Audit Success Quotes

The young people nowadays – men and women, amateurs and pros – generally fall into one of two categories: either they don’t know what it is that’s most important to them, or they know but don’t have the power to go after it. But this girl’s different. She knows what’s most important to her and she knows how to get it, but she doesn’t let on what it is. I’m pretty sure it’s not money, or success, or a normal happy life, or a strong man, or some weird religion, but that’s about all I can tell you. She’s like smoke: you think you’re seeing her clearly enough, but when you reach for her there’s nothing there. That’s a sort of strength, I suppose. But it makes her hard to figure out.

Karma is a balance sheet of life which debits and credit all your deeds.YourWhich is audited by our creator and actions are based on what we accumulated in it.

Karma is the balance sheet of life which debits and credit all your deeds.YourWhich is audited by our creator and actions are based on what we accumulated in it.

In Los Angeles, moments were fortune cookies ready to be cracked open, and in them you might find a movie star, or a successful audition, or a chance encounter with a powerful person who, with a snap of his fingers, would change your life, like a wizard.

What I like to see is when actors use their celebrity in an interesting way. Some of them have charitable foundations, they do things like try to bring attention to the plight of women and girls in Afghanistan, or they're trying to save the White African Rhino, or they discover a passion for adult literacy, or what have you. All worthy causes, of course, and I knowtheir fame helps to get the word put. But let's be honest here.None of them went into the entertainment industry because they wanted to do good in the world. Speaking for myself, I didn't even think about until I was already successful. Before they were famous, my actor friends were just going to auditions and struggling to be noticed, taking any work they could find, acting for free in friends movies, working in restaurants or as caterers, just trying to get by. They acted because they loved acting, but also, let's be honest here, to be noticed. All they wantedf was to be seen. I've been thinking lately about immortality. What it means to be remembered, what I want to be remembered for, certainquestions concerning memory and fame. I love watching old movies. I watch the faces of long-dead actors on the screen, and I think about how they'll never truly die. I know that's a cliche but it happens to be true. Not just the famous ones who everyone knows, but the bit players, the maid carrying the tray, the butler, the cowboys in the bar, the third girl from the left in the night-club. They're all immortal to me. First we only want to be seen, but once we're seen, that's not enough anymore. Afterthat, we want to be remembered.

It seems strange that George Burns and Gracie Allen would be discovered, as radio properties, by the British. They were doing a vaudeville tour in England, playing to packed houses everywhere. The British just loved Gracie; her routines became so well known during the six-month trip that the audience would sometimes shout out the punchline in unison. They were aided in this by radio, using the infant medium to promote their stage shows, doing short bits from their act on various BBC stations as they traveled. From the beginning, Gracie had severe mike fright. She never really lost her fear of the microphone, Burns would say in interviews and in his books, but she always coped with it. Returning home, they auditioned for NBC and Grape Nuts in 1930. But the agency executive thought Gracie would be “too squeaky” on the air, and they lost the job. It was an irony: a few years later, the same product would be carrying their radio show, then one of the most successful in the nation.

In the movie La La Land, Mia has to put on a brave face at auditions, then put on her best clothes and go out on the town with the little money she could scrounge up, trying to find a way to meet the difference-makers in Hollywood. Even when she was about ready to give up, she ultimately came back for one more reading, the one that made her a big star. Almost every Hollywood actor who is successful today has a real-life story like that. Their goal was the same as everyone in the business world: to land a big fish. People noticed Natalie Portman and John Wayne the way they eventually noticed Mia. No one would have bought what she was selling if she hadn’t presented herself like a winner, even when she was on the verge of moving back into her parents’ place in Boulder City. My mom will tell you I wanted to be a millionaire by seven years old. It was always on my mind. So from day one of my business career I acted the part. I had no money but I dressed like a professional. I wore a suit, which was the thing to do back then. It wasn’t anything fancy, but it was pressed and clean. Bottom line is, if you’re shooting for the moon, you better act like an astronaut.

Children, teenagers, and young adults frequently attempt to duplicate their cult hero’s mannerisms. Sometimes when we observe youngsters attempting to emulate the gestures and behaviors of a celebrity whom they admire, we state that they are putting on airs or engaging in pretensions. Adults tend to fob off such pretentious behavior as a frivolous act engaged in by children. In actuality, pretentious behavior is an important learning rubric for behavior and character formation. Imitation is more than a form of flattery. When young people mimic admired celebrities they are displaying telling behavior regarding what subjects spikes their interest and this in turn might provide clues to their future vocational and recreational activities. By engaging in mimicry, we are able to audition our future self. Just as many athletes begin in their youth attempting to impersonate the style of their sports idols, young people universally attempt to copy the mannerisms and behaviorisms of people whom they respect. Mimicry is one way that people feel safe exploring what persona they wish to adopt. How many rock stars and other successful people endorsed the mantra, ‘Fake it ‘till you make it.

Dude, the world is your oyster now,” Seth said. “Lick it up.” It’s crazy that the friends you’re fondest of from your youth sometimes resemble people you would cross the street to avoid as an adult. An idea came to Seth. “Go back to your apartment and put on shorts.” “Why?” “Yoga.” “It’s Saturday night.” “It’s actually late afternoon. Just do it, Tobe.” “I just had a drink.” “Trust me, dude. I go to a place right near my apartment owned by a guy who trained under Bikram and started a splinter group that nearly brought the political system of India to its knees.” When Seth was single, he said, this was where the majority of his dating life came from. You could be generous and like Seth and still think of what he called his “dating life” as a series of auditions, mostly successful, for sex partners. He explained to Toby that presence in a yoga class, no matter your ability, was a shortcut to showing a woman how evolved you were, how you were strong, how you were not set on maintaining the patriarchy that she so loathed and feared. “Does Vanessa go to yoga with you?” Seth shooed this away. “Yoga isn’t for us. It’s for me.” Meaning he still liked to go to yoga and see if there were better prospects.

I’m having my lunch when I hear a familiar hoarse shout, ‘Oy Tony!’ I whip round, damaging my neck further, to see Michael Gambon in the lunch queue. … Gambon tells me the story of Olivier auditioning him at the Old Vic in 1962. His audition speech was from Richard III. ‘See, Tone, I was thick as two short planks then and I didn’t know he’d had a rather notable success in the part. I was just shitting myself about meeting the Great Man. He sussed how green I was and started farting around.’ As reported by Gambon, their conversation went like this: Olivier: ‘What are you going to do for me?’ Gambon: ‘Richard the Third.’ Olivier: ‘Is that so. Which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘Yes, but which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘Yes, I understand that, but which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘But which character? Catesby? Ratcliffe? Buckingham’s a good part …’ Gambon: ‘Oh I see, beg your pardon, no, Richard the Third.’ Olivier: ‘What, the King? Richard?’ Gambon: ‘ — the Third, yeah.’ Olivier: “You’ve got a fucking cheek, haven’t you?’ Gambon: ‘Beg your pardon?’ Olivier: ‘Never mind, which part are you going to do?’ Gambon: ‘Richard the Third.’ Olivier: ‘Don’t start that again. Which speech?’ Gambon: ‘Oh I see, beg your pardon, “Was every woman in this humour woo’d.”‘ Olivier: ‘Right. Whenever you’re ready.’ Gambon: ‘ “Was ever woman in this humour woo’d –” ‘ Olivier: ‘Wait. Stop. You’re too close. Go further away. I need to see the whole shape, get the full perspective.’ Gambon: ‘Oh I see, beg your pardon …’ Gambon continues, ‘So I go over to the far end of the room, Tone, thinking that I’ve already made an almighty tit of myself, so how do I save the day? Well I see this pillar and I decide to swing round it and start the speech with a sort of dramatic punch. But as I do this my ring catches on a screw and half my sodding hand gets left behind. I think to myself, “Now I mustn’t let this throw me since he’s already got me down as a bit of an arsehole”, so I plough on … “Was ever woman in this humour woo’d –”‘ Olivier: ‘Wait. Stop. What’s the blood?’ Gambon: ‘Nothing, nothing, just a little gash, I do beg your pardon …’ A nurse had to be called and he suffered the indignity of being given first aid with the greatest actor in the world passing the bandages. At last it was done. Gambon: ‘Shall I start again?’ Olivier: ‘No. I think I’ve got a fair idea how you’re going to do it. You’d better get along now. We’ll let you know.’ Gambon went back to the engineering factory in Islington where he was working. At four that afternoon he was bent over his lathe, working as best as he could with a heavily bandaged hand, when he was called to the phone. It was the Old Vic. ‘It’s not easy talking on the phone, Tone. One, there’s the noise of the machinery. Two, I have to keep my voice down ’cause I’m cockney at work and posh with theatre people. But they offer me a job, spear-carrying, starting immediately. I go back to my work-bench, heart beating in my chest, pack my tool-case, start to go. The foreman comes up, says, “Oy, where you off to?” “I’ve got bad news,” I say, “I’ve got to go.” He says, “Why are you taking your tool box?” I say, “I can’t tell you, it’s very bad news, might need it.” And I never went back there, Tone. Home on the bus, heart still thumping away. A whole new world ahead. We tend to forget what it felt like in the beginning.

Over the past year, as I have been working with the global tax-accounting firm KPMG to help their tax auditors and managers become happier, I began to realize that many of the employees were suffering from an unfortunate problem. Many of them had to spend 8 to 14 hours a day scanning tax forms for errors, and as they did, their brains were becoming wired to look for mistakes. This made them very good at their jobs, but they were getting so expert at seeing errors and potential pitfalls that this habit started to spill over into other areas of their lives. Like the Tetris players who suddenly saw those blocks everywhere, these accountants experienced each day as a tax audit, always scanning the world for the worst. As you can imagine, this was no picnic, and what’s more, it was undermining their relationships at work and at home. In performance reviews, they noticed only the faults of their team members, never the strengths. When they went home to their families, they noticed only the C’s on their kids’ report cards, never the A’s. When they ate at restaurants, they could only notice that the potatoes were underdone—never that the steak was cooked perfectly. One tax auditor confided that he had been very depressed over the past quarter. As we discussed why, he mentioned in passing that one day during a break at work he had made an Excel spreadsheet listing all the mistakes his wife had made over the past six weeks. Imagine the reaction of his wife (or soon to be ex wife) when he brought that list of faults home in an attempt to make things better. Tax auditors are far from the only ones who get stuck in this

prevents them from deducting their rent, employee salaries, or utility bills, forcing them to pay taxes on a far larger amount of income than other businesses with the same earnings and costs. They also say the taxes, which apply to medical and recreational marijuana sellers alike, are stunting their hiring, or even threatening to drive them out of business. The issue reveals a growing chasm between the 23 states, plus the District of Columbia, that allow medical or recreational marijuana and the federal bureaucracy, from national forests in Colorado where possession is a federal crime to federally regulated banks that turn away marijuana businesses, and the halls of the IRS. The tax rule, an obscure provision known as 280E, catches many marijuana entrepreneurs by surprise, often in the form of an audit notice from the IRS. Some marijuana businesses in Colorado, California, and other marijuana-friendly states have taken the IRS to tax court. This year, Allgreens, a marijuana shop in Colorado, successfully challenged an IRS policy that imposed about $30,000 in penalties for paying its payroll taxes in cash — common in an industry in which businesses cannot get bank accounts. “We’re talking about legal businesses, licensed businesses,’’ said Rachel Gillette, the executive director of Colorado’s chapter of the National Organization for the Reform of Marijuana Laws and the lawyer who represented Allgreens. “There’s no reason that they should be taxed out of existence by the federal government.

If you come out of an audition feeling like you’ve shown commitment to the character, understand where the character has been and where the character wants to go, and produce a performance that you’re proud of,” he continues, “then you’re a success regardless of whether you’re offered the contract.

Polly had come to LA when she was nineteen, a beautiful and hopeful girl with lots of charisma and even more talent, and then spent ten years nearly making it. If she’d never gotten anywhere she might have given up and been content to have given it a shot. However, in common with thousands of others, Polly would occasionally get a part in a commercial, or a pilot. She was always auditioning and getting called back, and would be frequently “on avail” (meaning that she was short-listed for something and had to keep her schedule free for a day or so while they made a final choice between two or three girls). It’s this occasional hit of success that makes for a real addict. The breakthrough was always imminent; there was always something about to happen.

But before it came to that, the show needed a quizmaster, an adult who, like Clifton Fadiman on Information, Please, gave it exactly the right edge. This chair was as vital to the show’s success as were the young panelists. A pair of college professors auditioned: they were too impressed with themselves, giving the kids no time to talk. A candidate from the lecture circuit gave away half the answers. Among the 20-odd people who auditioned was Joe Kelly, a thirdgrade dropout, seasoned vaudevillian, and host of the hayseed music show The National Barn Dance. “His height of intellectual polish before The Quiz Kids was to ring a cowbell and chortle, ‘I’m teakettled pink to be here,’” wrote John Lear in the Saturday Evening Post. Kelly was far from dumb: he had finished third grade a year ahead of schedule but at age 8 had gone into show business.

I’ve come face-to-face with these two questions countless times as a writer, an entrepreneur, a painter, a musician, and even a lawyer. On a more immediate level, the questions relate to the project you’re working on. If you’re a painter creating a collection of work, you may start to feel the questions arise as you explore whether a canvas or the collection is taking shape as you have envisioned it. On a more expansive level, the question emerges in the context of whether you should even be a painter or a writer, a coder, an entrepreneur, a CEO. I’ve seen actors struggle to build careers for decades, never coming close to earning enough to cover their bills. Yet they keep on keeping on, because their big break could be one audition away. And this is what they feel called to do. These are some of the most difficult and defining moments every creator faces. I’ve been told by legendary entrepreneurs, “If you have to ask, assume it’s resistance and soldier on.” They claim that you just know whether or not a project is meant to be. But I’ve witnessed countless people commit to perpetually unsuccessful projects or careers or, on the other side of the spectrum, come a breath away from what would’ve been breakthrough success had they just held on a bit longer. So I began to explore a more systematic process, a set of benchmarks, tests, and questions that might better guide these moments and help people decide whether to keep leaning into the journey, alter their course, or walk away and do something entirely different. We start by asking, “What was your inciting motivation?” What made you undertake this endeavor to begin with. Was it, in some form, the expression of a calling? Was it something to keep you busy? Was it about serving a group of people, solving a problem, or serving up a delight? Was it about money or doing anything you could to get your parents off your back and avoid grad school? Begin by going back to the time surrounding your decision to create whatever it is you’re creating and answer this question. Then move on to the next question. In light of the information and experiences you’ve had along the journey to date, does that original motive still hold true? Are you still equally or even more determined to make it happen? And given what you now know, do you believe you can make it happen?

One of my incidental tasks at the radio station was to hire talent to build up the programs. One evening a couple of fellows who called themselves Sam and Henry came in to audition. They gave me their routine, a few songs and vaudevillian patter. Their singing was lousy but the jokes weren’t too bad, so I hired them for five dollars apiece. They kept working on their characters and developed a Southern Negro dialogue that was a huge success. That team went on to make show business history, later changing the name of their act to Amos and Andy.

We do this because a century and a half ago we embraced business as the dominant model for our outer and inner lives. Ours is an ideology of achieved identity; obligatory striving is its method, and failure and success are its outcomes. We reckon our incomes once a year but audit ourselves daily, by standards of long-forgotten origin. Who thinks of the old counting house when we "take stock" of how we "spend" our lives, take "credit" for our gains, or try not to end up "third rate" or "good for nothing"? Someday, we hope, "the bottom line" will show that we "amount to something." By this kind of talk we "balance" our whole lives, not just our accounts. Willy Loman speaks this way. Choosing suicide to launch his sons with insurance money, he asks, "Does it take more guts to stand here the rest of my life ringing up a zero?" He insists that a man is not a piece of fruit to be eaten and the peel discarded, but he does not see that a man is not a cash register.'°

The value of a company can be derived from adding the value of all future dividends written down to net present value. Therefore, a reasoned view of the future is essential.

Time spent on reconnaissance is seldom wasted.

Successful nemawashi enables change to be the result of consensus among the parties.

Information about the future is much more valuable and interesting than information about the past.

Don’t let your pride, status and ego cost you opportunities , because your pride could not allow you to stand in a line, to apply, to audition, to go for an interview, to ask for help, to apologize, to work for your friends or with your friends. To be seen or associated with someone and to work with smaller brands or businesses.

auditable,” is so essential. We must ensure that the data is credible to employees.

Take whatever job you can at one of those companies. Don’t worry too much about the title—focus on the work. If you get a foot in the door at a growing company, you’ll find opportunities to grow, too. Just whatever you do, don’t become a “management consultant” at a behemoth like McKinsey or Bain or one of the other eight consultancies that dominate the industry. They all have thousands upon thousands of employees and work almost exclusively with Fortune 5000 companies. These corporations, typically led by tentative, risk-averse CEOs, call in the management consultants to do a massive audit, find the flaws, and present leadership with a new plan that will magically “fix” everything. What a fairy tale—don’t get me started. But to many new grads, it sounds perfect: you get paid incredibly well to travel around the world, work with powerful companies and executives, and learn exactly how to make a business successful. It’s an alluring promise. Parts of it are even true. Yes, you get a nice paycheck. And yes, you get plenty of practice pitching important clients. But you don’t learn how to build or run a company. Not really. Steve Jobs once said of management consulting, “You do get a broad cut at companies but it’s very thin. It’s like a picture of a banana: you might get a very accurate picture but it’s only two dimensions, and without the experience of actually doing it you never get three dimensional. So you might have a lot of pictures on your walls, you can show it off to your friends—I’ve worked in bananas, I’ve worked in peaches, I’ve worked in grapes—but you never really taste it.” If you do choose to go that route and find yourself at one of the Big Four or the other top six firms, then that is of course your choice. Just know before you go what you want to learn and the experiences you need for your next chapter. Don’t get stuck. Management consulting should never be your endpoint—it should be a way station, a brief pause on your journey to actually doing something. Making something. To do great things, to really learn, you can’t shout suggestions from the rooftop then move on while someone else does the work. You have to get your hands dirty. You have to care about every step, lovingly craft every detail. You have to be there when it falls apart so you can put it back together. You have to actually do the job. You have to love the job.

Get rid of the Denial, throw away the Excuses and the Blame that only trip you up and stop your momentum. If conditions change, don’t blame the market; use what you learn from your audit to get in compliance with the new conditions!

When life got hard, my passion for becoming a doctor wasn’t powerful enough to persevere, pay the price, and see the process through.

Your company, career, or decision should be a vehicle that supports you in achieving your own goals, dreams, and visions.

Success for any venture comes when you assess where you are, then understand your target and where you want to go. Next you decide what vehicle is required to get to your destination, imagine your plan to get there, and muster the determination to see it through all the way to the end.

Anytime we have a goal, dream, or vision and pursue it with a sound plan, we will find that as we walk it out, we will be presented with unexpected opportunities.

What vehicle will help me to achieve my goals, dreams, and visions in the shortest amount of time?

If you want to be successful, you have to be in compliance with the laws of what it takes to be successful in that area.

The process needed to begin with a kind of energy audit—and then implement steps to help her burn less and store more throughout the day.

Carnival Cruise Lines has its own successful way of doing things, which in this case involved creating a musical group called “The Hot Shots!” The word “Fantastic” comes to mind when thinking of this musical group! Each member auditioned separately at the Carnival rehearsal facility in Miami and then rehearsed as a group until they were ready for the big leagues aboard ship. Fortunately for me and my team, which includes Jorge Fernandez, a former guitar player from Cuba and now a top flight structural engineer in the Tampa Bay area, who helps me with much of my technical work; Lucy Shaw, Chief Copy Editor; Ursula Bracker, Proofer, and lucky me Captain Hank Bracker, award winning author (including multiple gold medals), were aboard the Carnival Legend and were privileged to listen to and enjoy, quite by chance, music that covered everything from Classical Rock, to Disco, to Mo Town and the years in between. Talented Judith Mullally, Carnival’s Entertainment Director, was on hand to encourage and partake in the music with her outstanding voice and, not to be left out, were members of the ship’s repertory cast, as well as the ship’s Cruise Director. The popular Red Frog lounge on the Carnival Legend was packed to the point that one of the performances had to be held on the expansive Lido deck. However, for the rest of the nights, the lounge was packed with young and old, singing and dancing to “The Hot Shots!” - a musical group that would totally pack any venue in Florida. Pheona Baranda, from the Philippines, is cute as a button and is the lead female singer, with a pitch-perfect soprano voice. Lucas Pedreira, from Argentina, is the lead male singer and guitar player who displayed endless energy and the ability to keep the audience hopping! Paulo Baranda, Pheona’s younger brother, plays the lead guitar to perfection and behind the scenes is the band’s musical director and of course is also from the Philippines. Ygor, from Israel, is the “on the money” drummer who puts so much into what he is doing, that at one point he hurt his hand, but refused to slow down. Nick is the bass guitar player, from down under New Zealand, and Marina, the piano and keyboard player, hails from the Ukraine. As a disclaimer I admit that I hold shares in Carnival stock but there is nothing in it for me other than the pleasure of listening to this ultra-talented group which cannot and should not be denied. They were and still are the very best! However, I am sorry that just as a “Super Nova” they unfortunately can’t last. Their bright shining light is presently flaring, but this will only be for a fleeting moment and then will permanently go to black next year on January 2, 2020. That’s just the way it is, but my crew and I, as well as the many guests aboard the Carnival Legend, experienced music seldom heard anywhere, any longer…. It was a treat we will remember for years to come and we hope to see them again, as individual musical artists, or as perhaps with a new group sometime in the near future!

There are some great dancers in our grade; even some of the boys are particularly good. One boy named Alex has been dancing pretty much his entire life and is probably the best dancer in the whole school. When he was younger, he said that the other kids had bullied him and called him a girl as well as a heap of horrible names that he really didn’t want to mention. But I could see that everyone had finally developed a huge amount of respect for Alex and those who were still unaware of his talents were in for a big surprise. Hip hop is his specialty and he’s so cool to watch. I kept telling him that when he’s old enough, he should audition for “So You Think You Can Dance” and he told me that he’d really like to. As well as Alex, there’s another kid in our grade who is kind of overweight and dorky looking. But it turns out that he has an awesome voice. I had no idea that our school has so much talent and it certainly came as a huge surprise to find out that Liam can actually sing really well. The look of amazement when we heard his audition pretty much spread like wild fire. I even caught the teachers raising their eyebrows in astonishment. It just goes to show you that you can’t judge a book by its cover! I never really understood what that meant until hearing Liam sing. Now, I don’t think I’ll ever look at him in the same way again. It’s also a really big lesson for me. From now on, I will never judge a person by their looks alone. I’ll wait till I get to know them because I’ve found out that until you do get to know people, you really don’t know what type of person they are or what hidden talents they might have. Anyway, the musical was shaping up to be a huge success. The dance troupe we had put together was really coming along and we rehearsed during every lunch break and sometimes even after school. Then one afternoon, an amazing thing happened; Blake Jansen, who I’ve had a secret crush on since the fourth grade, turned up at rehearsals with his friend, Jack.

The second extra thing that The Brain Audit gave was not just success elements and explanations, but a STRUCTURE. A checklist for the necessary ingredients, a blueprint for your copy. My copywriting before The Brain Audit was good, but it was like a tree house. After The Brain Audit your copywriting will be like a glass and steel superstructure your customers just can’t take their eyes off.

The more ambitious the OKR, the greater the risk of overlooking a vital criterion. To safeguard quality while pushing for quantitative deliverables, one solution is to pair key results, to measure both effect and counter effect, as Grove wrote in High Output Management. When key results focus on output, Grove noted, 'the paired counterparts should stress the quality of work, thus in Accounts Payable, the number of vouchers processed should be paired with the number of errors found either by auditing or by our suppliers. For another example, the number of square feet cleaned by a custodial group should be paired with by rating of the quality of work as assessed by a senior manager with an office in that building.' -- Let the quantity goal be three new features, the paired quality goal will be fewer than 5 bugs per feature in quality assurance testing. The result - developers will write cleaner code. If the quantity goal is 50 million dollars in Q1 sales, the quality goal can be 10 million dollars in maintenance contracts, because sustained retention by sales professionals will increase customer success and satisfaction.

When you have defined your mission, values and attitudes in the context of leadership influence and excellence, you also need to conduct a personal audit, checking how aligned they are to your current leadership practices. Where necessary, begin to make adjustments.

Process follow up is critical for success. But following it blindly is dangerous. The way to examine which processes should be kept without any deviation and which should be challenged is to document the process in a way that combines the processes with the logic behind those processes. It is the ability to check the assumptions behind the process that enables good process audit.

the psychologist turned to Gillian’s mother and said, “You know, Mrs. Lynne, Gillian isn’t sick. She’s a dancer. Take her to a dance school.” I asked Gillian what happened then. She said her mother did exactly what the psychologist suggested. “I can’t tell you how wonderful it was,” she told me. “I walked into this room, and it was full of people like me. People who couldn’t sit still. People who had to move to think.” She started going to the dance school every week, and she practiced at home every day. Eventually, she auditioned for the Royal Ballet School in London, and they accepted her. She went on to join the Royal Ballet Company itself, becoming a soloist and performing all over the world. When that part of her career ended, she formed her own musical theater company and produced a series of highly successful shows in London and New York. Eventually, she met Andrew Lloyd Webber and created with him some of the most successful musical theater productions in history, including Cats and The Phantom of the Opera. Little Gillian, the girl with the high-risk future, became known to the world as Gillian Lynne, one of the most accomplished choreographers of our time, someone who has brought pleasure to millions and earned millions of dollars. This happened because someone looked deep into her eyes—someone who had seen children like her before and knew how to read the signs. Someone else might have put her on medication and told her to calm down. But Gillian wasn’t a problem child. She didn’t need to go away to a special school. She just needed to be who she really was.

Those women who fought the original battles suffer more than most. Hated and opposed when originally pushing down the barriers, they now often have to face contempt from a society which takes for granted their achievements. At a recent party I witnessed one such woman being challenged by a young man who had no sense of feminism's history or her involvement in it. 'Do you really call yourself a feminist?' he asked belligerently. 'Yes,' she answered rather wistfully, 'I'd still call myself that.' 'But what on earth does it mean?' he continued. 'I mean, is there really any need for it? Isn't it just part of the way we are, part of our unconscious?' It was a difficult and poignant moment for me, because it encapsulated both sides of my relationship with feminism. I greatly respected the woman for what she had achieved and deplored the man's lack of respect for why she had placed herself as she did. In such circumstances, no wonder she dug her heels in. This continuing lack of credibility and acceptance explains why feminists react badly when the fundamental tenets of the movement are challenged. But when I began to examine feminist ideas critically and challenge the idea that nothing had changed, I too met with resistance. There is a real reluctance to submit feminism's fundamental assumptions to an audit to see just how relevant they are to changing realities. The problem is that, by and large, I also agreed with what the man at that party said. Somewhere along the line something remarkable has happened. Individual feminists still meet with resistance and problems, but feminism as a movement has been extraordinarily successful; it has sunk into our unconscious. Our contemporary social world — and the way the sexes interact in it — is radically different from the one in which modern feminism emerged. Many of feminism's original objectives have been met, including the principle of equal pay for equal work, and the possibility of financial independence. Girls now are growing up in a world radically different from the one described by the early feminists. Feminism no longer has to be reiterated but simply breathed.