Dance Related Quotes

It is interesting that Hindus, when they speak of the creation of the universe do not call it the work of God, they call it the play of God, the Vishnu lila, lila meaning play. And they look upon the whole manifestation of all the universes as a play, as a sport, as a kind of dance — lila perhaps being somewhat related to our word lilt

Most dancers I know, especially the talented and successful ones, seem to possess [my dog's] knack for living moment to moment. You see, their idea of time is related to those infinitely short moments when they are onstage being their superselves.

There is eloquence in the tongueless wind, and a melody in the flowing brooks and the rustling of the reeds beside them, which by their inconceivable relation to something within the soul, awaken the spirits to a dance of breathless rapture, and bring tears of mysterious tenderness to the eyes, like the enthusiasm of patriotic success, or the voice of one beloved singing to you alone.

He was no god, just an artist; and when an artist is a man, he needs a woman to create like a god.

If it is a human thing to do to put something you want, because it's useful, edible, or beautiful, into a bag, or a basket, or a bit of rolled bark or leaf, or a net woven of your own hair, or what have you, and then take it home with you, home being another, larger kind of pouch or bag, a container for people, and then later on you take it out and eat it or share it or store it up for winter in a solider container or put it in the medicine bundle or the shrine or the museum, the holy place, the area that contains what is sacred, and then the next day you probably do much the same again—if to do that is human, if that's what it takes, then I am a human being after all. Fully, freely, gladly, for the first time.... [T]he proper, fitting shape of the novel might be that of a sack, a bag. A book holds words. Words hold things. They bear meanings. A novel is a medicine bundle, holding things in a particular, powerful relation to one another and to us." —"The Carrier Bag Theory of Fiction

Now I must give one smirk, and then we may be rational again." Catherine turned away her head, not knowing whether she might venture to laugh. "I see what you think of me," said he gravely -- "I shall make but a poor figure in your journal tomorrow." My journal!" Yes, I know exactly what you will say: Friday, went to the Lower Rooms; wore my sprigged muslin robe with blue trimmings -- plain black shoes -- appeared to much advantage; but was strangely harassed by a queer, half-witted man, who would make me dance with him, and distressed me by his nonsense." Indeed I shall say no such thing." Shall I tell you what you ought to say?" If you please." I danced with a very agreeable young man, introduced by Mr. King; had a great deal of conversation with him -- seems a most extraordinary genius -- hope I may know more of him. That, madam, is what I wish you to say." But, perhaps, I keep no journal." Perhaps you are not sitting in this room, and I am not sitting by you. These are points in which a doubt is equally possible. Not keep a journal! How are your absent cousins to understand the tenour of your life in Bath without one? How are the civilities and compliments of every day to be related as they ought to be, unless noted down every evening in a journal? How are your various dresses to be remembered, and the particular state of your complexion, and curl of your hair to be described in all their diversities, without having constant recourse to a journal? My dear madam, I am not so ignorant of young ladies' ways as you wish to believe me; it is this delightful habit of journaling which largely contributes to form the easy style of writing for which ladies are so generally celebrated. Everybody allows that the talent of writing agreeable letters is peculiarly female. Nature may have done something, but I am sure it must be essentially assisted by the practice of keeping a journal.

because of its repetitive nature, complex trauma is fundamentally relational trauma. In other words, this is trauma caused by bad relationships with other people—people who were supposed to be caring and trustworthy and instead were hurtful. That meant future relationships with anybody would be harder for people with complex trauma because they were wired to believe that other people could not be trusted. The only way you could heal from relational trauma, he figured, was through practicing that relational dance with other people. Not just reading self-help books or meditating alone. We had to go out and practice maintaining relationships in order to reinforce our shattered belief that the world could be a safe place. “Relationships

We talked about how sad and miserable we are and how we feel guilty about it because we have so much to be grateful for. We watched "Dance Moms" until we fell asleep. Between Abby Lee Miller's abusive tactics and the intensity of the parents, we relate deeply.

The question occurred to me: Well, if that's so, if the Divine is ultimately formless and genderless, what's the big deal? Why all this bother? The bother is because we have no other way of speaking about the Absolute. We need forms and images. Without them we have no way of relating to the Divine. Symbol and image create a universal spiritual language. It's the language the soul understands.

A good deal of the corporate planning I have observed is like a ritual rain dance; it has no effect on the weather that follows, but those who engage in it think it does. Moreover, it seems to me that much of the advice and instruction related to corporate planning is directed at improving the dancing, not the weather.

The core symbols we use for God represent what we take to be the highest good....These symbols or images shape our worldview, our ethical system, and our social practice--how we relate to one another. For instance, [Elizabeth A.] Johnson suggests that if a religion speaks about God as warrior, using militaristic language such as how "he crushes his enemies" and summoning people to become soldiers in God's army, then the people tend to become militaristic and aggressive. Likewise, if the key symbol of God is that of a male king (without any balancing feminine imagery), we become a culture that values and enthrones men and masculinity.

Fighting and dancing are kind of related. Especially if you dance with another man’s woman.

Sex and dominance. It’s what modern humans think vampire relationships are all about,” I said. “Their stories are full of crazed alpha-male vampires throwing women over their shoulders before dragging them off for dinner and a date.” “Dinner and a date?” Matthew was aghast. “Do you mean . . . ?” “Uh-huh. You should see what Sarah’s friends in the Madison coven read. Vampire meets girl, vampire bites girl, girl is shocked to find out there really are vampires. The sex, blood, and overprotective behavior all come quickly thereafter. Some of it is pretty explicit.” I paused. “There’s no time for bundling, that’s for sure. I don’t remember much poetry or dancing either.” Matthew swore. “No wonder your aunt wanted to know if I was hungry.” “You really should read this stuff, if only to see what humans think. It’s a public-relations nightmare. Far worse than what witches have to overcome.

All the towering materialism which dominates the modern mind rests ultimately upon one assumption; a false assumption. It is supposed that if a thing goes on repeating itself it is probably dead; a piece of clockwork. People feel that if the universe was personal it would vary; if the sun were alive it would dance. This is a fallacy even in relation to known fact. For the variation in human affairs is generally brought into them, not by life, but by death; by the dying down or breaking off of their strength or desire. A man varies his movements because of some slight element of failure or fatigue. He gets into an omnibus because he is tired of walking; or he walks because he is tired of sitting still. But if his life and joy were so gigantic that he never tired of going to Islington, he might go to Islington as regularly as the Thames goes to Sheerness. The very speed and ecstacy of his life would have the stillness of death. The sun rises every morning. I do not rise every morning; but the variation is due not to my activity, but to my inaction. Now, to put the matter in a popular phrase, it might be true that the sun rises regularly because he never gets tired of rising. His routine might be due, not to a lifelessness, but to a rush of life. The thing I mean can be seen, for instance, in children, when they find some game or joke that they specially enjoy. A child kicks his legs rhythmically through excess, not absence, of life. Because children have abounding vitality, because they are in spirit fierce and free, therefore they want things repeated and unchanged. They always say, “Do it again”; and the grown-up person does it again until he is nearly dead. For grown-up people are not strong enough to exult in monotony. But perhaps God is strong enough to exult in monotony. It is possible that God says every morning, “Do it again” to the sun; and every evening, “Do it again” to the moon. It may not be automatic necessity that makes all daisies alike; it may be that God makes every daisy separately, but has never got tired of making them. It may be that He has the eternal appetite of infancy; for we have sinned and grown old, and our Father is younger than we. The repetition in Nature may not be a mere recurrence; it may be a theatrical ENCORE. Heaven may ENCORE the bird who laid an egg. If the human being conceives and brings forth a human child instead of bringing forth a fish, or a bat, or a griffin, the reason may not be that we are fixed in an animal fate without life or purpose. It may be that our little tragedy has touched the gods, that they admire it from their starry galleries, and that at the end of every human drama man is called again and again before the curtain. Repetition may go on for millions of years, by mere choice, and at any instant it may stop. Man may stand on the earth generation after generation, and yet each birth be his positively last appearance.

I was obviously born to draw better than most people, just as the widow Berman and Paul Slazinger were obviously born to tell stories better than most people can. Other people are obviously born to sing and dance or explain the stars in the sky or do magic tricks or be great leaders or athletes, and so on. I think that could go back to the time when people had to live in small groups of relatives -- maybe fifty or a hundred people at the most. And evolution or God or whatever arranged things genetically to keep the little families going, to cheer them up, so that they could all have somebody to tell stories around the campfire at night, and somebody else to paint pictures on the walls of the caves, and somebody else who wasn't afraid of anything and so on. That's what I think. And of course a scheme like that doesn't make sense anymore, because simply moderate giftedness has been made worthless by the printing press and radio and television and satellites and all that. A moderately gifted person who would have been a community treasure a thousand years ago has to give up, has to go into some other line of work, since modern communications put him or her into daily competition with nothing but the world's champions. The entire planet can get along nicely now with maybe a dozen champion performers in each area of human giftedness. A moderately gifted person has to keep his or her gifts all bottled up until, in a manner of speaking, he or she gets drunk at a wedding and tapdances on the coffee table like Fred Astair or Ginger Rogers. We have a name for him or her. We call him or her an 'exhibitionist.' How do we reward such an exhibitionist? We say to him or her the next morning, 'Wow! Were you ever _drunk_ last night!

The natural, proper, fitting shape of the novel might be that of a sack, a bag. A book holds words. Words hold things. They bear meanings. A novel is a medicine bundle, holding things in a particular, powerful relation to one another and to us.

...And he said nothing. Just put his arms around her more closely as the whole heart clinic and their friends and relations danced to the music of "Hey Jude".

The fall of your hair is rushing through my head like elegant waterfalls repeatedly dancing down into an open riverbed.

We have been trained to think of patterns, with the exception of those of music, as fixed affairs. It is easier and lazier that way but, of course, all nonsense. In truth, the right way to begin to think about the pattern which connects is to think of it as primarily (whatever that means) a dance of interacting parts and only secondarily pegged down by various sorts of physical limits and by those limits which organisms characteristically impose.

As we age, we are bound to find comfort from the notion that it takes generations for a way of life to fade. We are familiar with the songs our grandparents favored, after all, even though we never danced to them ourselves. At festive holidays, the recipes we pull from the drawer are routinely decades old, and in some cases even written in the hand of a relative long since dead. And the objects in our homes? The oriental coffee tables and well-worn desks that have been handed down from generation to generation? Despite being "out of fashion," not only do they add beauty to our daily lives they lend material credibility to our presumption that the passing of an era will be glacial.

When we stop perceiving, assuming, and theorizing from the top, the dominant view, and instead go to the bottom of the social pyramid and identify with those who are oppressed and disenfranchised, a whole new way of relating opens up. Until we look from the bottom up we have seen nothing.

‎God is boundless, and so is never a boundary: God's music possesses the richness of every transition, interval, measure, variation - all dancing and delight. And because God is beautiful, being abounds with difference: shape, variety, manifold relation. Beauty is the distinction of the different, the otherness of the other.

There is a most profound and beautiful question associated with the observed coupling constant, e - the amplitude for a real electron to emit or absorb a real photon. It is a simple number that has been experimentally determined to be close to 0.08542455. (My physicist friends won't recognize this number, because they like to remember it as the inverse of its square: about 137.03597 with about an uncertainty of about 2 in the last decimal place. It has been a mystery ever since it was discovered more than fifty years ago, and all good theoretical physicists put this number up on their wall and worry about it.) Immediately you would like to know where this number for a coupling comes from: is it related to pi or perhaps to the base of natural logarithms? Nobody knows. It's one of the greatest damn mysteries of physics: a magic number that comes to us with no understanding by man. You might say the "hand of God" wrote that number, and "we don't know how He pushed his pencil." We know what kind of a dance to do experimentally to measure this number very accurately, but we don't know what kind of dance to do on the computer to make this number come out, without putting it in secretly!

There are many methods of trance induction, but all seem to function on one or more of four related principles: relaxation, sensory restriction, rhythm, and boredom.

Some people are worth the world

Sensuality relates to how we can move, shake, and beguile our (desired) beloved into a deeper sense of communion. It’s a well-timed wink, the hug of cashmere on subtle curves, or the undulation of aromatherapy for sensual living sensuality and our senses hips on a dance floor. It’s salacious confidence seen in the way we hold ourselves in our bodies and in our lives.

What appears most disquieting to me in isolation is the dilemma of how to use time. There is either too much or too little of it; we either live inside painfully contracting horizons, or feel ourselves isolated in the vastness of space. I seem to have lived with the palm of my hand balanced on the tip of a knife, writing what in theory I would call the Preface to a Future Book. And the relation of time to creation should always appear like that, a ratio that describes the fullness of energy brought to a particular stage of one's life, so that each work is a preface to a stage at which one has still to arrive, the logical extension of which is death. I live for the blaze of metaphor that unites incongruities. The red wine-stain on my page is like an intoxicant to the dance of words. It is a little ritual I undertake, this sprinkling of wine-spots on paper.

When you dance, you measure distance as if it’s a solid thing; you make precise judgments every time two bodies exist in relation to each other. So I knew right away the definition of the space between us.

No matter how little money we have, no matter what rung we occupy on anybody’s corporate ladder of success, in the end what everybody discovers is that what matters is other people. Human beings who give themselves to relational greatness—who have friends they laugh with, cry with, learn with, fight with, dance with, live and love and grow old and die with—these are the human beings who lead magnificent lives.

Another important way in which the erotic connection functions is the open and fearless underlining of my capacity for joy, in the way my body stretches to music and opens into response, harkening to its deepest rhythms so every level upon which I sense also opens to the erotically satisfying experience whether it is dancing, building a bookcase, writing a poem, or examining an idea. That self-connection shared is a measure of the joy which I know myself to be capable of feeling, a reminder of my capacity for feeling. And that deep and irreplaceable knowledge of my capacity for joy comes to demand from all of my life that it be lived within the knowledge that such satisfaction is possible, and does not have to be called marriage, nor god, nor an afterlife. This is one reason why the erotic is so feared, and so often relegated to the bedroom alone, when it is recognized at all. For once we begin to feel deeply all the aspects of our lives, we begin to demand from ourselves and from our life-pursuits that they feel in accordance with that joy which we know ourselves to be capable of. Our erotic knowledge empowers us, becomes a lens through which we scrutinize all aspects of our existence, forcing us to evaluate those aspects honestly in terms of their relative meaning within our lives. And this is a grave responsibility, projected from within each of us, not to settle for the convenient, the shoddy, the conventionally expected, nor the merely safe.

We might say that whatever our God is like, whether or not our God exists, our God is still powerful because our image of God transforms us. Like an image in a mirror, our God concept reflects back to us the image of what we aspire to become. Powerful and vengeful? Kind and merciful? Dominating and in control? Relational and respectful? Like God, like believer, we might say. Our image of God, our image of ourselves, and our processes of individual and cultural development move together as in a dance.

also learned a model of relating that unwittingly promoted women’s psychological dependence on men and male authority. Women’s personal journeys, goals, and quests were encouraged only to the extent that they didn’t interfere with those of husband or children. A woman’s surrender of herself on behalf of the rest of the family was (and often still is) extolled as the highest virtue.

I had to first overcome the nightmares: my dreams were populated by menaces, shadows, murderous persecutions, disgusting events and objects, ambiguous sexual relations that excited me while also making me feel guilty. Here, I was a character inferior to my level of consciousness in the real world, capable of misdeeds that I would never have allowed myself to perpetrate while awake. I repeated many times, like a litany, “It is I who dream, just as it is I who am awake, and not a perverse and vulnerable child. The dreams happen in me; they are part of me. All that appears is myself. These monsters are aspects of me that have not been resolved. They are not my enemies. The subconscious is my ally. I must confront the terrible images and transform them.” I often had the same nightmare: I was in a desert, and a psychic entity determined to destroy me would come from the horizon as a huge cloud of negativity. I would wake up screaming and soaked in sweat. Now, tired of this undignified flight, I decided to offer myself in sacrifice. At the climax of the dream, in a state of lucid terror, I said, “Enough, I will stop wanting to wake up! Abomination, destroy me!” The entity approached threateningly. I stood still, calm. Then, the immense threat dissolved. I woke up for a few seconds, then peacefully went back to sleep. I realized it was I myself who had fed my terrors. I now knew that what terrifies us loses all its power in the moment that we stop fighting it. I began a long period during which whenever I had dreams, instead of running I would face my enemies and ask them what they wanted to tell me. Gradually, the images transformed before me and began to offer me presents: sometimes a ring, other times a golden sphere or a pair of keys. I now understood that just as every devil is a fallen angel, every angel is also a demon that has risen.

The Night Dances       A smile fell in the grass. Irretrievable!   And how will your night dances Lose themselves. In mathematics?   Such pure leaps and spirals—— Surely they travel   The world forever, I shall not entirely Sit emptied of beauties, the gift   Of your small breath, the drenched grass Smell of your sleeps, lilies, lilies.   Their flesh bears no relation. Cold folds of ego, the calla,   And the tiger, embellishing itself——

The treatment accorded the Negro during the Second World War marks, for me, a turning point in the Negro’s relation to America. To put it briefly, and somewhat too simply, a certain hope died, a certain respect for white Americans faded. One began to pity them, or to hate them. You must put yourself in the skin of a man who is wearing the uniform of his country, is a candidate for death in its defense, and who is called a “nigger” by his comrades-in-arms and his officers; who is almost always given the hardest, ugliest, most menial work to do; who knows that the white G.I. has informed the Europeans that he is subhuman (so much for the American male’s sexual security); who does not dance at the U.S.O. the night white soldiers dance there, and does not drink in the same bars white soldiers drink in; and who watches German prisoners of war being treated by Americans with more human dignity than he has ever received at their hands. And who, at the same time, as a human being, is far freer in a strange land than he has ever been at home.

Change is ubiquitous. Only: elementary processes cannot be ordered along a common succession of instants. At the extremely small scale of the quanta of space, the dance of nature does not develop to the rhythm kept by the baton of a single orchestral conductor: every process dances independently with its neighbours, following its own rhythm. The passing of time is intrinsic to the world, it is born of the world itself, out of the relations between quantum events which are the world and which themselves generate their own time.

in which I would play a futuristic astronaut. The mock-up I saw had me looking like a Power Ranger. That image didn’t resonate with me, and I had a feeling my audience wouldn’t relate to it, either. I told the executives at the label that I thought people would want to see my friends and me sitting at school, bored, and then as soon as the bell rang, boom—we’d start dancing.

if you look at Indigenous and traditional healing practices, they do a remarkable job of creating a total mind-body experience that influences multiple brain systems. Remember, trauma “memories” span multiple brain areas. So these traditional practices will have cognitive, relational-based, and sensory elements. You retell the story; create images of the battle, hunt, death; hold each other; massage; dance; sing.

This looking from the bottom up is the catalyst for a reversal of consciousness, not only for ourselves but also for the most resistant among us. For when we stop perceiving, assuming, and theorizing from the top, the dominant view, and instead go to the bottom of the social pyramid and identify with those who are oppressed and disenfranchised, a whole new way of relating opens up. Until we look from the bottom up we have seen nothing.

I took a job teaching private-school white teenagers how to edit video. They used their newly developed skills to make documentaries about poor brown people in other countries. It's not oil that runs the world, it's shame.

Man as an organism is to the world outside like a whirlpool is to a river: man and world are a single natural process, but we are behaving as if we were invaders and plunderers in a foreign territory. For when the individual is defined and felt as the separate personality or ego, he remains unaware that his actual body is a dancing pattern of energy that simply does not happen by itself. It happens only in concert with myriads of other patterns—called animals, plants, insects, bacteria, minerals, liquids, and gases. The definition of a person and the normal feeling of “I” do not effectively include these relationships. You say, “I came into this world.” You didn’t; you came out of it, as a branch from a tree.

I have a father and mother, four sisters, and three brothers, but I have not had a family since puberty. I had to live among them secretly, like one who conceals leprosy. It was not their fault that I was made into a thespian. I had to dance with girls at festal, I had to flirt with girls in the playground of the school and when taking the evening passeggiata in the piazza. I had to answer my grandmother when she asked me what kind of girl would I like to marry and whether I wanted sons or daughters. I had to listen with delight to my friends describing the intricacies of the female pudenda, I had to learn to relate fabulous histories of what I had done with girls. I learned to be more lonely than it ought to be possible to feel.

Some alters are what Dr Ross describes in Multiple Personality Disorder as 'fragments'. which are 'relatively limited psychic states that express only one feeling, hold one memory, or carry out a limited task in the person's life. A fragment might be a frightened child who holds the memory of one particular abuse incident.' In complex multiples, Dr Ross continues, the 'personalities are relatively full-bodied, complete states capable of a range of emotions and behaviours.' The alters will have 'executive control some substantial amount of time over the person's life'. He stresses, and I repeat his emphasis, 'Complex MPD with over 15 alter personalities and complicated amnesia barriers are associated with 100 percent frequency of childhood physical, sexual and emotional abuse.' Did I imagine the castle, the dungeon, the ritual orgies and violations? Did Lucy, Billy, Samuel, Eliza, Shirley and Kato make it all up? I went back to the industrial estate and found the castle. It was an old factory that had burned to the ground, but the charred ruins of the basement remained. I closed my eyes and could see the black candles, the dancing shadows, the inverted pentagram, the people chanting through hooded robes. I could see myself among other children being abused in ways that defy imagination. I have no doubt now that the cult of devil worshippers was nothing more than a ring of paedophiles, the satanic paraphernalia a cover for their true lusts: the innocent bodies of young children.

A recent study published in Frontiers in Human Neuroscience demonstrated that while most forms of exercise slow down age-related decline, dancing has even more profound benefits. Considered a psychosocial intervention, dancing combines the mood-elevating effects of increased social interaction with improvements in brain function, cardiac fitness, and overall quality of life. Mastering new rhythms, steps, and formations, in combination with increased social engagement, provides a boost to brain activity that creates additional cognitive benefits.

The whole race suffered from Capgras. those birds danced like our next of kin, called and parented and taught and navigated all just like our blood relations. Half their parts were still ours. Yet humans waved them off: Imposters. at most, a strange spectacle to gaze at from a blind.

That illusion—as such a point of view was, in due course, to appear—was closely related to another belief: that existence fans out indefinitely into new areas of experience, and that almost every additional acquaintance offers some supplementary world with its own hazards and enchantments.

Women have been trained to be deeply relational creatures with "permeable boundaries," which make us vulnerable to the needs of others. This permeability, this compelling need to connect, is one of our greatest gifts, but without balance it can mean living out the role of the servant who nurtures at the cost of herself. Referring to this feminine script in her essay "Professions for Women," Virginia Woolf describes the syndrome and offers a drastic remedy: "She was intensely sympathetic. She was immensely charming. She was utterly unselfish. She excelled in the difficult arts of family life. She sacrificed herself daily. If there was chicken, she took the leg; if there was a draft she sat in it - in short she was so constituted that she never had a mind or wish of her own, but preferred to sympathize always with the minds and wishes of others...I did my best to kill her. My excuse, if I were to be had up in a court of law, would be that I acted in self-defense. Had I not killed her, she would have killed me." At the very least we need to disempower this part of ourselves, to relieve ourselves of the internal drive to forfeit our souls as food for others.

That meant future relationships with anybody would be harder for people with complex trauma because they were wired to believe that other people could not be trusted. The only way you could heal from relational trauma, he figured, was through practicing that relational dance with other people.

In the motion of the very leaves of spring, in the blue air, there is then found a secret correspondence with our heart. There is eloquence in the tongueless wind, and a melody in the flowing brooks and the rustling of the reeds beside them, which by their inconceivable relation to something within the soul, awaken the spirits to a dance of breathless rapture, and bring tears of mysterious tenderness to the eyes, like the … voice of one beloved singing to you alone. — Percy Bysshe Shelley, from “On Love," The Works of Percy Bysshe Shelley in Verse and Prose, edited by H. Buxton Forman. (1880)

I used to imagine life divided into separate compartments, consisting, for example, of such dual abstractions as pleasure and pain, love and hate, friendship and enmity; and more material classifications like work and play: a profession or calling being, according to that concept—one that seemed, at least on the surface, unequivocally assumed by persons so dissimilar from one another as Widmerpool and Archie Gilbert, something entirely different from “spare time.” That illusion, as such a point of view was, in due course, to appear—was closely related to another belief: that existence fans out indefinitely into new areas of experience, and that almost every additional acquaintance offers some supplementary world with its own hazards and enchantments. As time goes on, of course, these supposedly different worlds, in fact, draw closer, if not to each other, then to some pattern common to all; so that, at last, diversity between them, if in truth existent, seems to be almost imperceptible except in a few crude and exterior ways: unthinkable, as formerly appeared, any single consummation of cause and effect. In other words, nearly all the inhabitants of these outwardly disconnected empires turn out at last to be tenaciously inter-related; love and hate, friendship and enmity, too, becoming themselves much less clearly defined, more often than not showing signs of possessing characteristics that could claim, to say the least, not a little in common; while work and play merge indistinguishably into a complex tissue of pleasure and tedium.

Relationships are a development and a dance between our inner male and female sides. It is a balance and a dance between love and freedom, between aloneness and relating, between strength and receptivity, between closeness and distance, between intellect and intuition, between relaxation and activity and between meeting and leaving.

At Padovani Beach the dance hall is open every day. And in that huge rectangular box with its entire side open to the sea, the poor young people of the neighborhood dance until evening. Often I used to await there a a moment of exceptional beauty. During the day the hall is protected by sloping wooden awnings. When the sun goes down they are raised. Then the hall is filled with an odd green light born of the double shell of the sky and the sea. When one is seated far from the windows, one sees only the sky and, silhouetted against it, the faces of the dancers passing in succession. Sometimes a waltz is being played, and against the green background the black profiles whirl obstinately like those cut-out silhouettes that are attached to a phonograph's turntable. Night comes rapidly after this, and with it the lights. But I am unable to relate the thrill and secrecy that subtle instant holds for me. I recall at least a magnificent tall girl who had danced all afternoon. She was wearing a jasmine garland on her right blue dress, wet with perspiration from the small of her back to her legs. She was laughing as she danced and throwing back her head. As she passed the tables, she left behind her a mingled scent of flowers and flesh. When evening came, I could no longer see her body pressed tight to her partner, but against her body alternating spots of white jasmine and black hair, and when she would throw back her swelling breast I would hear her laugh and see her partner's profile suddenly plunge forward. I owe to such evenings the idea I have of innocence. In any case, I learn not to separate these creatures bursting with violent energy from the sky where their desires whirl.

Happiness is relative. Moments aren't bought, they're earned. They're felt in the present but are created by the past. Ultimately, at the heart of every moment is the effort you've put in to make it real. Your effort determines how much the moment matters to you and to the people around you, the ones you love who share the experience with you.

A marriage is a private bond between two people. But a wedding is a party for everyone, a celebration of life and love, a gathering of friends and relatives to rejoice in life’s good food, champagne, dancing, laughter, and a golden moment in the passage of life. A marriage lasts years, through the good times and bad, and all the banal, boring everyday goings-on of living. A wedding is a brief flash, a unique, exceptional festivity with singing and flowers and good will among men—and women. A marriage is real life. A wedding is a fairy tale. But a wedding is also a promise that we will hold dear the joys of the fairy tale close to our hearts as we go through the years of our marriage.

the Bhutanese scholar and cancer survivor. “There is no such thing as personal happiness,” he told me. “Happiness is one hundred percent relational.” At the time, I didn’t take him literally. I thought he was exaggerating to make his point: that our relationships with other people are more important than we think. But now I realize Karma meant exactly what he said. Our happiness is completely and utterly intertwined with other people: family and friends and neighbors and the woman you hardly notice who cleans your office. Happiness is not a noun or verb. It’s a conjunction. Connective tissue. Well, are we there yet? Have I found happiness? I still own an obscene number of bags and am prone to debilitating bouts of hypochondria. But I do experience happy moments. I’m learning, as W. H. Auden counseled, to “dance while you can.” He didn’t say dance well, and for that I am grateful. I’m not 100 percent happy. Closer to feevty-feevty, I’d say. All things considered, that’s not so bad. No, not bad at all. Waterford, Virginia, July 2007

As we age, we are bound to find comfort from the notion that it takes generations for a way of life to fade. We are familiar with the songs our grandparents favored, after all, even though we never danced to them ourselves. At festive holidays, the recipes we pull from the drawer are routinely decades old, and in some cases even written in the hand of a relative long since dead.

For this village, even were it incomparably more remote and incredibly more primitive, is the West, the West onto which I have been so strangely grafted. These people cannot be, from the point of view of power, strangers anywhere in the world; they have made the modern world, in effect, even if they do not know it. The most illiterate among them is related, in a way that I am not, to Dante, Shakespeare, Michelangelo, Aeschylus, Da Vinci, Rembrandt, and Racine; the cathedral at Chartres says something to them which it cannot say to me, as indeed would New York’s Empire State Building, should anyone here ever see it. Out of their hymns and dances come Beethoven and Bach. Go back a few centuries and they are in their full glory—but I am in Africa, watching the conquerors arrive.

We also have to reevaluate the historic benefits of intoxication, at both the individual and group level, in light of the unprecedented threats that intoxicants pose in the modern world. The relatively recent innovations of distillation and social isolation entirely change intoxicants’ balance on the razor’s edge between order and chaos, creating novel dangers that we only dimly appreciate.

Forming a critique is essential to the birth and development of a spiritual feminist consciousness. Until a woman is willing to set aside her unquestioned loyalty and look critically at the tradition and convention of her faith, her awakening will never fully emerge. The extent of her healing, autonomy, and power is related to the depth of the critique she is able to integrate into her life.

Columbus and his successors were not coming into an empty wilderness, but into a world which in some places was as densely populated as Europe itself, where the culture was complex, where human relations were more egalitarian than in Europe, and where the relations among men, women, children, and nature were more beautifully worked out than perhaps any place in the world. They were people without a written language, but with their own laws, their poetry, their history kept in memory and passed on, in an oral vocabulary more complex than Europe’s, accompanied by song, dance, and ceremonial drama. They paid careful attention to the development of personality, intensity of will, independence and flexibility, passion and potency, to their partnership with one another and with nature.

What, then, is this projection-making factor? The East calls it the “Spinning Woman”1—Maya, who creates illusion by her dancing. Had we not long since known it from the symbolism of dreams, this hint from the Orient would put us on the right track: the enveloping, embracing, and devouring element points unmistakably to the mother,2 that is, to the son’s relation to the real mother, to her imago, and to the woman who is to become a mother for him. His Eros is passive like a child’s; he hopes to be caught, sucked in, enveloped, and devoured. He seeks, as it were, the protecting, nourishing, charmed circle of the mother, the condition of the infant released from every care, in which the outside world bends over him and even forces happiness upon him. No wonder the real world vanishes from sight!

I cannot help feeling there is something essentially wrong about love. Friends may quarrel or drift apart, close relations too, but there is not this pang, this pathos, this fatality which clings to love. Friendship never has that doomed look. Why, what is the matter? I have not stopped loving you, but because I cannot go on kissing your dim dear face, we must part, we must part. Why is it so? What is this mysterious exclusiveness? One may have a thousand friends, but only one love-mate. Harems have nothing to do with this matter: I am speaking of dance, not gymnastics. Or can one imagine a tremendous Turk loving every one of his four hundred wives as I love you? For if I say ‘two’ I have started to count and there is no end to it. There is only one real number: One. And love, apparently, is the best exponent of this singularity.

In other words, nearly all the inhabitants of these outwardly disconnected empires turn out at last to be tenaciously inter-related; love and hate, friendship and enmity, too, becoming themselves much less clearly defined, more often than not showing signs of possessing characteristics that could claim, to say the least, not a little in common; while work and play merge indistinguishably into a complex tissue of pleasure and tedium.

Revolutionary art need not be overtly political in content; what is more important is that it demand a new means of perception on the part of its spectators. The subject in process/on trial can thus be fundamentally transformed. Change here, at the level of individual consciousness, is a necessary element of social change. Seen in this way, the arts are not merely reflective of social relations but are productive of social relations.

Q. Which is my favorite country? A. The United States of America. Not because I'm chauvinistic or xenophobic, but because I believe that we alone have it all, even if not to perfection. The U.S. has the widest possible diversity of spectacular scenery and depth of natural resources; relatively clean air and water; a fascinatingly heterogeneous population living in relative harmony; safe streets; few deadly communicable diseases; a functioning democracy; a superlative Constitution; equal opportunity in most spheres of life; an increasing tolerance of different races, religions, and sexual preferences; equal justice under the law; a free and vibrant press; a world-class culture in books,films, theater, museums, dance, and popular music; the cuisines of every nation; an increasing attention to health and good diet; an abiding entrepreneurial spirit; and peace at home.

his is exactly what I mean about rabbit holes. I love them. I don’t find them a waste of time at all. The Internet works like the subconscious - I’m sure somebody’s said that already, it’s so obvious, I just can’t think who it would have been. The point is, this is how dreamwork works: you wake up and think, “Why the hell did I dream that my 2nd grade teacher was masturbating my dental hygienist?” If you were in analysis, you’d probably be able to figure it out if you really wanted to, just like you could probably eventually figure out why YouTube thinks some SpongeBob SquarePants video is related to Natalya Makarova dancing the dying swan. I do like to understand some of the connections, and for others to remain mysterious. This is how I feel about my subconscious as well. And I never really find it a waste of time. If you think about it, you always find something out. Gray seems to be wasting a lot of time, but in his quiet way, he’s figuring out how to deal with the fact that the people we love die. I really don’t think that’s a waste of time. Also, for the record, I really don’t think looking at art (MJ, Pina, Merce) over and over and over, trying to understand what it’s trying to tell you, is a waste of time. I think it may be the most meaningful thing we do. I tell my graduate students this all the time. Don’t let anybody make you feel bad about this.

The British anthropologist Robin Dunbar represents one exception to the otherwise typical neglect of intoxication. Dunbar and his colleagues see the physiological effects of alcohol, in particular, as a crucial component in social rituals. Specifically, they point to the endorphin release triggered by booze, especially when drinking is combined with music, dance, and ritual, as a crucial factor allowing humans to cooperate on a scale unattainable by our monkey or ape relatives.

Fresh start. Day two, socks around my ankles, way down, two Maori boys approached me before I could get to my desk. Probelm solved. That day and in the many enjoyable ones that followed, my classmates asked me dozen of questions about America, while detailing essential subjects for a New Zealand boy in 1976, including lollies, meat pies and chips, cricket and rugby, ABBA and Tintin comic books, and why their relatives with tattoos on their face did that funy dance while sticking out their tounges.

If you're looking for an Inspiration, then I think Rahul Mahajan is a perfect example for all the fainthearted people out there who fear to show their talent. Many people around us assume themselves as "not so special" person and people will laugh at them if they perform in public. I've seen Rahul Mahajan in a reality show of dancing, which is no way related to him. He is been asked to dance various dance forms, but the fact is he doesn't have the body language to perform like a dancer. His dances make people laugh, and his mistakes in the performances are taken as humor. Rahul never thinks about the results or what the audiences are thinking and keep on performing. Not only that but he is a favorite contestant of all the judges and the audiences too. The power is his honesty, hardwork, innocence, ego-less and he enjoys every bit of his performance to the core. I think that’s the reason why he's successful and lives in the heart of the Indian Audiences. Hats off to your spirit Rahul Mahajan. :)

This was Dr. Ham’s whole theory: that because of its repetitive nature, complex trauma is fundamentally relationship trauma. In other words, this is trauma caused by bad relationships with other people—people who were supposed to be caring and trustworthy and instead were hurtful. That meant future relationships with anybody would be harder for people with complex trauma because they were wired to believe that other people could not be trusted. The only way you could heal from relational trauma, he figured, was through practicing that relational dance with other people. Not just reading self-help books or meditating alone. We had to go out and practice maintaining relationships in order to reinforce our shattered belief that the world could be a safe place. “Relationships are like sports. It’s muscle memory, it’s all the action of doing. You can’t just read about tennis and know how to play tennis. There’s a lot of duelling involved. Interpersonal duelling!” As he saw it, his office was a safe place to practice duelling. Learning how to listen, how to talk, how to ask for what I needed.

Marjan's heart quickened as she browned the ground meat and onions together over the low, dancing flame. The satisfied pan hissed as she introduced dried versions of her precious herbs, the only sort she had been able to buy at such late notice. Even in Iran, there had been times when Marjan had had to resort to cooking 'dolmeh' with dried herbs. By soaking them overnight, she had discovered, they worked almost as well as their fresher relatives. Using her entire torso, Marjan mixed the herbs with the cooked rice, fresh lime juice, salt and pepper.

The living world is not the harsh domain of classical Darwinism, where each struggle against all, with every species, every organism and every gene competing for advantage against every other. Organisms are not skin-enclosed selfish entities, and competition is never unfettered. Life evolves, as does the universe itself, in a 'sacred dance' with an underlying field. This makes living beings into elements in a vast network of intimate relations that embraces the entire biosphere itself an interconnected element within the wider connections that reach into the cosmos.

Life is hard for a colored boy in the manhood stage to learn from white folks. If F.D. does learn it around white folks, he is going to learn it the hard way. That might make him mad, or else sad. If he gets mad, he is going to be bad. If he's sad, he is going to just give up and not get nowheres. No, I will tell F.D. tonight not to go to no white school and be snubbed when he asks a girl for a dance, and barred out of all the hotels where his football team stays. That would hurt that boy to his heart. Facts is, I cares more about F.D.'s heart, anyhow, than I do his head.

Young man,” he went on, raising his head again, “in your face I seem to read some trouble of mind. When you came in I read it, and that was why I addressed you at once. For in unfolding to you the story of my life, I do not wish to make myself a laughing-stock before these idle listeners, who indeed know all about it already, but I am looking for a man of feeling and education. Know then that my wife was educated in a high-class school for the daughters of noblemen, and on leaving, she danced the shawl dance before the governor and other personages for which she was presented with a gold medal and a certificate of merit. The medal … well, the medal of course was sold—long ago, hm … but the certificate of merit is in her trunk still and not long ago she showed it to our landlady. And although she is most continually on bad terms with the landlady, yet she wanted to tell some one or other of her past honours and of the happy days that are gone. I don’t condemn her for it. I don’t blame her, for the one thing left her is recollection of the past, and all the rest is dust and ashes. Yes, yes, she is a lady of spirit, proud and determined. She scrubs the floors herself and has nothing but black bread to eat, but won’t allow herself to be treated with disrespect. That’s why she would not overlook Mr. Lebeziatnikov’s rudeness to her, and so when he gave her a beating for it, she took to her bed more from the hurt to her feelings than from the blows. She was a widow when I married her, with three children, one smaller than the other. She married her first husband, an infantry officer, for love, and ran away with him from her father’s house. She was exceedingly fond of her husband; but he gave way to cards, got into trouble and with that he died. He used to beat her at the end: and although she paid him back, of which I have authentic documentary evidence, to this day she speaks of him with tears and she throws him up at me; and I am glad, I am glad that, though only in imagination, she should think of herself as having once been happy.… And she was left at his death with three children in a wild and remote district where I happened to be at the time; and she was left in such hopeless poverty that, although I have seen many ups and downs of all sorts, I don’t feel equal to describing it even. Her relations had all thrown her off. And she was proud, too, excessively proud.… And then, honoured sir, and then, I, being at the time a widower, with a daughter of fourteen left me by my first wife, offered her my hand, for I could not bear the sight of such suffering. You can judge the extremity of her calamities, that she, a woman of education and culture and distinguished family, should have consented to be my wife. But she did! Weeping and sobbing and wringing her hands, she married me! For she had nowhere to turn! Do you understand, sir, do you understand what it means when you have absolutely nowhere to turn? No, that you don’t understand yet…

Oh, Lawd, I done forgot Harlem! Say, you colored folks, hungry a long time in 135th Street--they got swell music at the Waldorf-Astoria. It sure is a mighty nice place to shake hips in, too. There's dancing after supper in a big warm room. It's cold as hell on Lenox Avenue. All you've had all day is a cup of coffee. Your pawnshop overcoat's a ragged banner on your hungry frame. You know, downtown folks are just crazy about Paul Robeson! Maybe they'll like you, too, black mob from Harlem. Drop in at the Waldorf this afternoon for tea. Stay to dinner. Give Park Avenue a lot of darkie color--free for nothing!

Battle rappers having an insult contest. Men and boys compete in ritualized insult wars all around the world. Earlier we saw how the instinctive choreography of a standard human fight has been elaborated into the world’s various formal dueling systems. The same goes for the monkey dance of the banter fight, which always involves the same basic moves and rules. Two men take turns hurling boasts and insults. The contests draw spectators, who laugh and hoot as the men derogate each other’s masculinity, while also leveling hilariously vile attacks on relatives (especially mothers). All around the world, the verbal duel is a pure monkey dance for the mind, in which men compete in verbal artistry, wit, and the ability to take a rhetorical punch. Like other forms of the monkey dance, scholars have wondered why boys and men are drawn to verbal duels, and girls and women generally aren’t. This strikes me as a very male sort of question to ask. It’s sort of like a dung beetle wondering why humans don’t find feces delicious. Women avoid verbal duels not because they’ve been told it’s unladylike, but because trading the vilest attacks conceivable while vying in braggadocio just isn’t most women’s idea of a good time. Why don’t people eat feces? Because coprophagy isn’t in our nature. Why don’t women like to duel verbally? Because it’s not in theirs.

Humans have adopted such an extreme form of the peak-late strategy because, as a species, we have come to inhabit an equally extreme ecological niche. The main demands imposed upon us by the odd, crowded cave to which we have adapted can be summed up with what I’ll call the Three Cs: we are required to be creative, cultural, and communal. The demands of the Three Cs make us, like the helpless, blind, altricial crow chicks, more vulnerable than robust and less complicated animals. For instance: sharks. You’d never want to put a four-year-old human up against a four-year-old shark. Yet it remains the fact that our weak, mewling infants grow into relative masters of the universe, putting sharks in aquariums, eating their fins in soups, and now, unfortunately, driving them to extinction in many regions of the world.

Imagine that you could visit a planet where everyone has a different kind of emotional mind. The way they relate to each other is always in happiness, always in love, always in peace. Now imagine that one day you awake on this planet, and you no longer have wounds in your emotional body. You are no longer afraid to be who you are. Whatever someone says about you, whatever they do, you don’t take it personally, and it doesn’t hurt anymore. You no longer need to protect yourself. You are not afraid to love, to share, to open your heart. But no one else is like you. How can you relate with people who are emotionally wounded and sick with fear? When a human is born, the emotional mind, the emotional body, is completely healthy. Maybe around three or four years of age, the first wounds in the emotional body start to appear and get infected with emotional poison. But if you observe children who are two or three years old, if you see how they behave, they are playing all the time. You see them laughing all the time. Their imagination is so powerful, and the way they dream is an adventure of exploration. When something is wrong they react and defend themselves, but then they just let go and turn their attention to the moment again, to play again, to explore and have fun again. They are living in the moment. They are not ashamed of the past; they are not worried about the future. Little children express what they feel, and they are not afraid to love. The happiest moments in our lives are when we are playing just like children, when we are singing and dancing, when we are exploring and creating just for fun. It is wonderful when we behave like a child because this is the normal human mind, the normal human tendency. As children, we are innocent and it is natural for us to express love.

Then there were times when Vassy compulsively yet touchingly would get very drunk and break down in great heaving sobs when we got home. No one could possibly understand what it meant to be a 'fucking Russian in America,' he sobbed. 'My fucking country, my beloved Russia,' he would cry. 'No one understands my country. You judge us, you condemn us, you believe we have swords in our teeth. You're so conditioned, so brainwashed, even more than we are. At least Russians know about America, not only bad things. And you here imagine Russia as a concentration camp! You don't like Commies! That's your problem. Now I hear Americans think 'Russian' is the same as evil, stupidity, idleness. That's dangerous! What about our culture, our music, our ingenuity, our patience, endurance--these are qualities, not drawbacks! Yes, we are fucking different, why not? Why should we be the same? Instead of trying to change each other, why don't we simply tolerate our differences and enjoy similarities?

There was a loud din, a drunken gaiety. Young people, adults, children were dancing. But I could feel the reality behind the appearance of festivity. The distorted faces of the bride’s relatives signaled a quarrelsome discontent. Especially the women. They had spent their last cent for the gift, for what they were wearing, had gone into debt, and now they were treated like poor relations, with bad wine, intolerable delays in service? Why didn’t Lila intervene, why didn’t she protest to Stefano? I knew them. They would restrain their rage for love of Lila but at the end of the reception, when she went to change, when she came back, dressed in her beautiful traveling clothes, when she handed out the wedding favors, when she had left, with her husband, then a huge fight would erupt, and it would be the start of hatreds lasting months, years, and offenses and insults that would involve husbands, sons, all with an obligation to prove to mothers and sisters and grandmothers that they knew how to be men.

Timothy Leary was not so wide of the mark when he said that we must go out of our minds (abstract values) to come to our senses (concrete values). For coming to our senses must, above all, be the experience of our own existence as living organisms rather than “personalities,” like characters in a play or a novel acting out some artificial plot in which the persons are simply masks for a conflict of abstract ideas or principles. Man as an organism is to the world outside like a whirlpool is to a river: man and world are a single natural process, but we are behaving as if we were invaders and plunderers in a foreign territory. For when the individual is defined and felt as the separate personality or ego, he remains unaware that his actual body is a dancing pattern of energy that simply does not happen by itself. It happens only in concert with myriads of other patterns—called animals, plants, insects, bacteria, minerals, liquids, and gases. The definition of a person and the normal feeling of “I” do not effectively include these relationships. You say, “I came into this world.” You didn’t; you came out of it, as a branch from a tree. So

Living in this niche therefore requires both individual and collective creativity, intensive cooperation, a tolerance for strangers and crowds, and a degree of openness and trust that is entirely unmatched among our closest primate relatives. Compared to fiercely individualistic and relentlessly competitive chimpanzees, for instance, we are like goofy, tail-wagging puppies. We are almost painfully docile, desperately in need of affection and social contact, and wildly vulnerable to exploitation. As Sarah Blaffer Hrdy, an anthropologist and primatologist, notes, it is remarkable that hundreds of people will cram themselves shoulder to shoulder into a tiny airplane, obediently fasten their seat belts, eat their packets of stale crackers, watch movies and read magazines and chat politely with their neighbors, and then file peacefully off at the other end. If you packed a similar number of chimpanzees onto a plane, what you’d end up with at the other end is a long metal tube full of blood and dismembered body parts.6 Humans are powerful in groups precisely because we are weak as individuals, pathetically eager to connect with one another, and utterly dependent on the group for survival.

Rμv– 1/2 gμv R = 8πTμv The left side of the equation starts with the term Rμv, which is the Ricci tensor he had embraced earlier. The term gμv is the all-important metric tensor, and the term R is the trace of the Ricci tensor called the Ricci scalar. Together, this left side of the equation—which is now known as the Einstein tensor and can be written simply as Gμv—compresses together all of the information about how the geometry of spacetime is warped and curved by objects. The right side describes the movement of matter in the gravitational field. The interplay between the two sides shows how objects curve spacetime and how, in turn, this curvature affects the motion of objects. As the physicist John Wheeler has put it, “Matter tells spacetime how to curve, and curved space tells matter how to move.”83 Thus is staged a cosmic tango, as captured by another physicist, Brian Greene: Space and time become players in the evolving cosmos. They come alive. Matter here causes space to warp there, which causes matter over here to move, which causes space way over there to warp even more, and so on. General relativity provides the choreography for an entwined cosmic dance of space, time, matter, and energy.84 At

✓My music had roots which I'd dug up from my own childhood, musical roots buried in the darkest soil. ✓What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man ✓What is a soul? It's like electricity - we don't really know what it is, but it's a force that can light a room ✓There are many spokes on the wheel of life. First, we're here to explore new possibilities. ✓I did it to myself. It wasn't society... it wasn't a pusher, it wasn't being blind or being black or being poor. It was all my doing. ✓What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man. ✓There's nothing written in the Bible, Old or New testament, that says, 'If you believe in Me, you ain't going to have no troubles.' ✓Music to me is like breathing. I don't get tired of breathing, I don't get tired of music. ✓Just because you can't see anything , doesn't mean you should shut your eyes. ✓Don't go backwards - you've already been there. ✓Affluence separates people. Poverty knits 'em together. You got some sugar and I don't; I borrow some of yours. Next month you might not have any flour; well, I'll give you some of mine. ✓Sometimes my dreams are so deep that I dream that I'm dreaming. ✓I don't think any of us really knows why we're here. But I think we're supposed to believe we're here for a purpose. ✓I'd like to think that when I sing a song, I can let you know all about the heartbreak, struggle, lies and kicks in the ass I've gotten over the years for being black and everything else, without actually saying a word about it. ✓.There's nothing written in the Bible, Old or New testament, that says, 'If you believe in Me, you ain't going to have no troubles.' ✓Other arms reach out to me, Other eyes smile tenderly, Still in peaceful dreams I see, The road leads back to you. ✓I can't help what I sound like. What I sound like is what i am. You know? I cannot be anything other that what I am. ✓Music is about the only thing left that people don't fight over. ✓My version of 'Georgia' became the state song of Georgia. That was a big thing for me, man. It really touched me. Here is a state that used to lynch people like me suddenly declaring my version of a song as its state song. That is touching. ✓Absence makes the heart grow fonder and tears are only rain to make love grow. ✓If you can play the blues, you can do anything. ✓I never considered myself part of rock 'n' roll. My stuff was more adult. It was more difficult for teenagers to relate to; my stuff was filled with more despair than anything you'd associate with rock 'n' roll. Since I couldn't see people dancing, I didn't write jitterbugs or twists. I wrote rhythms that moved me. My style requires pure heart singing. ✓It's like Duke Ellington said, there are only two kinds of music - good and bad. And you can tell when something is good. ✓Rhythm and blues used to be called race music. ... This music was going on for years, but nobody paid any attention to it. ✓Crying's always been a way for me to get things out which are buried deep, deep down. When I sing, I often cry. Crying is feeling, and feeling is being human. ✓I cant retire from music any more than I can retire from my liver. Youd have to remove the music from me surgically—like you were taking out my appendix. ✓The words to country songs are very earthy like the blues. They're not as dressed up and the people are very honest and say, 'Look, I miss you darlin', so I went out and got drunk in this bar.' That's the way you say it. Where in Tin Pan Alley they would say, 'Oh I missed you darling, so I went to this restaurant and I sat down and had a dinn

So Beaujolais is like this hybrid---a red that drinks like a white, we even put a chill on it. Maybe that's why it has trouble, it doesn't quite fit. No one takes Gamay seriously---too light, too simple, lacks structure. But..." I swirled the glass and it was so... optimistic. "I like to think it's pure. Fleurie sound like flowers doesn't it?" "Girls love flowers," she said judiciously. "They do." I put her wine down, then moved it two inches closer to her, where I knew the field of her focus began. "None of that means anything. It just speaks to me. I feel invited to enjoy it. I get roses." "Child, what is wrong with you? There's no roses in the damn wine. Wine is wine and it makes you loose and helps you dance. That's it. The way you kids talk, like everything is life or death." "It's not?" "You ain't even learned about living yet!" I thought about buying wine. About how I would scan the different Beaujolais crus at the liquor store---the Morgan, the Côte de Brouilly, the Fleurie would be telling me a story. I would see different flowers when I looked at the labels. I thought about the wild strawberries dropped off from Mountain Sweet Berry Farm just that afternoon and how the cooks laid out paper towels and sheet trays in the kitchen, none of them touching, as if they would disintegrate, their fragrance euphoric.

A region of the brain becomes mature when it settles down into a lean, functionally well-organized system. A good proxy for neural pruning in the brain is the relative density of gray versus white matter in a given region. Gray matter, the neuron-rich part of the brain that does the bulk of the computational work, decreases in density as a region matures. As gray matter density decreases, the density of white matter—the myelinated axons that transmit information, the outputs of the computational work done by gray matter—increases, resulting in greater efficiency and speed but less flexibility. One way to envision this is to see an immature, gray-matter-rich region as an undeveloped, open field, where one can wander in many directions unconstrained, but not very efficiently. In order to get to that wonderful blackberry bush to harvest some fruit, I have to bushwhack my way through vegetation and ford streams. The gradual replacement of gray matter by white matter reflects the development of this field: As roads are laid and bridges are built, I can move around more easily and quickly, but now I’m going to tend to move only along these established pathways. The new paved road to the blackberry bush makes gathering blackberries much more convenient, but rushing along on the new road I will miss the delicious wild strawberries I would have otherwise stumbled upon in the brush. There is a trade-off between flexibility and efficiency, between discovery and goal achievement.

Before the assassination of President John F. Kennedy, the very word conspiracy was seldom used by most Americans. The JFK assassination was the seminal national event in the lives of the Baby Boomer generation. We’ve heard all the clichés about the loss of our innocence, and the beginning of public distrust in our government’s leaders, being born with the events of November 22, 1963, but there’s a good deal of truth in that. President Kennedy tapped into our innate idealism and inspired a great many people, especially the young, like no president ever had before. John F. Kennedy was vastly different from most of our elected presidents. He was the first president to refuse a salary. He never attended a Bilderberg meeting. He was the first Catholic to sit in the Oval Office, and he almost certainly wasn’t related to numerous other presidents and/or the royal family of England, as is often the case. He was a genuine war hero, having tugged an injured man more than three miles using only a life preserver’s strap between his teeth, after the Japanese had destroyed the boat he commanded, PT-109. This selfless act seems even more courageous when one takes into account Kennedy’s recurring health problems and chronic bad back. He was an intellectual and an accomplished author who wrote many of his memorable speeches. He would never have been invited to dance naked with other powerful men and worship a giant owl, as so many of our leaders do every summer at Bohemian Grove in California.

Which brings me to my very last leading lesson for you: Live now. Truthfully, it’s something I struggle with every day. Being a choreographer, I need to constantly envision the future--what a routine might look like before it’s ever danced. You see a blank dance floor; I see bodies moving across it in an intricately woven series of moves. I suppose this is a good thing for a guy who competes on Dancing with the Stars, but it’s not such a good thing for my well-being. That “forward thinking” began to bleed into my everyday life as well, and for a long time, I would find myself in a constant state of worry about the future. I was anxious and relatively unhappy considering all my successes, and I didn’t know why. The day would fly by and I wouldn’t even remember what I did, because I was just going through the motions. Then it dawned on me: I wasn’t in the moment. It’s good to have goals for the future and it’s good to learn from the past, but life is happening now. You cannot let it rush by you unseized or unacknowledged. You have to make a real, conscious effort to be in the present and not let your thoughts drift to other places and times. Your mind is an instrument, a tool. It is there to be used for specific tasks, and when the task is completed, you lay it down. This is a tough thing for me. I’m an overthinker. Many of us are. My mind gets racing a thousand miles a minute and I get anxious about my work, my career, or where I need to be in thirty minutes. Every day I need to shut down this machine and simply be still.

I USED to imagine life divided into separate compartments, consisting, for example, of such dual abstractions as pleasure and pain, love and hate, friendship and enmity; and more material classifications like work and play: a profession or calling being, according to that concept—one that seemed, at least on the surface, unequivocally assumed by persons so dissimilar from one another as Widmerpool and Archie Gilbert—something entirely different from ‘spare time’. That illusion—as such a point of view was, in due course, to appear—was closely related to another belief: that existence fans out indefinitely into new areas of experience, and that almost every additional acquaintance offers some supplementary world with its own hazards and enchantments. As time goes on, of course, these supposedly different worlds, in fact, draw closer, if not to each other, then to some pattern common to all; so that, at last, diversity between them, if in truth existent, seems to be almost imperceptible except in a few crude and exterior ways: unthinkable as formerly appeared any single consummation of cause and effect. In other words, nearly all the inhabitants of these outwardly disconnected empires turn out at last to be tenaciously interrelated; love and hate, friendship and enmity, too, becoming themselves much less clearly defined, more often than not showing signs of possessing characteristics that could claim, to say the least, not a little in common; while work and play merge indistinguishably into a complex tissue of pleasure and tedium.

Now there is this song on the saxophone. And I am ashamed. A glorious little suffering has just been born, an exemplary suffering. Four notes on the saxophone. They come and go, they seem to say: You must be like us, suffer in rhythm. All right! Naturally, I’d like to suffer that way, in rhythm, without complacence, without self-pity, with an arid purity. But is it my fault if the beer at the bottom of my glass is warm, if there are brown stains on the mirror, if I am not wanted, if the sincerest of my sufferings drags and weighs, with too much flesh and the skin too wide at the same time, like a sea-elephant, with bulging eyes, damp and touching and yet so ugly? No, they certainly can’t tell me it’s compassionate—this little jewelled pain which spins around above the record and dazzles me. Not even ironic: it spins gaily, completely self-absorbed; like a scythe it has cut through the drab intimacy of the world and now it spins and all of us, Madeleine, the thick-set man, the patronne, myself, the tables, benches, the stained mirror, the glasses, all of us abandon ourselves to existence, because we were among ourselves, only among ourselves, it has taken us unawares, in the disorder, the day to day drift: I am ashamed for myself and for what exists in front of it. It does not exist. It is even an annoyance; if I were to get up and rip this record from the table which holds it, if I were to break it in two, I wouldn’t reach it. It is beyond—always beyond something, a voice, a violin note. Through layers and layers of existence, it veils itself, thin and firm, and when you want to seize it, you find only existants, you butt against existants devoid of sense. It is behind them: I don’t even hear it, I hear sounds, vibrations in the air which unveil it. It does not exist because it has nothing superfluous: it is all the rest which in relation to it is superfluous. It is. And I, too, wanted to be. That is all I wanted; this is the last word. At the bottom of all these attempts which seemed without bonds, I find the same desire again: to drive existence out of me, to rid the passing moments of their fat, to twist them, dry them, purify myself, harden myself, to give back at last the sharp, precise sound of a saxophone note. That could even make an apologue: there was a poor man who got in the wrong world. He existed, like other people, in a world of public parks, bistros, commercial cities and he wanted to persuade himself that he was living somewhere else, behind the canvas of paintings, with the doges of Tintoretto, with Gozzoli’s Florentines, behind the pages of books, with Fabrizio del Dongo and Julien Sorel, behind the phonograph records, with the long dry laments of jazz. And then, after making a complete fool of himself, he understood, he opened his eyes, he saw that it was a misdeal: he was in a bistro, just in front of a glass of warm beer. He stayed overwhelmed on the bench; he thought: I am a fool. And at that very moment, on the other side of existence, in this other world which you can see in the distance, but without ever approaching it, a little melody began to sing and dance: “You must be like me; you must suffer in rhythm.

In the poem, Inanna, unveiled, sees her own mysterious depth, Ereshkigal, who glares back at her. She has an immediate, full experience of her underworld self. That naked moment is like the fifth scene in the Villa of Mysteries where the faun, looking into a mirror bowl, sees reflected back a mask of terrible Dionysus as lord of the underworld. It is the moment of self-confrontation for the goddess of active life and love. Archetypally, these eyes of death are implacable and profound, seeing an immediateness that finds pretense, ideals, even individuality and relatedness, irrelevant. They also hold and enable the mystery of a radically different, precultural mode of perception. Like the eyes in the skulls around the house of the Russian nature goddess and witch, Baba-Yaga, they perceive with an objectivity like that of nature itself and our dreams, boring into the soul to find the naked truth, to see reality beneath all its myriad forms and the illusions and defenses it displays. Western science once aspired to such vision. But we humans do not have such objective eyes. We can see only limited and relative, indeterminate truths. We and our subjectivity are part of the reality we seek to see. Before the vision of Ereshkigal, however, objective reality is unmasked. It is nothing"Neti,neti," as the Sanskrit says and yet everything, the place of paradox behind the veil of the Great Goddess and the temple of wisdom. These eyes see from and embody the starkness of the abyss that takes all back, reduces the dancing, playing maya of the goddess to inert matter and stops life on earth.

Money has an even darker side. For although money builds universal trust between strangers, this trust is invested not in humans, communities or sacred values, but in money itself and in the impersonal systems that back it. We do not trust the stranger, or the next-door neighbour – we trust the coin they hold. If they run out of coins, we run out of trust. As money brings down the dams of community, religion and state, the world is in danger of becoming one big and rather heartless marketplace. Hence the economic history of humankind is a delicate dance. People rely on money to facilitate cooperation with strangers, but they’re afraid it will corrupt human values and intimate relations. With one hand people willingly destroy the communal dams that held at bay the movement of money and commerce for so long. Yet with the other hand they build new dams to protect society, religion and the environment from enslavement to market forces. It is common nowadays to believe that the market always prevails, and that the dams erected by kings, priests and communities cannot long hold back the tides of money. This is naive. Brutal warriors, religious fanatics and concerned citizens have repeatedly managed to trounce calculating merchants, and even to reshape the economy. It is therefore impossible to understand the unification of humankind as a purely economic process. In order to understand how thousands of isolated cultures coalesced over time to form the global village of today, we must take into account the role of gold and silver, but we cannot disregard the equally crucial role of steel.

She melted the butter in the pan. She warmed the egg yolks by immersing them in a bowl of hot water and mixing them with vinegar, then pouring in the shining golden butter little by little. She moved the whisk ceaselessly, making the contents of the bowl whirl round and round. Having observed Chizu's troubles up close, and learned how to avoid them, she succeeded in producing the fine egg-colored foam relatively quickly. Her whole hand, from the wrist down, was dancing on a waltz. The tigers in the book, whose desires had kept them spinning round and round until they transformed into butter, had ended up in the stomachs of Little Babaji's family. Even after their deaths, Kajii's victims continued to be exposed to and consumed by the curious gaze of the general public. Rika had stopped believing that any blame lay with the victims themselves. Being sucked into the vortex of Kajii's ominous power, like she herself had been, was something that could happen to anybody. Thinking this, she went on single-mindedly whisking the butter. Through her adventures with the quatre-quarts on Valentine's Day, she'd learned that waiting on the far side of all of this seemingly endless whisking was not stasis or evaporation, but emulsification. If she couldn't tear her eyes away from Kajii, if she couldn't stop herself from spinning round and round, then maybe all that was left to do was to grip on to Kajii with all her might, so as to ensure she wasn't shaken off. 'Done!' Rika said to herself and lifted up the whisk. The sauce of warm, bright yellow that came dripping off the whisk was smooth as cashmere.

The result was not nearly as vivid to the layman as, say, E=mc2. Yet using the condensed notations of tensors, in which sprawling complexities can be compressed into little subscripts, the crux of the final Einstein field equations is compact enough to be emblazoned, as it indeed often has been, on T-shirts designed for proud physics students. In one of its many variations,82 it can be written as: Rμv– 1/2 gμv R = 8πTμv The left side of the equation starts with the term Rμv, which is the Ricci tensor he had embraced earlier. The term gμv is the all-important metric tensor, and the term R is the trace of the Ricci tensor called the Ricci scalar. Together, this left side of the equation—which is now known as the Einstein tensor and can be written simply as Gμv—compresses together all of the information about how the geometry of spacetime is warped and curved by objects. The right side describes the movement of matter in the gravitational field. The interplay between the two sides shows how objects curve spacetime and how, in turn, this curvature affects the motion of objects. As the physicist John Wheeler has put it, “Matter tells spacetime how to curve, and curved space tells matter how to move.”83 Thus is staged a cosmic tango, as captured by another physicist, Brian Greene: Space and time become players in the evolving cosmos. They come alive. Matter here causes space to warp there, which causes matter over here to move, which causes space way over there to warp even more, and so on. General relativity provides the choreography for an entwined cosmic dance of space, time, matter, and energy.

People are free. Well, they can't fly on their own . . . but pretty much whatever they can think up, they can make happen. When they're sleepy, they can sleep. They're free to start or quit whatever they're doing whenever they want. And the only reason they don't is because things like social norms, laws, traditions and sentiment get in the way. Running naked through the streets . . . conning old people . . . killing . . . everything’s possible if you ignore morality. That's why they insist on teaching you cooperation and ethics when you're young- But the world is set up to force people to fight, cheat and steal as a default. Trying to live with that contradiction is torture. But in so many places happiness and sorrow are traded like stocks on wall street. What will it take for everyone to be happy? Who knows? But if a kid could figure it out, war would've gone extinct long time ago. I'd hate to trust the entire thing to politicians. They're just old men who have to dance to public opinion. The world is the embodiment of human nature exposed . . . There's no way for everyone to be happy. Happiness is relative anyway . . . and people want it that way. Evil is relative too. In order to protect her, a mother can turn into a demon. And it gets held up as inspirational. People go to war to protect kin and country. It's the same thing. Even if you pretend to be good fundamentally everyone has some negative aspects. It's amazing that no one knows that. Why? People have become so adept at excuses and shifting the blame . . . that they never even consider the possibility that they're culpable for their own problems.

The treatment accorded the Negro during the Second World War marks, for me, a turning point in the Negro’s relation to America. To put it briefly, and somewhat too simply, a certain hope died, a certain respect for white Americans faded. One began to pity them, or to hate them. You must put yourself in the skin of a man who is wearing the uniform of his country, is a candidate for death in its defense, and who is called a “nigger” by his comrades-in-arms and his officers; who is almost always given the hardest, ugliest, most menial work to do; who knows that the white G.I. has informed the Europeans that he is subhuman (so much for the American male’s sexual security); who does not dance at the U.S.O. the night white soldiers dance there, and does not drink in the same bars white soldiers drink in; and who watches German prisoners of war being treated by Americans with more human dignity than he has ever received at their hands. And who, at the same time, as a human being, is far freer in a strange land than he has ever been at home. Home! The very word begins to have a despairing and diabolical ring. You must consider what happens to this citizen, after all he has endured, when he returns—home: search, in his shoes, for a job, for a place to live; ride, in his skin, on segregated buses; see, with his eyes, the signs saying “White” and “Colored,” and especially the signs that say “White Ladies” and “Colored Women”; look into the eyes of his wife; look into the eyes of his son; listen, with his ears, to political speeches, North and South; imagine yourself being told to “wait.” And all this is happening in the richest and freest

The central ceremony of Ritual Witchcraft was the so-called "Sabbath" - a word of unknown origin having no relation to its Hebrew homonym. Sabbaths were celebrated four times a year - on Candlemass Day, February 2nd, on Rood Mass Day, May 1st, on Lammas Day, August 1st, and on the eve of All Hallows, October 31st. These were great festivals, often attended by hundreds of devotees, who came from considerable distances. Between Sabbaths there were weekly "Esbats" from small congregations in the village where the ancient religion was still practiced. At all high Sabbaths the devil himself was invariably present, in the person of some man who had inherited, or otherwise acquired, the honor of being the incarnation of the two-faced god of the Dianic cult. The worshipers paid homage to the god by kissing his reverse face - a mask worn, beneath an animal's tail, on the devil's backside. There was then, for some at least of the female devotees, a ritual copulation with the god, who was equipped for this purpose with an artificial phallus of horn or metal. This ceremony was followed by a picnic (for the Sabbaths were celebrated out of doors, near sacred trees or stones), by dancing and finally by a promiscuous sexual orgy that had, no doubt, originally been a magical operation for increasing the fertility of the animals on which primitive hunters and herdsmen depend for their livelihood. The prevailing atmosphere at the Sabbaths was one of good fellowship and mindless, animal joy. When captured and brought to trial, many of the who had taken part in the Sabbath resolutely refused, even under torture, even at the stake, to abjure the religion which had brought them so much happiness.

CAN WE TRUST ANYTHING THE NEW YORK TIMES SAYS ABOUT IMMIGRATION? In 2008, the world’s richest man, Carlos Slim Helu, saved the Times from bankruptcy. When that guy saves your company, you dance to his tune. So it’s worth mentioning that Slim’s fortune depends on tens of millions of Mexicans living in the United States, preferably illegally. That is, unless the Times is some bizarre exception to the normal pattern of corruption—which you can read about at this very minute in the Times. If a tobacco company owned Fox News, would we believe their reports on the dangers of smoking? (Guess what else Slim owns? A tobacco company!) The Times impugns David and Charles Koch for funneling “secret cash” into a “right-wing political zeppelin.”1 The Kochs’ funding of Americans for Prosperity is hardly “secret.” What most people think of as “secret cash” is more like Carlos Slim’s purchase of favorable editorial opinion in the Newspaper of Record. It would be fun to have a “Sugar Daddy–Off” with the New York Times: Whose Sugar Daddy Is More Loathsome? The Koch Brothers? The Olin Foundation? Monsanto? Halliburton? Every time, Carlos Slim would win by a landslide. Normally, Slim is the kind of businessman the Times—along with every other sentient human being—would find repugnant. Frequently listed as the richest man in the world, Slim acquired his fortune through a corrupt inside deal giving him a monopoly on telecommunications services in Mexico. But in order to make money from his monopoly, Slim needs lots of Mexicans living in the United States, sending money to their relatives back in Oaxaca. Otherwise, Mexicans couldn’t pay him—and they wouldn’t have much need for phone service, either—other than to call in ransom demands. Back in 2004—before the Times became Slim’s pimp—a Times article stated: “Clearly . . . the nation’s southern border is under siege.”2 But that was before Carlos Slim saved the Times from bankruptcy. Ten years later, with a border crisis even worse than in 2004, and Latin Americans pouring across the border, the Times indignantly demanded that Obama “go big” on immigration and give “millions of immigrants permission to stay.”3

The attempt to develop a sense of humor and to see things in a humorous light is some kind of a trick learned while mastering the art of living. Yet it is possible to practice the art of living even in a concentration camp, although suffering is omnipresent. To draw an analogy: a man’s suffering is similar to the behavior of gas. If a certain quantity of gas is pumped into an empty chamber, it will fill the chamber completely and evenly, no matter how big the chamber. Thus suffering completely fills the human soul and conscious mind, no matter whether the suffering is great or little. Therefore the “size” of human suffering is absolutely relative. It also follows that a very trifling thing can cause the greatest of joys. Take as an example something that happened on our journey from Auschwitz to the camp affiliated with Dachau. We had all been afraid that our transport was heading for the Mauthausen camp. We became more and more tense as we approached a certain bridge over the Danube which the train would have to cross to reach Mauthausen, according to the statement of experienced traveling companions. Those who have never seen anything similar cannot possibly imagine the dance of joy performed in the carriage by the prisoners when they saw that our transport was not crossing the bridge and was instead heading “only” for Dachau. And again, what happened on our arrival in that camp, after a journey lasting two days and three nights? There had not been enough room for everybody to crouch on the floor of the carriage at the same time. The majority of us had to stand all the way, while a few took turns at squatting on the scanty straw which was soaked with human urine. When we arrived the first important news that we heard from older prisoners was that this comparatively small camp (its population was 2,500) had no “oven,” no crematorium, no gas! That meant that a person who had become a “Moslem” could not be taken straight to the gas chamber, but would have to wait until a so-called “sick convoy” had been arranged to return to Auschwitz. This joyful surprise put us all in a good mood. The wish of the senior warden of our hut in Auschwitz had come true: we had come, as quickly as possible, to a camp which did not have a “chimney”—unlike Auschwitz. We laughed and cracked jokes in spite of, and during, all we had to go through in the next few hours.

Most disconcerting of all were those experiences in which the patient's consciousness appeared to expand beyond the usual boundaries of the ego and explore what it was like to be other living things and even other objects. For example, Grof had one female patient who suddenly became convinced she had assumed the identity of a female prehistoric reptile. She not only gave a richly detailed description of what it felt like to be encapsuled in such a form, but noted that the portion of the male of the species' anatomy she found most sexually arousing was a patch of colored scales on the side of its head. Although the woman had no prior knowledge of such things, a conversation Grof had with a zoologist later confirmed that in certain species of reptiles, colored areas on the head do indeed play an important role as triggers of sexual arousal. Patients were also able to tap into the consciousness of their relatives and ancestors. One woman experienced what it was like to be her mother at the age of three and accurately described a frightening event that had befallen her mother at the time. The woman also gave a precise description of the house her mother had lived in as well as the white pinafore she had been wearing—all details her mother later confirmed and admitted she had never talked about before. Other patients gave equally accurate descriptions of events that had befallen ancestors who had lived decades and even centuries before. Other experiences included the accessing of racial and collective memories. Individuals of Slavic origin experienced what it was like to participate in the conquests of Genghis Khan's Mongolian hordes, to dance in trance with the Kalahari bushmen, to undergo the initiation rites of the Australian aborigines, and to die as sacrificial victims of the Aztecs. And again the descriptions frequently contained obscure historical facts and a degree of knowledge that was often completely at odds with the patient's education, race, and previous exposure to the subject. For instance, one uneducated patient gave a richly detailed account of the techniques involved in the Egyptian practice of embalming and mummification, including the form and meaning of various amulets and sepulchral boxes, a list of the materials used in the fixing of the mummy cloth, the size and shape of the mummy bandages, and other esoteric facets of Egyptian funeral services. Other individuals tuned into the cultures of the Far East and not only gave impressive descriptions of what it was like to have a Japanese, Chinese, or Tibetan psyche, but also related various Taoist or Buddhist teachings.