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1. Photographs on Passports

Craig Robertson is an Assistant Professor of Communication Studies at Northeastern University.  His new book, The Passport in America: The History of A Document, examines how “proof of identity” became so crucial in America.  Through addressing questions of identification and surveillance, the history of the passport is revealed.  In the excerpt below we learn about photographs on passports.

On 21 December 1914, Secretary of State William Jennings Bryan issued an order requiring two unmounted photographs no larger than three inches by three inches to be submitted with passport applications – one attached to the application, the second to be put on the passport.  Citizens who had been issued passports without photographs were required to have a photograph added.  Photographs were introduced to make the passport a more accurate identification document in a time of war.  The use of the passport in the name of national security also brought with it an increased concern to make the document more secure.  Less than a month after adding photographs to passports, the State Department acknowledged the need to more effectively ensure that the correct photograph was connected to the correct document.  When applications were submitted to local courthouses, clerks were now requested to affix photographs to the application with a seal to avoid subsequent substitution of the photograph prior to the issuance of a passport.  In Washington and at embassies around the world, officials stamped their seal of their office over the top left corner of the photograph when they attached it to the passport instead of the initial practice of simply pasting it to the document.  In addition to being an attempt to secure the passport, the legend made explicit the purpose of the photograph and the authority the legitimized the identification process.  The legend stated: “This is to certify that the photograph attached hereto is a likeness of the person to whom this passport is issued.  In witness whereof the seal of the Department of State is impressed upon the photograph.”  In 1928, as part of continuing attempts to make the passport a more secure document, the State Department began to use a machine that perforated a legend across the lower part of the photograph after it was attached to a passport.  This made it more difficult for someone to cleanly remove the photograph, and it was assumed to be more difficult to replicate than the rubber stamp.

All of this effort was necessary because officials considered the photograph to be an authoritative likeness of a person – hence their concern that a substituted photograph would allow someone to easily claim the citizenship and identity the state had intended for someone else.  The concern with fraud led officials to employ the relatively less “accurate” identification technologies of the signature and the physical description to further ensure the photograph on the passport was indeed that of the person the State Department had issued the passport to.  Officials reduced the categories in the physical description to height, hair, and eyes, but as noted retained the recently added category for “distinguishing marks.”  From 1924 applicants had to sign the back of the passport photograph.  According to a State Department publication, this signature “provided a written record to identify the rightful bearer in the passport, reduced the possibility of fraud, and insured that the proper photograph was attached to the application and the passport.”

During the 1920s the State Department also clarified its policy to ensure that all passports carried a photograph of the bearer.  In 1921 the secretary of

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2. My Daughter's Article for The Mini Burner, AFROTC, Baylor University


Alarm Clocks Just Aren't Enough


by Cadet Spear


What gets you out of bed in the morning?


For me it's the gut-wrenching, jarring BEEP BEEP BEEP of my alarm clock, jerking me from the warmth of my bed. But what keeps you from hitting that snooze button and skipping classes that weren't that important today anyway?


What gets me up every day and motivates me to attend classes even when it's 40-degrees outside and pouring rain is knowing that if I push myself to go to my classes today I won't have to make up for it later. I would rather do what I can every day and not be stuck with an impossible cram before a test.


My psychology professor would say that what gets me out of bed in the morning is my superego.


In psychology, everyone has three main divisions in their personality: the id, the ego, and the superego. The id drives your wants, your desire to go back to sleep or to go out and party when you have a test the next day. The superego drives your perfectionism, your desire to study every minute of every day so that you can make a 100 on every test. The ego balances between the id and the superego, making compromises between the two, so if you get up and go to classes in the morning, you can come back and take a nap in the afternoon.


So what is dominant in your personality? Do you find it hard to say no to partying all night, or do any grades lower than 90 depress you? What do you want to do and what do you need to do? Can you change?


Yes.


If you feel like lead getting up in the morning, think about how small a thing this is when you compare it to the reward of good grades in your classes, a perfect score on a PFT [physical fitness test], and being thoroughly prepared for whatever lies ahead, whether it's field training commissioning, or simply a briefing you're going to be giving.


Never settle for average; always reach for the goals outside your grasp so that you are continuing to do your best. Excellence in all we do.

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3. You CAN'T be serious

Sometimes people act like genre fiction can't be taken seriously. If a mystery or sci-fi novel or even a YA is any good, they will talk about how it "transcends the genre."

Guess I'm not the only one that that pisses off.

Click here for a marvelous and very funny essay by Portland's own Ursula K. Leguin (who herself writes sci-fi AND YAs), using the example of The Road (can't be sci-fi - it won a Pulitzer!) It's in reaction to this `Michael Chabon has spent considerable energy trying to drag the decaying corpse of genre fiction out of the shallow grave where writers of serious literature abandoned it.' Ruth Franklin (Slate, 8 May 2007)



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