Concert Partner Quotes

If you don't believe in transcendent experience, you haven't been to the right concert, you know, you haven't used the right drugs, you haven't had sex with the right partner.

Consider these traditional theories of domestic abuse: - Learned helplessness suggest that abused women learn to become helpless under abusive conditions; they are powerless to extricate themselves from such relationships and/or unable to make adaptive choices - The cycle of violence describes a pattern that includes a contrition or honeymoon phase. The abusive husband becomes contrite and apologetic after a violent episode, making concerted efforts to get back in his wife’s good graces. - Traumatic bonding attempts to explain the inexplicable bond that is formed between a woman and her abusive partner - The theory of past reenactments posits that women in abusive relationships are reliving unconscious feelings from early childhood scenarios. My research results and experience with patients do not conform to these concepts. I have found that the upscale abused wife is not a victim of learned helplessness. Rather, she makes specific decisions along the path to be involved in the abusive marriage, including silent strategizing as she chooses to stay or leave the marriage. Nor does the upscale abused wife experience the classic cycle of violence, replete with the honeymoon stage, in which the husband courts his wife to seek her forgiveness. As in the case of Sally and Ray, the man of means actually does little to seek his wife’s forgiveness after a violent episode. Further, the upscale abused wife voices more attachment to her lifestyle than the traumatic bonding with her abusive mate. And very few of the abused women I have met over the years experienced abuse in their childhoods or witnessed it between their parents. In fact, it is this lack of experience with violence, rage, and abuse that makes this woman even more overwhelmed and unclear about how to cope with something so alien to her and the people in her universe.

A contemporary example of holistic thinking is found in the approach Mark Suster and his firm Upfront Ventures took in helping evolve the Los Angeles startup community. A decade ago, many perceived LA as a small, relatively unimportant startup community. Mark and his partners at GRP Partners rebranded the firm Upfront Ventures in 2013 and began a concerted effort to amplify, publicize, and evolve the LA startup community. Mark was unapologetically bold about the awesomeness going on in LA. He started an annual Upfront Summit that was inclusive of all LA entrepreneurs, bringing venture capitalists and limited partners from around the country to LA for a two-day event showcasing everything going on in the region. By approaching the problem holistically, rather than attempting to solve one particular issue or to control things, Upfront dramatically accelerated the LA startup community while at the same time building an international brand for the firm.

Visitors to Mason’s Yard in St. James’s will search in vain for Isherwood Fine Arts. They will, however, find the extraordinary Old Master gallery owned by my dear friend Patrick Matthiesen. A brilliant art historian blessed with an infallible eye, Patrick never would have allowed a misattributed work by Artemisia Gentileschi to languish in his storerooms for nearly a half century. The painting depicted in The Cellist does not exist. If it did, it would look a great deal like the one produced by Artemisia’s father, Orazio, that hangs in the National Gallery of Art in Washington. Like Julian Isherwood and his new managing partner, Sarah Bancroft, the inhabitants of my version of London’s art world are wholly fictitious, as are their sometimes-questionable antics. Their midsummer drinking session at Wiltons Restaurant would have been entirely permissible, as the landmark London eatery briefly reopened its doors before a rise in coronavirus infection rates compelled Prime Minister Boris Johnson to shut down all non-essential businesses. Wherever possible, I tried to adhere to prevailing conditions and government-mandated restrictions. But when necessary, I granted myself the license to tell my story without the crushing weight of the pandemic. I chose Switzerland as the primary setting for The Cellist because life there proceeded largely as normal until November 2020. That said, a private concert and reception at the Kunsthaus Zürich, even for a cause as worthy as democracy, likely could not have taken place in mid-October. I offer my profound apologies to the renowned Janine Jansen for the unflattering comparison to Anna Rolfe. Ms. Jansen is rightly regarded as one of her generation’s finest violinists, and Anna, of course, exists only in my imagination. She was introduced in the second Gabriel Allon novel, The English Assassin, along with Christopher Keller. Martin Landesmann, my committed if deeply flawed Swiss financier, made his debut in The Rembrandt Affair. The story of Gabriel’s blood-soaked duel with the Russian arms dealer Ivan Kharkov is told in Moscow Rules and its sequel, The Defector. Devotees of F. Scott Fitzgerald undoubtedly spotted the luminous line from The Great Gatsby that appears in chapter 32 of The Cellist. For the record, I am well aware that the headquarters of Israel’s secret intelligence service is no longer located on King Saul Boulevard in Tel Aviv. There is no safe house in the historic moshav of Nahalal—at least not one that I am aware of—and Gabriel and his family do not live on Narkiss Street in West Jerusalem. Occasionally, however, they can be spotted at Focaccia on Rabbi Akiva Street, one of my favorite restaurants in Jerusalem.

Luncheon was usually at about two o’clock, often at someone else’s house in a small party. In the afternoon they attended concerts or drove to Richmond or Hurlingham, or else made the necessary, more formal calls upon those ladies they knew only slightly, perching awkwardly around withdrawing rooms, backs stiff, and making idiotic chatter about people, gowns, and the weather. The men excused themselves from this last activity and retired to one or another of their clubs. At four there was afternoon tea, sometimes at home, sometimes out at a garden party. Once there was a game of croquet, at which George partnered Sybilla and lost hopelessly amid peals of laughter and a sense of delight that infinitely outweighed Emily’s, who won. The taste of victory was ashes in her mouth. Not even Eustace, who partnered her, seemed to notice her. All eyes were on Sybilla, dressed in cherry pink, her cheeks flushed, her eyes radiant, and laughing so easily at her own ineptitude everyone wished to laugh with her.

Exercise 1: How to Invigorate Your Relationship with Your Romantic Partner STEP 1: Privately, each person should think about time spent with their partner. Without talking about it, each of you should make a list of the shared times together that could best be described as “very pleasant” or “exciting.” Think about things you do at home, for work, in the community, for leisure, on vacation, or anywhere else where you did something with your partner that made you feel excited. For instance, think about when the two of you: Went to a concert or a club Played or watched a sport or games of some kind Shopped Learned a new skill Talked Volunteered Solved a problem Took care of other people, animals, or things Went to a spiritual or religious event/workshop/meeting Played music Had sex (the more details, the better) Worked out Relaxed Spent time in a different environment than you are usually in (beach versus mountains, suburbs versus city, noisy versus quiet, teeming with people versus sparsely populated) Engaged in strenuous physical and/or mental exercise Joined an organization that you both believed in Pursued a hobby Worked on the house, the yard, the car, the boat Cooked new recipes Went to the movies Sat in the same room and did your own thing, like read, did needlework, or worked crossword puzzles Planned the family budget Took a class Something else (the sky is the limit—add any activities that fueled you)

I began by dividing my clothes into two groups. I dubbed one pile WORK and the other FABULOUS. The work group comprised dull basic items: jeans, sweaters, dungarees, flannel shirts, and T-shirts. These were my schlepping clothes, garments that, if spattered with paint or ripped by nails, would not be lamented. The fabulous group comprised my party clothes. These garments—punk couture, sharkskin suits, fluorescent shirts, brothel-creeper shoes, and new-wave neckties—were the clothes I wore when I was shrieking and boozing and going to Bowie concerts and to the Blitz to watch my roommate perform with his singing partner, whose name was Eve Ferret. These were the clothes I wore when I was having fun.

Other acts that were precursors of the Wild West were a July 4 commemoration in Deer Trail, Colorado, in which one Emil Gardenshire was crowned "Champion Bronco Buster of the Plains," and another Fourth of July celebration in Cheyenne, Wyoming, in 1872, featuring the riding of an unruly steer. And certainly Cody's buffalo hunt with Grand Duke Alexis was a harbinger of things to come, as were his hunting trips with General Sheridan, James Gordon Bennett and their friends, as well as the Earl of Dunraven. All that was needed, then, was to put the right elements together. Cody realized that he needed to earn a lot of money to launch a big show, and he was too proud to ask his wealthy friends for funds. Then, in the spring of 1882, he met Nate Salsbury, when they both were playing in New York. Salsbury, who later became Cody's partner, claimed to have thought of the idea of the Wild West when returning from a tour of Australia with the Salsbury Troubadours in 1876. On the boat he had discussed the merits of Australian jockeys in comparison with American cow-boys and Mexican vaqueros with J. B. Gaylord, an agent for the Cooper and Bailey Circus. As a result, said Salsbury, "I began to construct a show in my mind that would embody the whole subject of horsemanship and before I went to sleep I had mapped out a show that would be constituted of elements that had never before been employed in concerted effort in the history of the show business." In the end, of course, Buffalo Bill's Wild West went well beyond horsemanship to embody features of the West that had not been part of Salsbury's plan. Several years later Salsbury "decided that such an entertainment must have a well known figure head to attract attention and thus help to quickly solve the problem of advertising a new idea. After careful consideration of the plan and scope of the show I resolved to get W.F. Cody as my central figure." When the two men finally met,

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