Clue On Stage Quotes

Let me clue you in on something. You don’t have to make sense. You just have to want to be together and be willing to do whatever it takes to make that happen. It’s amazingly simple. That’s love, Ev, putting each other first.

She could, at this stage of things, recognize signals like that, as the epileptic is said to—an odor, color, pure piercing grace note announcing his seizure. Afterward it is only this signal, really dross, this secular announcement, and never what is revealed during the attack, that he remembers. Oedipa wondered whether, at the end of this (if it were supposed to end), she too might not be left with only compiled memories of clues, announcements, intimations, but never the central truth itself, which must somehow each time be too bright for her memory to hold; which must always blaze out, destroying its own message irreversibly, leaving an overexposed blank when the ordinary world came back.

Vimes took the view that life was so full of things happening erratically in all directions that the chances of any of them making some kind of relevant sense were remote in the extreme. Colon, being by nature more optimistic and by intellect a good deal slower, was still at the Clues are Important stage.

Most people have no clue hidden abuse is taking place right under their noses. It is being perpetrated by individuals who would never be suspected of being abusers. The concealed nature of this harm is what leaves its targets devastated.

Simon had the child's belief that the rest of the world exists as staging for their personal drama; destiny hung over him, casting clues and signs in his path, and he could not help feeling that ha had been vouchsafed a sign, a celestial wink.

MICHAEL: Maybe just this: A manager has got to remember that he is on stage every day. His people are watching him. Everything he does, everything he says, and the way he says it, sends off clues to his employees. These clues affect performance. So never forget you are on that stage.

A life of ease and plenty dangled over his head like a great bulging pinata, which he might smash open if only he had a stick big enough, and the knowledge of when to strike. Simon had the child's belief that the rest of the world exists as staging for their personal drama; that destiny hung over him, casting clues and signs in his path, and he could not help feeling that he had been vouchsafed a sign, a celestial wink.

...I haven't guessed where your shirt is from yet Bane, but I don't think it'll matter once it's underwater!' Tristan looked at Bane questioningly. Bane rolled his eyes and stage whispered: 'She asked why I cared so much about getting her dirty, teary face all my new shirt earlier, and asked where I got it from anyway. I said: 'Guess', and then she said she didn't have a clue. And then we bumped into you before I could break it down for her.' Tristan snorted. 'Are you serious?' 'As an earthquake', Bane smirked.

(In case you were unaware, “woke” is a term used by urban teens to describe a mental state in which one believes they are cognizant of how the world really works but instead wouldn’t have a clue if it slapped them in the face. Saying that someone is “woke” is a hip way of saying that they suffer from late-stage Dunning-Kruger effect.)

I performed “Emotions” at the MTV Video Music Awards and the Soul Train Music Awards. And here I was again, about to hit another stage, and somehow I had no clue that I was famous.

The inability to grasp fully some of the verbal clues in the MAP (Maturity Assessment Profile) instrument marks the limited understanding of the world characteristic of this stage.

If, in the final stage of disintegration, antisemitic slogans proved the most effective means of inspiring and organizing great masses of people for imperialist expansion and destruction of the old forms of government, then the previous history of the relationship between Jews and the state must contain elementary clues to the growing hostility between certain groups of society and the Jews. We

The group of artists and scientists that had so far done least was the one that had attracted the greatest interest—and the greatest alarm. This was the team working on “total identification.” The history of the cinema gave the clue to their actions. First sound, then color, then stereoscopy, then Cinerama, had made the old “moving pictures” more and more like reality itself. Where was the end of the story? Surely, the final stage would be reached when the audience forgot it was an audience, and became part of the action. To achieve this would involve stimulation of all the senses, and perhaps hypnosis as well, but many believed it to be practical. When the goal was attained, there would be an enormous enrichment of human experience. A man could become—for a while, at least—any other person, and could take part in any conceivable adventure, real or imaginary. He could even be a plant or an animal, if it proved possible to capture and record the sense impressions of other living creatures. And when the “program” was over, he would have acquired a memory as vivid as any experience in his actual life—indeed, indistinguishable from reality itself. The prospect was dazzling. Many also found it terrifying, and hoped that the enterprise would fail. But they knew in their hearts that once science had declared a thing possible, there was no escape from its eventual realization…. This, then, was New Athens and some of its dreams. It hoped to become what the old Athens might have been had it possessed machines instead of slaves, science instead of superstition. But it was much too early yet to tell if the experiment would succeed.

The thing many people don’t realize about corporate lawyers is that they are nothing like what you see on TV shows. Sherry, Aldridge, and I will never step foot in a courtroom. We’ll never argue a case. We do deals; we’re not litigators. We prepare documents and review every piece of paperwork for a merger or an acquisition. Or to take a company public. On Suits, Harvey does both paperwork and crushes it in court. In reality, the lawyers at our firm who argue cases don’t have a clue what we do in these conference rooms. Most of them haven’t prepared a document in a decade. People think our form of corporate law is the less ambitious of the two, and while in many ways it’s less glamorous—no closing arguments, no media interviews—nothing compares to the power of the paper. At the end of the day, law comes down to what is written, and we do the writing. I love the order of deal making, the clarity of language—how there is little room for interpretation and none for error. I love the black-and-white terms. I love that in the final stages of closing a deal—particularly those of the magnitude Wachtell takes on—seemingly insurmountable obstacles arise. Apocalyptic scenarios, disagreements, and details that threaten to topple it all. It seems impossible we’ll ever get both parties on the same page, but somehow we do. Somehow, contracts get agreed upon and signed. Somehow, deals get done. And when it finally happens, it’s exhilarating. Better than any day in court. It’s written. Binding. Anyone can bend a judge’s or jury’s will with bravado, but to do it on paper—in black and white—that takes a particular kind of artistry. It’s truth in poetry. I

The vivid scenes with their elegant colour, their unexpected distinction, and their strangeness, were like an arras before which, like mysterious, shadowy shapes, played the forms of Kitty's fancy. They seemed wholly unreal. Mei-Tan-Fu with its crenellated walls was like the painted canvas placed on the stage in an old play to represent a city. The nuns, Waddington, and the Manchu woman who loved him, were fantastic characters in a masque; and the rest, the people sidling along the tortuous streets and those who died, were nameless supers. Of course it had, they all had, a significance of some sort, but what was it? It was as though they performed a ritual dance, elaborate and ancient, and you knew that those complicated measures had a meaning which it was important for you to know; and yet you could see no clue, no clue.

Fake it till you become it. My first Argentine tango was with Lil’ Kim, and again, I was completely learning it as I went along. Now it’s become one of my favorite dances to do. Whenever people say to me, “You’re such a great choreographer,” or I look at my Emmy learning it in my apartment, I remind myself that I came into DWTS with no experience, no education in many of these dances, and certainly no clue how to teach anything to anybody. I simply committed to learning them and then taught them to my partners. I drew upon how I had been taught and what I thought my partners would respond to. I felt my way along, just as they did, till I became the teacher I wanted to be. I threw myself into the effort without hesitation because I had no choice. There were only two options: I could go out there and throw my hands up and say, “Just kidding! I’m a phony,” or get it done. I couldn’t let myself or my partners down. This was the stage I was given, and I always want to be the best at whatever I’m doing. I never wanted my partners to feel they couldn’t rely on me. I had to go in there and make it happen. With that mentality, I found a way.

Sociobiologist Edward O. Wilson later said that there should be a “consilience” between art and science. 79 Former NASA astronaut Mae Jemison took selected images with her on her first trip to space, including a poster of dancer and former artistic director of the Alvin Ailey American Dance Theater Judith Jamison performing the dance Cry, and a Bundu statue from Sierra Leone, because, as she said, “the creativity that allowed us . . . to conceive and build and launch the space shuttle, springs from the same source as the imagination and analysis it took to carve a Bundu statue, or the ingenuity it took to design, choreograph, and stage ‘Cry.’ . . . That’s what we have to reconcile in our minds, how these things fit together.” 80 As a jazz musician once told me, musicians are mathematicians as well as artists. Morse’s story suggests that the argument started not because of the need to bring art and science together, but because they were once not so far apart. 81 When Frank Jewett Mather Jr. of The Nation stated that Morse “was an inventor superimposed upon an artist,” it was factually true. 82 Equally true is that Morse could become an inventor because he was an artist all the while. In one of the final paintings that laid him flat, the painting that failed to secure his last attempt at a commission, one he had worked fifteen years to achieve, Morse may have left a clue about his shift from art to invention, and the fact that the skills required for both are the same. He painted The House of Representatives (1822–23) as evidence of his suitability for a commission from Congress to complete a suite of paintings that still adorn the U.S. Capitol building. The painting has an odd compositional focus. In the center is a man screwing in an oil chandelier, preoccupied with currents. Morse was “rejected beyond hope of appeal” by the congressional commission led by John Quincy Adams. When he toured the picture for seven weeks—displayed in a coffee house in Salem, Massachusetts, and at exhibitions in New York, Boston, Middleton, and Hartford, Connecticut—it lost twenty dollars in the first two weeks. Compounded by a litany of embarrassing, near-soul-stealing artistic failures, he took to his bed for weeks, “more seriously depressed than ever.” This final rejection forced him to shift his energies to his telegraph invention. 83 By 1844 Morse went to the Capitol focused on a current that would occupy the work of Congress—obtaining a patent for the telegraph.

The analysis of the /General Theory /shows that inflation is a real, not a monetary, phenomenon. It operates in two stages (once more giving a crudely simple account of an intricate process). An increase in effective demand meeting an inelastic supply of goods raises prices. When food is supplied by a peasant agriculture a rise of the prices of foodstuffs is a direct increase of money income to the sellers and increases their expenditure. The higher cost of living sets up a pressure to raise wage rates. So money incomes rise all round, prices are bid up all the higher and a vicious spiral sets in. The first stage — a rise of effective demand — can very easily be prevented by not having any development. But if there is to be development there must be a stage when investment increases relatively to consumption. There must be an increase in effective demand and a tendency towards inflation. The problem is how to keep it within bounds. Some schemes of investment that seem to be clearly indispensable to improvements in the long run, such as electrical installations, take a long time to yield any fruit and meanwhile the workers engaged on these have to be supplied. The secret of non-inflationary development is to allocate the right amount of quick-yielding, capital-saving investment to the consumption-good sector (especially agriculture) to generate a sufficient surplus to support the necessary large schemes. It is in this kind of analysis, rather than in the mystifications of “deficit finance,” that the clue to inflation is to be found. [pp. 110-11]

The Pottery Barn forager had commissioned Bob to make an envelope generator module to shape sounds in four discreet stages—what he called, “attack,” “decay,” “sustain,” and “release,” or ADSR. Ussachevsky had no clue that his idea would someday become the industry standard; at the moment he simply figured it was the most efficient way to plot the contour of a sound.

There had to be something near racial parity in the early stages because setting up the infernal machine required at least as many Europeans as Africans. Consequently, the original contact language had to be not too far from the language of the slave owners. Because at this stage Europeans were teaching Africans what they had to do, the contact language had to be intelligible to native speakers of the European language. Because so many interactions were between Europeans and Africans, the latter would have much better access to that European language than at any later stage in plantation history. We should remember that Africans, unlike modern Americans, do not regard monolingualism as a natural state, but expect to have to use several languages in the course of their lives. (In Ghana, our house-boy, Attinga, spoke six languages-two European, four African-and this was nothing out of the ordinary.) But as soon as the infrastructure was in place, the slave population of sugar colonies had to be increased both massively and very rapidly. If not, the plantation owners, who had invested significant amounts of capital, would have gone bankrupt and the economies of those colonies would have collapsed. When the slave population ballooned in this way, new hands heavily outnumbered old hands. No longer did Europeans instruct Africans; now it was the older hands among the Africans instructing the new ones, and the vast majority of interactions were no longer European to African, the were African to African. Since this was the case, there was no longer any need for the contact language to remain mutually intelligible with the European language. Africans in positions of authority could become bilingual, using one language with Europeans, another with fellow Africans. The code-switching I found in Guyana, which I had assumed was a relatively recent development, had been there, like most other things, from the very beginning. In any case, Africans in authority could not have gone on using the original contact language even if they'd wanted to. As we saw, it would have been as opaque to the new arrivals as undiluted French or English. The old hands had to use a primitive pidgin to communicate with the new hands. And, needless to add, the new hands had to use a primitive pidgin to communicate with one another. Since new hands now constituted a large majority of the total population, the primitive pidgin soon became the lingua franca of that population. A minority of relatively privileged slaves (house slaves and artisans) may have kept the original contact language alive among themselves, thus giving rise to the intermediate varieties in the continuum that confronted me when I first arrived in Guyana. (For reasons still unknown, this process seems to have happened more often in English than in French colonies.) But it was the primitive, unstructured pidgin that formed the input to the children of the expansion phase. Therefore it was the children of the expansion phase-not the relatively few children of the establishment phase, the first locally born generation, as I had originally thought-who were the creators of the Creole. They were the ones who encountered the pidgin in its most basic and rudimentary form, and consequently they were the ones who had to draw most heavily on the inborn knowledge of language that formed as much a part of their biological heritage as wisdom teeth or prehensile hands.

A Family Affair: Essential Fatty Acids More chemical clues to the nature of alcoholism come from research focusing on alcoholics with at least one grandparent who was Welsh, Irish, Scottish, Scandinavian, or native American. Typically, these alcoholics have a history of depression going back to childhood and close relatives who suffered from depression or schizophrenia. Some may have relatives who committed suicide. There also may be a family history of eczema, cystic fibrosis, premenstrual syndrome, diabetes, irritable bowel syndrome, or benign breast disease. The common denominator here is a genetic abnormality in the way the body handles certain essential fatty acids (EFAs) derived from foods. Normally, these EFAs are converted in the brain to various metabolites such as prostaglandin E1 (PGE1), which plays a vital role in the prevention of depression, convulsions, and hyperexcitability. When the EFA conversion process is defective, brain levels of prostaglandin E1 are lower than normal, which results in depression. In affected individuals, alcohol acts as a double-edged sword. It activates the PGE1 within the brain, which immediately lifts depression and creates feelings of well-being. Because the brain cannot make new PGE1 efficiently, its meager supply of PGE1 is gradually depleted. Over time, the ability of alcohol to lift depression slowly diminishes. Several years ago, researchers hit upon a solution to this problem. They discovered that a natural substance, oil of evening primrose, contains large amounts of gamma-linolenic acid (GLA), which can help the brain convert EFAs to PGE1. The results are quite dramatic. In a recent study in Scotland, researcher David Horrobin, M.D., matched two groups of alcoholics whose EFA levels were 50 percent below normal. The first group got EFA replacement, the second, a placebo. Marked differences between the two groups emerged in the withdrawal stage. The group that got EFA replacement had far fewer symptoms, while the placebo group displayed the full range of withdrawal symptoms associated with prostaglandin deficiency: tremors, irritability, tension, hyperexcitability, and convulsions. At the outset of the study, members of both groups had some degree of alcohol-related liver damage. Three months later, the researchers found that liver function among the EFA replacement group was almost normal. There was no significant improvement among the placebo group. A year later, the placebo group was still deficient in the natural ability to convert essential fatty acids into PGE1. What’s more, only 28 percent of this group had remained sober; the rest had resumed drinking. Results were dramatically better among the EFA replacement group: 83 percent remained sober and depression free.

A manager has got to remember that he is on stage every day. His people are watching him. Everything he does, everything he says, and the way he says it, sends off clues to his employees. These clues affect performance. So never forget you are on that stage.

About the breakup to what we have today, the text of Scripture gives us some clues. By the 150th day of the Flood, the mountains of Ararat existed (Genesis 7:24–8:48). These mountains (as well as the others in the Alpide stretch of mountain ranges that go from Europe to Asia) appear to have been built by the continental collisions of the Arabian, African, Indian, and Eurasian plates. Thus, continental movement for these mountains and plates may well have been largely stopped by the 150th day.9 This makes sense as the primary mechanisms for the Flood (springs of the great deep and windows of heaven) were stopped on the 150th day as well. Thus, it triggered the waters to now be in a recessional stage as the valleys go down (e.g., ocean basins etc.). This is subsequent to the mountains rising, which had already been occurring up to the 150th day (e.g., mountain ranges and continent extending above the waters) at this stage of the Flood (Psalm 104:6–910

The inability to grasp fully some of the verbal clues in the MAP (Maturity Assessment Profile) instrument marks the limited understanding of the world characteristic of this stage.

If two people are romantically involved (or even if they aren’t, but at least one of them feels there’s a potential spark), then almost any conversation between them about any romance whatsoever, no matter who it involves, stands a good chance of being heard by one or both of them as putting a spotlight on their own situation. Such boomeranging-back is almost inevitable because romances, even very good ones, are filled with uncertainty and yearning. We are always on the lookout for clues or insights into our romantic lives, and analogies are among the greatest sources of clues and insights. Therefore, to notice an analogy between ourselves and another couple that is occupying center stage in our conversation is pretty much a piece of cake handed to us on a silver platter.

The sight must have been truly something because before I knew what was happening, Aaron's shoulders shook a couple of times, his stance broke, and one of his hands went to the back of his neck as his head dipped. I couldn't see his face, so I had no clue of what was going on. All money was on him bursting in frustration and anger and turning into the Hulk. And just when I was about to really star worrying, he lifted back that raven-haired head of his and revealed something I would never have bet on. The biggest, widest, and handsomest smile was splitting his expression. Wrinkling the corners of his eyes. Transforming him into a man my own eyes couldn't take in fast enough. A man I had never seen before. One who was beginning to make it really, really hard for me to hate him. My own face lit up at the sight. I felt my cheeks tense with my answering grin - one just as big, just as wide, just as unexpected. And the Aaron started laughing. His head tilted back, and his shoulders shook with laughter. And he was doing it on a stage, in front of all these people and in front of me, as if he didn't have a care in the world. Neither did I, apparently. Because in that moment, the only this I could focus on, think of, care about was Aaron's unexpected and glorious smile and laughter. So much that my fingers itched to pull out my phone and snap a photo so I had proof that this had happened. So I could revisit the moment - in which Aaron Blackford, someone who had the power to irritate me with nothing but a word, had fucking lit up the place with a smile he had kept locked up from me ever since I met him - whenever I wanted.

It is amusing to note that Freud recognized the first circuit as the oral stage, the second as the anal stage and the fourth as the genital stage. He did not notice the third, semantic circuit — perhaps because as an obsessive Rationalist he was so absorbed in verbal and conceptual programs that they were invisible to him, as water may be to fishes. Similarly, Jung described the first circuit as the sensational faculty, the second as the feeling faculty, the third as the rational faculty — and skipped the socio-sexual circuit entirely. (There may be a clue here as to why Jung could not abide Freud’s fourth-circuit emphasis and built a separate, less sexual psychology of his own.) Jung then went on to lump all the higher circuits under the rubric of the faculty of intuition.

The USA-Japan final was watched on television by a whopping 25.4 million Americans, smashing the TV record for the most-viewed soccer game by an American audience. Even more stunning, 43.2 million Americans watched at least part of the final. It beat every game of the NBA finals, happening around the same time, and beat the primetime average of the Sochi Olympics the year before. With 39 percent higher ratings, it destroyed a record set by the U.S. men’s team when it faced Cristiano Ronaldo and Portugal during the 2014 World Cup group stage. The 1999 World Cup final, which had held the record for 15 years before that, had been watched by 17.8 million Americans. On social media, the moment was just as big. According to Face-book, 9 million people posted 20 million interactions to the platform about the final during the game. Tweets about the tournament had been seen 9 billion times across all of Twitter, with the final match earning the most engagements. Carli Lloyd’s half-field goal was the most-tweeted-about moment of the match. The national team’s victory touched millions of people—and that probably included plenty of little girls who had no clue who “the ’99ers” were and never saw Brandi Chastain twirl her shirt in the air. For the first time, millions of young girls saw the women of the national team as heroes.

four stages of competency,4 which is another (albeit more long-winded) way of saying the same thing: Stage 1: Unconsciously incompetent. This is the kid who thinks, “I’m fine. I don’t need to study math, I’ve got this.” In reality, he hasn’t a clue. This is when it’s easiest to get off track as a consultant. You can see the doomed test ahead, and you want to help him avoid the failure. But once you have offered help and he has made it clear that he doesn’t want it, you really can’t enlighten him as to his incompetence, nor should you. To be clear, this kid will bomb. . . . But then he’ll move on, and if you can help him get the message that a failure is nothing more than a temporary stumble to learn from, he will have learned a valuable lesson. Stage 2: Consciously incompetent. The kid now thinks, “Okay, wow. That was harder than I thought. I guess I need to study math.” He still doesn’t have a handle on the material, but he knows that. He’ll usually take the next step and, you know, study.

It’s just a hypothesis at this stage,’ she added quickly. ‘Barely that, even. Still, half a hypothesis is marginally better than a complete and utter clue deficiency.

I was expecting to find a scooter company. One of those trendy, battery-powered skateboard or Segway-like rolling transporters used in place of walking. What I found was something entirely more audacious.  PPS was developing a jetpack. An actual jetpack. One of those James Bond, Buck Rogers, Rocket Man-style engines you strapped to your back and flew with. I supposed the Space Coast location should have been a tipoff, but I missed that clue. The PPS website was just a Work In Progress placeholder, but I did find a few other companies in the niche, and one had a very impressive video. It showed a man flying over rivers and lakes using a device that looked exactly like what the comic books predicted. At first I thought it was faked, but it proved to be real. USA Today confirmed it in a front page story on November 11, 2015 titled “Man on jetpack flies around Statue of Liberty.”  That meant the core Iron Man technology had existed for years. If a fatal flaw hadn’t been found, it would now be in the refinement and regulatory approval stage. It occurred to me that between jetpacks and drones and hover boards and self-driving cars, the Department of Transportation had to be hopelessly swamped. The world was evolving at an incredible pace. It was no wonder that so many people

Learn to diligently guard and protect your dream and great ideas from dream killers. Don’t rush to share your vision, idea or dream with people who have no clue on how to take you to the next level. The mistake of over-sharing dreams, inception stage ideas and raw vision with random people results in discouragements, misguidance or completely suffocation of the dream, idea or vision.

Its not that people want to get hurt again. Its that they want to master a situation where they felt helpless. "Repetition compulsion" Maybe this time, the unconscious imagines, I can go back and heal that wound from long ago, by engaging with somebody familiar- but new. The truth is that they reopen the wounds and feel even more inadequate and unlovable." "He may be resistant to acknowledging it now, but I welcome his resistance because resistance is a clue to where the crux of the work lies; it signals what a therapist needs to pay attention to." "Conversion disorder: this is a condition in which a person's anxiety is "converted" into a neurologic conditions such as paralysis, balance issues, incontinence, deafness, tremors, or seizures." "People with conversion disorder aren't faking it- that’s called factitious disorder. People with factitious disorder have a need to be thought of as sick and intentionally go to great lengths to appear ill." "Interestingly, conversion disorder tends to be more prevalent in cultures with strict rules and few opportunities for emotional expression." "Ultracrepidarianism, which means "the habit of giving opinions and advice on matters outside of one's knowledge or competence" "Every decision they make is based on two things: fear and love. Therapy strives to teach you how to tell the two apart." "if you are talking that much, you cant be listening" and its variant, you have two ears and one mouth; there's a reason for that ratio)" "To feel better now, anytime, anywhere, within seconds" Why are we essentially outsourcing the thing that defines uses people? Was it that people couldn’t tolerate being alone or that they couldn’t tolerate being with other people?" "The four ultimate concerns are death, isolation, freedom, and meaningless" "Flooded: meaning one person is in overdrive, and when people feel flooded is best to wait a beat. The person needs a few minutes for his nervous system to reset before he can take anything in." "Developmental stage models: Freud, Jung, Erikson, Piaget and Maslow

Clues to your passion are always around you. The sequence of events that led me to that stage began when I least expected it, but I was on the lookout for something more, something meaningful in my life. And even then I had to battle my natural instincts to experience it. You’ll only find your passion if you search and fight to discover it.