Costume Important Quotes

The important thing is that another medium—stage, film, music—doesn’t obliterate a book. The movie is here now, on a big screen, with stars and costumes and a score. But the book hasn’t gone away. It has simply grown up, grown larger, and begun to glisten in a new way.

A TV show comprises many departments—Costumes, Props, Talent, Graphics, Set Dressing, Transportation. Everyone in every department wants to show off their skills and contribute creatively to the show, which is a blessing. You’re grateful to work with people who are talented and enthusiastic about their jobs. You would think that as a producer, your job would be to churn up creativity, but mostly your job is to police enthusiasm. You may have an occasion where the script calls for a bran muffin on a white plate and the Props Department shows up with a bran cake in the shape of Santa Claus sitting on a silver platter that says “Welcome to Denmark.” “We just thought it would be funny.” And you have to find a polite way to explain that the character is Jewish, so her eating Santa’s face might have negative connotations, and the silver tray, while beautiful, is giving a weird glare on camera and maybe let’s go with the bran muffin on the white plate. And then sometimes Actors have what they call “ideas.” Usually it involves them talking more, or, in the case of more experienced actors, sitting more. When Actors have ideas it’s very important to get to the core reason behind their idea.

Shakespeare appreciated the value of lovely costumes in adding picturesqueness to poetry, but he saw how important costume is as a means of producing certain dramatic effects.

Of course I didn’t think I’d heard him correctly. Why would he have told me something so important now, so casually, in the middle of a street fair? Before I could stop myself, I blurted out the first thing I thought. “Just one?” The look he gave me was shattering. Given everything I knew about him, though, I’d expected him to have killed a man. It was the fact that his having taken a single life had resulted in his banishment to the Underworld for all eternity that I found so astonishing. “I had no idea,” he said, with a dry smile, “that you were so bloodthirsty, Pierce. Should we try to find you one of those pirate costumes?

A stage adaptation of The Giver has been performed in cities and towns across the USA for years. More recently an opera has been composed and performed. And soon there will be a film. Does The Giver have the same effect when it is presented in a different way: It's hard to know. A book, to me is almost sacrosanct: such an individual and private thing. The reader brings his or her own history and beliefs and concerns, and reads in solitude, creating each scene from his own imagination as he does. There is no fellow ticket-holder in the next seat. The important thing is that another medium--stage, film, music--doesn't obliterate a book. The movie is here now, on a big screen, with stars and costumes and a score. But the book hasn't gone away. It has simply grown up, grown larger, and begun to glisten in a new way.

To begin with, it was important for women to keep up their “curb appeal,” to “look and smell delicious,” to be “feminine, soft, and touchable,” not “dumpy, stringy, or exhausted”—at least if they wanted husbands to come home to them. But that was just the beginning. To keep a husband’s interest, Morgan was a strong believer in the power of costumes in the bedroom (or kitchen, living room, or backyard hammock), so that when a husband opened the front door each night it was like “opening a surprise package.” One day a “smoldering sexpot,” another “an all-American fresh beauty,” a pixie, a pirate, “a cow-girl or a show girl.” (Contrary to popular belief, Morgan never recommended that women clothe themselves in nothing but Saran Wrap. She wasn’t sure where that rumor got its start, though she conceded it was “a great idea.”) 3

The world has accepted hard-core fans' argument. Batman, this children's character who dresses up in a costume to effect the change he wishes to see in the world via face punching, is serious. And awesome. And definitely not gay. And, most importantly, now and forever, badass. This is the Batman narrative that now permeates the culture—the narrative that doesn't like nobody touching its stuff and doesn't want any of you homos touching it, neither.

About play: Play is an important part of finding voice, because it allows us to try on new selves, like costumes, with sanctuary. We can pretend to be, pretend to write as if, without committing. And often play allows us to discover our authentic self. [p. 48]

There are certain men who are sacrosanct in history; you touch on the truth of them at your peril. These are such men as Socrates and Plato, Pericles and Alexander, Caesar and Augustus, Marcus Aurelius and Trajan, Martel and Charlemagne, Edward the Confessor and William of Falaise, St. Louis and Richard and Tancred, Erasmus and Bacon, Galileo and Newton, Voltaire and Rousseau, Harvey and Darwin, Nelson and Wellington. In America, Penn and Franklin, Jefferson and Jackson and Lee. There are men better than these who are not sacrosanct, who may be challenged freely. But these men may not be. Albert Pike has been elevated to this sacrosanct company, though of course to a minor rank. To challenge his rank is to be overwhelmed by a torrent of abuse, and we challenge him completely. Looks are important to these elevated. Albert Pike looked like Michelangelo's Moses in contrived frontier costume. Who could distrust that big man with the great beard and flowing hair and godly glance? If you dislike the man and the type, then he was pompous, empty, provincial and temporal, dishonest, and murderous. But if you like the man and the type, then he was impressive, untrammeled, a man of the right place and moment, flexible or sophisticated, and firm. These are the two sides of the same handful of coins. He stole (diverted) Indian funds and used them to bribe doubtful Indian leaders. He ordered massacres of women and children (exemplary punitive operations). He lied like a trooper (he was a trooper). He effected assassinations (removal of semi-military obstructions). He forged names to treaties (astute frontier politics). He was part of a weird plot by men of both the North and South to extinguish the Indians whoever should win the war (devotion to the ideal of national growth ) . He personally arranged twelve separate civil wars among the Indians (the removal of the unfit) . After all, those were war years; and he did look like Moses, and perhaps he sounded like him.

Soon after the raid was over, the White House released the now-famous photo of all of us watching the video in that small conference room. Within hours, I received from a friend a Photoshopped version with each of the principals shown dressed in superhero costumes: Obama was Superman; Biden, Spiderman; Hillary, Wonder Woman; and I, for some reason, was the Green Lantern. The spoof had an important substantive effect on me. We soon faced a great hue and cry demanding that we release photos of the dead Bin Laden, photos we had all seen. I quickly realized that while the Photoshop of us was amusing, others could Photoshop the pictures of Bin Laden in disrespectful ways certain to outrage Muslims everywhere and place Americans throughout the Middle East and our troops in Afghanistan at greater risk. Everyone agreed, and the president decided the photos would not be released. All the photos that had been circulating among the principals were gathered up and placed in CIA’s custody. As of this writing, none has ever leaked.

I started by collecting copies of all the novels and short stories featuring him and piled them up beside my bed. I wanted to get to the very heart of what Dame Agatha thought of him and what he was really like, and to do that, I had to read every word his creator had ever written about him. I didn’t want my Poirot to be a caricature, something made up in a film or television studio, I wanted him to be real, as real as he was in the books, as real as I could possibly make him. The first thing I realised was that I was a slightly too young to play him. He was a retired police detective in his sixties when he first appeared in The Mysterious Affair at Styles, while I was in my early forties. Not only that, he was also described as a good deal fatter than I was. There was going to have to be some considerable padding, not to mention very careful make-up and costume, if I was going to convince the world that I was the great Hercule Poirot. Even more important, the more I read about him, the more convinced I became that he was a character that demanded to be taken seriously. He wasn’t a silly little man with a funny accent, any more than Sherlock Holmes was just a morphine addict with a taste for playing the violin. There was a depth and quality to the Poirot that Dame Agatha had created – and that was what I desperately wanted to bring to the screen.

5236 rue St. Urbain The baby girl was a quick learner, having synthesized a full range of traits of both of her parents, the charming and the devious. Of all the toddlers in the neighbourhood, she was the first to learn to read and also the first to tear out the pages. Within months she mastered the grilling of the steaks and soon thereafter presented reasons to not grill the steaks. She was the first to promote a new visceral style of physical comedy as a means of reinvigorate the social potential of satire, and the first to declare the movement over. She appreciated the qualities of movement and speed, but also understood the necessity of slowness and leisure. She quickly learned the importance of ladders. She invented games with numerous chess-boards, matches and glasses of unfinished wine. Her parents, being both responsible and duplicitous people, came up with a plan to protect themselves, their apartment and belongings, while also providing an environment to encourage the open development of their daughter's obvious talents. They scheduled time off work, put on their pajamas and let the routines of the apartment go. They put their most cherished books right at her eye-level and gave her a chrome lighter. They blended the contents of the fridge and poured it into bowls they left on the floor. They took to napping in the living room, waking only to wipe their noses on the picture books and look blankly at the costumed characters on the TV shows. They made a fuss for their daughter's attention and cried when she wandered off; they bit or punched each other when she out of the room, and accused the other when she came in, looking frustrated. They made a mess of their pants when she drank too much, and let her figure out the fire extinguisher when their cigarettes set the blankets smoldering. They made her laugh with cute songs and then put clothes pins on the cat's tail. Eventually things found their rhythm. More than once the three of them found their faces waxened with tears, unable to decide if they had been crying, laughing, or if it had all been a reflex, like drooling. They took turns in the bath. Parents and children--it is odd when you trigger instinctive behaviour in either of them--like survival, like nurture. It's alright to test their capabilities, but they can hurt themselves if they go too far. It can be helpful to imagine them all gorging on their favourite food until their bellies ache. Fall came and the family went to school together.

The truth is that there’s no such thing as a personal problem. If you’ve got a problem, chances are millions of other people have had it in the past, have it now, and are going to have it in the future. Likely people you know too. That doesn’t minimize the problem or mean that it shouldn’t hurt. It doesn’t mean you aren’t legitimately a victim in some circumstances. It just means that you’re not special. Often, it’s the realization - that you and your problems are actually not privileged in their severity or pain - that is the first and most important step toward solving them. But for some reason, it appears that more and more people, particularly young people, are forgetting this. Numerous professors and educators have noted a lack of emotional resilience and an excess of selfish demands in today’s young people. It’s not uncommon now for books to be removed from the class is curriculum for no other reason then they made someone feel bad. Speakers and professors are shouted down and banned from campuses for in fractions as simple as suggesting that maybe some Halloween costumes really aren’t that offensive. School counsellors note that more students than ever are exhibiting severe signs of emotional distress over what are otherwise run-of-the-mill daily college experiences, such as an argument with her roommate, or getting a low grade in the class. It’s strange that in an age when we are more connected than ever, entitlement seems to be at an all time high. Something about recent technology seems to allow our insecurities to run amok like never before. The more freedom were given to express ourselves, the more we want to be free of having to deal with anyone who may disagree with us or upset us. The more exposed we are to opposing viewpoints, the more we seem to get upset that those other viewpoints exist. The easier and more problem free our lives become, the more we seem to feel entitled for them to get even better.

Another aspect of this – one that he makes into an extended, if slightly ghoulish, case study – was to be found in the funerals of ‘distinguished men’. Again, Polybius must have witnessed enough of these to draw out their deeper significance. The body, he explains, was carried into the Forum and placed on the rostra, normally propped up somehow in an upright position, so it was visible to a large audience. In the procession that followed, family members wore masks made in the likeness of the dead man’s ancestors and dressed in the costume appropriate to the offices each had held (purple-bordered togas and so on), as if they were all present ‘living and breathing’. The funeral address, delivered by a family member, started with the achievements of the corpse on the rostra but then went through the careers of all the other characters, who by this time were sitting on ivory, or at least ivory-veneered, chairs lined up next to the dead man. ‘The most important upshot of this,’ Polybius concludes, ‘is that the younger generation is inspired to endure all suffering for the common good, in the hope of winning the glory that belongs to the brave.

In many ways, I have it easy now with the kids. They’re still in elementary school; the teenage years will surely have their own challenges. I’ve tried to stay involved in their lives, though my participation in school events has declined because of my other commitments. I can’t be the supermom who volunteers for every class trip anymore. But I do chaperone when I can, and one of my happiest days recently was watching Bubba give a class report. It’s been hard to realize and even harder to accept that that’s enough. The kid’s emotional growth won’t suffer if they don’t have the most frightening zombie costume in their class? No? Really? Can I get that in writing? Things that are vital to their success in life as well as school--those things we still do. Chores, required reading, homework, of course--those are all still there. And we still thank God every night for the things that mean a lot to us. We always say what we are grateful for that day--and from that, I’ve learned a lot about what’s important to them, and I think they’ve learned the same from me. One of the most remarkable things about children is their compassion. Mine continue to pray for others every night. Maybe it comes from the DNA. Maybe it comes from having been through adversity. But it’s a wonderful quality, one that I hope stays with them as they grow.

Zen can be seen as having a special kind of structure with basic demands that are structural demands and therefore open to scientific investigation—and the more it can seem to have a definite character to be grasped and “understood.” When Zen is studied in this way, it is seen in the context of Chinese and Japanese history. It is seen as a product of the meeting of speculative Indian Buddhism with practical Chinese Taoism and even Confucianism. It is seen in the light of the culture of the T’ang dynasty, and the teachings of various “houses.” It is related to other cultural movements. It is studied in its passage into Japan and its integration into Japanese civilization. And then a great deal of things about Zen come to seem important, even essential. The Zendo or meditation hall. The Zazen sitting. The study of the Koan. The costume. The lotus seat. The bows. The visits to the Roshi and the Roshi’s technique for determining whether one has attained Kensho or Satori, and helping one to do this. Zen, seen in this light, can then be set up against other religious structures—for instance that of Catholicism, with its sacraments, its liturgy, its mental prayer (now no longer practised by many), its devotions, its laws, its theology, its Bible; its cathedrals and convents; its priesthood and its hierarchical organization; its Councils and Encyclicals.

In the nineteen-forties in Nazi-occupied Paris, an artist named Marcel Carné made a movie. He filmed it on location on the Street of Thieves, the old Parisian theater street where at one time there was everything from Shakespearean companies to flea circuses, from grand opera to girlie shows. Carné's film was a period piece and required hundreds of extras in nineteenth-century costume. It required horses and carriages and jugglers and acrobats. The movie turned out to be over three hours long. And Carné made it right under the Nazi's noses. The film is a three hour affirmation of life and an examination of the strange and sometimes devastating magnetism of love. Romantic? Oh, babe, it's romantic enough to make a travel poster sigh and a sonnet blush. But completely uncompromising. It's a celebration of the human spirit in all of its goofy, gentle, and grotesque guises. And he made it in the very midst of Nazi occupation, filmed this beauty inside the belly of the beast. He called it Les Enfants du Paradis–Children of Paradise–and forty years later it's still moving audiences around the world. Now, I don't want to take anything away from the French resistance. Its brave raids and acts of sabotage undermined the Germans and helped bring about their downfall. But in many ways Marcel Carné's movie, his Children of Paradise, was more important than the armed resistance. The resisters might have saved the skin of Paris, Carné kept alive its soul.

Early in a career that began in 1912 when he was 19 years old, Romain de Tirtoff, the Russian-born artists who called himself Erté after the french pronunciation of his initials, was regarded as a 'miraculous magician,' whose spectacular fashions transformed the ordinary into the outstanding, whose period costumes made the present vanish mystically into the past, and whose décors converted bare stages into sparkling wonderlands of fun and fancy. When his career ended with his death in 1990, Erté was considered as 'one of the twentieth-century's single most important influences on fashion,' 'a mirror of fashion for 75 years,' and the unchallenged 'prince of the music hall,' who had been accorded the most significant international honors in the field of design and whose work was represented in major museums and private collections throughout the world. It is not surprising that Erté's imaginative designs for fashion, theater, opera, ballet, music hall, film and commerce achieved such renown, for they are as crisp and innovative in their color and design as they are elegant and extravagant in character, and redolent of the romance of the pre- and post-Great War era, the period when Erté's hand became mature, fully developed and representative of its time. Art historians and scholars define Ertés unique style as transitional Art Deco, because it bridges the visual gab between fin-de-siècle schools of Symbolism, with its ethereal quality, Art Nouveau, with its high ornament, and the mid-1920s movement of Art Deco, with its inspirational sources and concise execution.

Tous les actes de ce genre auxquels elle se livrait, sa manière de semer l'argent, étaient le résultat d'un froid calcul dans l'esprit de Kazu; toutes les manifestations de sa bonté avaient un seul but: s'assurer des voix de l'élection. C'était là sa pensée dominante; toutefois il n'entrait pas dans ses calculs de toucher les gens par la passion qu'elle mettait à payer de sa personne. Lorsqu'elle entendait des auditeurs dire qu'ils étaient réellement sensibles à un tel sacrifice de soi, elle riait intérieurement. D'un autre côté, quand on critiquait ses actions en déclarant qu'elles ne procédaient pas d'un enthousiasme réel mais d'un calcul, elle était furieuse d'être ainsi méconnue. Ceci suffit à montrer combien la psychologie de Kazu était compliquée. Bien qu'elle ne se fût jamais préoccupée de cette question, il se trouvait que les méthodes qu'employait Kazu pour s'assurer des votes étaient, malgré la simplicité de leur hypocrisie, parmi les facteurs les plus importants de sa popularité. Dans ce qu'elle prenait pour des calculs de sa part il y avait une sorte de sincérité, surtout de la sincérité à l'égard du peuple. Quel que fût le mobile de ses actes, son abnégation et son dévouement avaient le privilège de la faire aimer par les masses. En fait, Kazu n'avait pas une grande confiance dans son détachement. Ses stratagèmes qui sautaient aux yeux, ses tentatives effrénées pour duper les gens, la répétition éhontée et obstinée de ses ruses, déjouaient la vigilance des esprits simples. Plus elle essayait de tirer avantage de la foule, plus la foule l'aimait. On pouvait parler en cachette derrière elle, là où elle allait, mais elle partait en laissant une popularité croissante. Lorsque Kazu se rendait chez les femmes du quartier de Kôtô vêtue en cuisinière, elle se figurait qu'elle était une grande dame qui s'habillait en cuisinière pour mieux duper les gens en se mêlant à eux. Cependant personne ne s'y trompait: le costume d'une cuisinière allait très bien à Kazu!

I haughtily dismissed the principles sponsored by philosophers, religious leaders, and the ideas of poets in exchange for seeking financial stability and shallow happiness. I imported into my conceited consciousness the values of a freewheeling American society, a culture that fawns on rich and famous celebrities, applauds fantastic risk-taking, and promotes a permissive lifestyle. I lack serious ambition – romantic or practical – to achieve any intellectual or spiritual worthwhile accomplishments. Decrepit and friendless, I am so lost that I do not even know what bellwether I seek. I went astray by callously disrespecting the life sustaining lessons handed down by our ancestors. Only by stripping myself of the rank costume cloaking personal shame, a remorseful suit of motley skin that I stitched together by living a selfishly tailored life, can embark on a journey to discover a better way to live.

Age 5—after a fortunate growth spurt (plus some side-eye from the fundamentalist church we were attending at the time), my parents work through the night to surprise me with something less objectionable . . . a handmade angel costume. Lisa wears the witch costume because, while pleasing God is important, he’s not paying the bills, y’all.

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

All rituals are grounded in repetition and rigidly fixed action sequences.17 But they differ from habits in one important way. Rituals lack a direct, immediate reward. Instead, we have to invent a meaning and impose it on them. We lift our glasses to toast, blow out candles on a birthday cake, and wear caps and gowns at graduation. The act of standing silently for a song, singing while candles burn, or wearing a ceremonial costume acts as feedback, reinforcing our belief that something meaningful is taking place—an act of respect for our country, a celebration of another year, or an educational accomplishment.

Contrary to the impression left by toga party costumes, the toga was closer to the size of a bedroom than a bedsheet, about 20 square meters (24 square yards). Assuming 20 threads to the centimeter (about 130 to the inch), historian Mary Harlow calculates that a toga required about 40 kilometers (25 miles) of wool yarn—enough to reach from Central Park to Greenwich, Connecticut. Spinning that much yarn would take some nine hundred hours, or more than four months of labor, working eight hours a day, six days a week. Ignoring textiles, Harlow cautions, blinds classical scholars to some of the most important economic, political, and organizational challenges that ancient societies faced. Cloth isn’t just for clothes, after all. “Increasingly complex societies required more and more textiles,” she writes. The Roman army, for instance, was a mass consumer of textiles.… Building a fleet required long term planning as woven sails required large amounts of raw material and time to produce. The raw materials needed to be bred, pastured, shorn or grown, harvested, and processed before they reached the spinners. Textile production for both domestic and wider needs demanded time and planning.

Preparation for the interview therefore ceases to be about the actual content of the job and instead becomes a theatrical rehearsal, concerned primarily with costume, demeanour, eye contact, stage presence, learning one's lines. The character of the applicant must be placed within a seamless yet engaging narrative, and any outside interests incorporated into the work sphere (so for instance, for a retail job, an interest in films becomes "I like to keep track of all the latest DVD releases"). Above all, it is important to appear 'natural'. Actual experience is secondary to a willingness to blend in; to contribute to that collective suspension of disbelief which is vital to the smooth running of the contemporary workplace.

HDC, so she had danced some of the most important roles. Then, after retiring from dancing, she’d become the ballet mistress at HDC. Ms. Ferri was so nice that I couldn’t help wishing she taught ballet at my school, Anna Hart School of the Arts, so that I could have her all week instead of just on the weekends. But Ms. Ferri was too busy conducting the daily class for the HDC’s professional dancers. And this year, she was busy rehearsing her own role in The Nutcracker, too—the role of Mother Ginger. Ms. Ferri’s stilts were made out of metal rods about a yard high. In New York City Ballet’s version of The Nutcracker, men played Mother Ginger because the costume was so big and heavy. But Ms. Ferri was tall and strong enough to handle it. After years of playing Mother Ginger, she was a pro at managing the costume’s weight while she walked on stilts. No one would see the stilts, because she’d wear a skirt big enough to hide them—plus eight kids. Ms. Ferri glanced my way when she heard the door to the studio close behind me. “Where have you been, Isabelle?

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And therein is a lesson that can be learned by all who fight the purveyors of hatred and lies. Though the battle against our opponents is exceptionally important, the opponents themselves are not. Their arguments make as much sense as flat-earth theory. However, in dramatic contrast to flat-earthers, they can cause tremendous pain and damage. Some of them use violence. Others, as Hajo Funke said in Berlin as we sat in the shadow of the Reichstag, use words that, in turn, encourage others to do harm. It was words that motivated those who blew up the Murrah Building in Oklahoma City, dragged an African-American down a logging road to his death, tortured a young homosexual in Wyoming, stabbed a Jewish student to death on the streets of Crown Heights, blew up Israeli families about to celebrate the Passover Seder, and flew planes into the World Trade Center. We must conduct an unrelenting fight against those who encourage—directly or indirectly—others to do these things. But, even as we fight, we must not imbue our opponents with a primordial significance. We certainly must never attribute our existence to their attacks on us or let our battle against them become our raison d’etre. And as we fight them, we must dress them—or force them to dress themselves—in the jester’s costume. Ultimately, our victory comes when, even as we defeat them, we demonstrate not only how irrational, but how absolutely pathetic, they are.

Developing a business depends on many factors. But you should basically understand the exchange between value. In other words, you must provide value to receive equal value. If you look at single people, you can see that they can’t provide any value – they don’t smile, dress, talk or behave in a way that makes others want to spend time, much less a life, with them. Relationships and Business are not much different. In a business, people know that appearance and the way you talk to a costumer is as important as the value of your product, and that’s why brands sell, even when their products have no quality. For example, in shopping malls you can see shops packed with people buying clothes that have no value and will be ruined or out of fashion very soon, because the brand is selling an image, not quality anymore. China, on the other hand, managed to compete in the world markets by reducing price over quality, and is now paying the price of a very bad reputation, as most people don’t trust Chinese brands anymore. This is already impacting the economy, so I don’t know what will happen in the next years. It’s all in the hands of the politicians and the internationalization of the companies. Actually, that’s why this Chinese government sends its companies to other countries. And yet, I just said this to explain the relation between value and product. But here’s another. I tried to share what I know about Learning with Teachers, Parents and Psychologists, and nobody cared. Besides, what I earned in helping children with learning disabilities was a very low payment, and I had to quit that as I couldn’t afford to pay an apartment and daily expenses with such job. However, there are people making thousands of dollars with drugs that have no effect, toilets for cats and pet-rocks. In other words, is never about what the world needs but what the world wants.

The hardest rule for me to keep at Onsite wasn’t about computers or cell phones. It was that we couldn’t tell people what we did for a living. Bill asked us at orientation to keep our jobs a secret. He said if we had to talk about our work life, even during therapy, to just say we were plumbers or accountants. It’s a genius rule, if you think about it. Right from the start we weren’t allowed to wear a costume. And let’s face it, most of us wear our jobs like a costume. My entire identity—my distorted sense of value—came almost exclusively from the fact I wrote books. It was torture to not tell people what I did. I never realized how much I’d used my job as a social crutch until the crutch was taken away. I must have hinted that I thought my work was important a thousand different ways. I kept saying, “As a plumber, there’s a lot of pressure on me to perform.” I did everything but wink when I said it. I must have been nauseating to be around. But deep inside, I wanted so desperately to talk about what I did because I knew people would like me if they only knew. I knew people would think I was important. Slowly, over the week, I realized I was addicted to my outer shell, that without my costume I felt vulnerable.

Psychologist Robert Kegan,8 chair of adult development at Harvard, has a term for unzipping those costumes. He calls it “the subject-object shift” and argues that it’s the single most important move we can make to accelerate personal growth.

Developing a business depends on many factors. But you should basically understand the exchange between value. In other words, you must provide value to receive equal value. If you look at single people, you can see that they can’t provide any value – they don’t smile, dress, talk or behave in a way that makes others want to spend time, much less a life, with them. Relationships and Business are not much different. In a business, people know that appearance and the way you talk to a costumer is as important as the value of your product, and that’s why brands sell, even when their products have no quality. For example, in shopping malls you can see shops packed with people buying clothes that have no value and will be ruined or out of fashion very soon, because the brand is selling an image, not quality anymore. China, on the other hand, managed to compete in the world markets by reducing price over quality, and is now paying the price of a very bad reputation, as most people don’t trust Chinese brands anymore. This is already impacting the economy, so I don’t know what will happen in the next years. It’s all in the hands of the politicians and the internationalization of the companies. And yet, I just said this to explain the relation between value and product. But here’s another example. I tried to share what I know about Learning with Teachers, Parents and Psychologists, and nobody cared. Besides, what I earned in helping children with learning disabilities was a very low payment, and I had to quit that as I couldn’t afford to pay an apartment and daily expenses with such job. However, there are people making thousands of dollars with drugs that have no effect, toilets for cats and pet-rocks. In other words, is never about what the world needs but what the world wants.

Developing a business depends on many factors. But you should basically understand the exchange between value. In other words, you must provide value to receive equal value. If you look at most singles, you can see that they can’t provide any value – they often don’t smile, dress, talk or behave in a way that makes others want to spend time, much less a lifetime, with them. Relationships and businesses are not much different. In a business, people know that appearance and the way you talk to a costumer is as important as the value of your product, and that’s why brands sell, even when their products have no quality. For example, in shopping malls you can see shops packed with people buying clothes that have no value and will be ruined or out of fashion very soon, because the brand is selling an image, not quality anymore. China, on the other hand, managed to compete in the world market by reducing price over quality, and is now paying the cost of a very bad reputation, as most people don’t trust Chinese brands anymore. This is already impacting the economy, so I don’t know what will happen in the next years. It is all in the hands of the politicians and the internationalization of the companies. And yet, I just said this to explain the relation between value and product. But here’s another example: I tried to share what I know about learning with teachers, parents and psychologists, and nobody cared. Besides, what I earned in helping children with learning disabilities was a very low payment, and I had to quit that as I couldn’t afford to pay an apartment and daily expenses with such job. However, there are people making thousands of dollars with drugs that have no effect, toilets for cats and pet-rocks. In other words, it is never about what the world needs but what the world wants.

Amateur musical performances were extremely important for all of us during the war, and my experience of them started at the age of ten or eleven, when my friends and I took part in a custom that was very popular back then but now seems to have died out altogether. It was carried out at Halloween, but instead of going round asking for trick or treats we did something called ‘Guising’. A group of us lads would go to the front door of a house we thought might be welcoming and politely ask if we could come in and perform. Our particular playlet was suggested by my father; it was one he had performed when he was a lad, although whether there was any deeper tradition behind the verses we recited I cannot say. We were all dressed up in costumes, with one boy dressed as a king with a cardboard crown on his head. Once all were in the house most of us would cluster behind the sitting-room door, then the first boy would enter the room on his own and say, ‘Red up sticks and red up stools here comes in a pack of fools, a pack of fools behind that door. Step in King George and clear the floor.’ The boy with the crown on his head would enter and recite, ‘King George is my name, sword and pistol by my side, I hope to win the game.’ The first boy would answer, ‘The game, sir, the game, sir, is not within your power. I will slash you and slay you within half an hour.’ These two boys would then have a duel with toy swords and the first boy would drop down as though dead, at which the king would kneel down and say, ‘Is there a doctor in the town?’ A small boy with a little attaché case would then pop out from behind the door saying, ‘My name is Doctor Brown, the best little doctor in the town. A little to his nose and a little to his bum, now rise up, jock, and sing a song.’ It was an absurd little sketch, but we used to get showered with pieces of cake and home-made toffees and fudge, and we would pass from house to house performing the same sketch. Even now I can recall the words perfectly.

Per a la supervivència és molt important la comunicació. Podem pensar que el llenguatge pot ser inventat per ajudar a determinada gent a tenir el poder sobre altres éssers humans, i són precisament els éssers humans els que van inventar la forma de comunicar el record. En aquest àmbit, els generalitzadors van ser (i encara són) sostinguts per l'elit que els atorga un poder enorme. Contínuament s'inventen llenguatges compartits per "nosaltres" per excloure el terme "ells", i un mitjà efectius és fer molt grans les generalitzacions perquè tinguin fins i tot un poder diví; aleshores es converteixen en "llei de la naturalesa" o en "llei de Déu". Si agafem el tema de la dona, sempre es relaciona la diferència amb el sexe, i amb el llenguatge es consolida el poder dels homes sobre les dones. El llegat d'una generació acceptada té vigència com a veritat eterna i adquireix vida pròpia. El llegat de la generalització de gènere, estructurat i segellat en el llenguatge i en el costum, segueix assotant els éssers humans, encara avui, i distorsionant el pensament. Quan diem "ells són a classe", no sabem si és que tots són nois o també hi ha noies en el grup. Aquest tipus d'expressió, a la qual estem acostumats, construeix una idea de món on els homes són pensats com un model a seguir i les dones queden en un segon pla. Com veiem, en el llenguatge queda soldada la identitat de gènere, que polaritzar`els sexes i farà que es perdin les similituds humanes.

Psychologist Robert Kegan,8 chair of adult development at Harvard, has a term for unzipping those costumes. He calls it “the subject-object shift” and argues that it’s the single most important move we can make to accelerate personal growth. For Kegan, our subjective selves are, quite simply, who we think we are. On the other hand, the “objects” are things we can look at, name, and talk about with some degree of objective distance. And when we can move from being subject to our identity to having some objective distance from it, we gain flexibility in how we respond to life and its challenges.

Women have been defined and confined by the male gaze for way too long, " Mary said suddenly, aware that she had spoken the words almost as an announcement or a call to arms. "What do you mean by the male gaze?" Patty asked. "It's a term used when talking about a sexualized way of looking that empowers men while objectifying women," Mary explained. "For example, it's always been the assumption in the art world - painting, movies, what have you - that the core, important audience is the heterosexual male. Therefore, women, who are meant by their nature to be attractive to that audience, are shown as weak, available for sex and for being rescued, and even if a woman is portrayed as a heroine, her 'weak' point is sex, her pathetic need for a man's approval. Her costume, her attitude, all are chosen to remind the audience that deep down, no matter how bravely she behaves, she is a woman, meant for sex with men and nothing more.

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The more important the event, the more elaborate the costume. Of course God could not care less what she wore, or who baptized the child. But God was not Catholic; Icilma was. The baptism would have to be done in full regalia. She

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Understate—or as Valentina said, 'diminish.' Let your face be more important than your costume. If you think you may be wearing too much jewelry, you are. Ask your husband how he thinks you look. If he says, 'That's a lovely dress,' try again. What he should say is, 'You look lovely!

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He'd dusted off his old beggar's costume - well, it was supposed to be dirty, so he'd more dusted onto it - for an appearance here and there. However, he wanted to be gainfully occupied. And stay close to some important, relevant people who tended to look poorly on someone who could fill a garden with good topsoil merely by shivering

There was an important matter of terminology, too: Saturday Night would feature “sketches,” not “skits.” Skits are one-joke bits done in grade school or by guys at the Rotary Club. A sketch is more complex; it’s a vignette, with a beginning, middle, and end. Michaels also declaimed his views about realism in comedy. He explained that realistic sets and costumes, unlike silly, over-the-top ones, don’t compete with the writing.

Our education was spatial. Racial. Tribal. Urban. American. But mostly—and this is the most important thing—it was dominated by Kepplemen, over whom we were each failing to gain leverage. And who wore the costume of love. And who was, day in and day out, teaching us fury, aggression, complicity, desperation, exploitation, and, most of all, silence.

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