetics, which Durer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Durer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless, Durer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ('Nutz'), naive approval ('Wohlgefallen') and the happy medium ('Mittelmass'). However, unlike Alberti and Leonardo, Durer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Durer's belief developed from an understanding of human creativity as spontaneous or inspired to a concept of 'selective inward synthesis'. In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things. Durer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year."

Question: "What was Durer's concept of 'selective inward synthesis?'"

Answer: "An artist builds on a wealth of visual experiences in order to imagine beautiful things"

Response:
yes